Chiesa di San Vito alla Rivera, L'Aquila, Abruzzo, Italy, Europe
At the San Vito alla Rivera is an edificio religioso dell'Aquila. Come to the quasi totalitarian delle quells de l'équipement de l'équipement de l'équipement de l'équipement de l'équipement de l'équipement de l'égale, The deadline for submission of the 2009 report, which was adopted by the European Parliament in 2014, was 18 July 2017 and was published by the public. At the cost of a San Vito dedicated to the city of Rome, the seventh metropolitan area of the XIIIth Century was immediately adjacent to the definitive fund of the Aquila, which served as the centerpiece of the Tornimparte, a piccolo centro del comitatus aquilano. In the quattrocento romantic risalirebbe romantic facade. Dell'edificio originario non rimane tuttavia che l'assetto spaziale poiché la chiesa e l'intero quartiere vennero profondamenti modificat da alcune operazioni architettoniche ed urbanistiche compuute il XVI secolo e il XVIII secolo che portarono anche all'ampliamento della fontana delle 99 cannelle: The 1599 con l'insediamento de Fatebenefratelli vengono realized the convents of the adjoining Chiesa che, a secolo più tardi, viene complet distrouta dal terremoto del 1703. Ricostruita nel XVIII secolo, la chiesa è stata nuovamente danneggiata dal terremoto del 2009 che ha provokato lo spostamento dell'assetto stazionario de il crollo della part sommitale della facciata. In the light of the Commission's proposal for a revision of the Treaty of 18 July 2017, the Commission published a public report. The church is located in the Rivera area, inside the quarter of San Giovanni, in a context embellished by other architectural features such as the fountain of the 99 spouts and the Porta Rivera. Unlike most of the religious buildings in L'Aquila, it does not appear at the head of a square with a fountain but at the end of Via Borgo Rivera which connects the historic center with the walls, placed parallel to the nave of the church; the large space delimited by the fountain of the 99 spouts and its staircase make it from the churchyard. The continuous surface façade, dating back to the 14th century, is clad in white stone and is channeled between pilasters and characterized by an oculus positioned in line with the portal and covered with alternately white or pinkish stone ashlars, typical of many Aquila architecture of the same fountain of the 99 spouts. On the sides of the oculus stand out two sundials of uncertain origin, one for Italian hours and the other for solar hours. The portal is adorned in the lunette by a painting depicting Santa Maria della Sanità. The Agnus Dei is carved in the architrave. The simplicity of the facade corresponds to a simplicity of the interior, of modest size and structured on a single nave culminating in a large altar.
documentario Storia delle chiese di L'Aquila: da Santa Maria di Collemaggio a Cristo re
Documentario completo di cultura e arte abruzzese di Orlando Antonini
Non si sa con certezza quante chiese avessero i villaggi (i famosi 99 castelli) che sorgevano attorno il colle dell'attuale L'Aquila, prima della fondazione nel 1254. In un documento del vescovo di Forcona nel 1195, si citava l'esistenza presso Acculi (il Borgo Rivera), l'esistenza della chiesa di Santa Maria d'Acquili o della Rivera, occupata nel XIII secolo dalle Clarisse, e riedificata ampiamente dopo i danni del 1703, oggi noto come monastero di Santa Chiara in via XX Settembre. L'esistenza di altre chiese è documentata dalle stesse lastre murate sulle facciate di alcuni edifici del centro storico, nonché nei portali che presentano chiari motivi preromanici, cui si aggiunsero i tipici tralci vegetali e figurine dell'epoca tardo romanica del XIII-XIV secolo, presenti nelle chiese di Sant'Antonio Abate a Porta Romana (contrada Pile), San Vito della Rivera presso le 99 cannelle, la chiesetta di Santa Maria del Ponte di Roio, all'imbocco di via Tancredi di Pentima, sulla facciata a sinistra della chiesa di San Marco di Pianola. Si presume che i castellani della Torre, piccolo villaggio situato nel cuore dell'attuale Quarto di Santa Giusta, avessero una loro chiesa dedicata a San Giorgio, da cui il nome originario del quartiere, e che successivamente dopo il sisma del 1349 fosse ricostruita come parrocchia di Santa Giusta di Bazzano entro le mura; mentre altri sostengono che la chiesa fosse quella dove sorge la parrocchia di San Flaviano, vista la base diversa in blocchi di pietra gigante della torre campanaria, successivamente tagliata dopo i danni del 1703. Nei dintorni del colle dell'Aquila dovevano sorgere, prima dell'edificazione del centro, altre chiese pressi i relativi castelli confocolieri. Data la costruzione ci chiese duplicato dentro le mura delle città, dai relativi parrocchiani dei castelli di rappresentanza quali Roio, Paganica, Bazzano, Bagno, Arischia, San Vittorino, Assergi, Coppito, Pile e via dicendo, dovevano sorge di sicuro prima del 1254 determinate parrocchie quali: Campanile chiesa di Santa Maria Assunta di Assergi Chiesa di San Marciano (Roio Piano) Chiesa di Santa Maria di Bagno Chiesa di Santa Maria Assunta (Paganica) Chiesa di San Giustino - omonima contrada presso Paganica Chiesa di Santa Maria Assunta o San Franco (Assergi) Chiesetta di Santa Maria del Guasto - località Vasto Chiesa di San Michele (San Vittorino) Abbazia di San Giovanni Battista (Lucoli Alta) Chiesa di San Vito Martire (Colle San Vito) Chiesa di San Quinziano (Pile) Chiesa di Santa Giusta fuori le mura (Bazzano) Chiesa di Santa Giusta martire (Sassa) Chiesa di Santa Maria di Cascina (omonima località presso Fontepianura di Scoppito) Chiesa di San Pietro di Preturo Chiesa di San Pietro Apostolo (Coppito) Chiesa di Sant'Antonio abate (Pile) Chiesa di San Silvestro (Collebrincioni) Chiesa di San Marco (Preturo) Chiesa di San Benedetto abate (Arischia) Chiesa di Santa Maria del Rosario (Tempèra) Chiesa di San Pietro (Onna) Chiesa di Santa Maria Assunta (Pianola di Roio)
Fountain of the 99 spouts, L'Aquila, Abruzzo, Italy, Europe
The Fountain of the 99 Spouts, also called the Fountain of the Rivera, is a historical monument of the Eagle. Located in the Rivera area, one of the oldest in the historic center, close to the river Aterno near the church of San Vito alla Rivera, the fountain is made up of ninety-three stone masks and six single spouts, most of which are water . According to tradition, the spouts would represent the ninety-nine castles of the district that, in the thirteenth century, participated in the foundation of the Eagle. The fountain constitutes almost the entire perimeter of the square with the same name adjacent to the city walls. The intervention of Tancredi da Pentima would in any case be limited to the sole realization of the wall placed frontally with respect to the entrance; some scholars believe that the current appearance of the fountain dates back entirely to the 15th century. What is certain is that the area now known as La Rivera, corresponding to an ancient castle called Acquili, from which derives the name of the city, constituted at the time of the foundation a strategic area as regards the abundance of water and the numerous craft activities that had settled there. At the fifteenth century, the walls are traced (with the use of white or pink stone from the typical checkerboard composition, also used in the facade of the basilica of Santa Maria di Collemaggio) and the emblem of the city placed above the tombstone; to 1582 would go up the left front of the fountain, attributed to Alessandro Ciccarone; finally, to the eighteenth century the right front can be ascribed, characterized by masks with a typically Baroque taste and probable rebuilding of a front already present but destroyed by the earthquake of 1703, with the relative restoration of the entire monument and the paving of the square. The same tombstone already cited previously bears two dates: 1744, dating back to the construction of the right front, and 1871, the year in which a new restoration was carried out. In 1934 the wrought iron fence of the open front was built while in 1994 and 2008 it was restored again. In 2009, the fountain suffered slight damage following the earthquake, especially with regard to the right front that rests on the wall perimeter of the city; a few months later the fountain was at the center of the opening ceremony of the Pescara Mediterranean Games. Its restoration, aimed at the structural consolidation of the work and the cleaning of the stone cladding and the tanks, was sponsored by the Italian Environmental Fund and financed, almost entirely, by donations. The fountain was reopened to the public on December 16, 2010.
L' AQUILA-Fontana 99 Cannelle (2006)
L' AQUILA
LA FONTANA DELLE 99 CANNELLE (1272)
NELL'ANTICO BORGO RIVERA in L'Aquila
Di fronte alla monumentale Fontana la bela
Chiesa di San VITO
L'Aquila e le sue chiese, 1229 1259 Le origini
Si può ipotizzare che le fasi costruttive di quella che sarà la città di Aquila abbiano avuto inizio nel 1195, con l'edificazione e la consacrazione della chiesa di Santa Maria d'Aquili
Dagli studi di monsignor Orlando Antonini sull'architettura religiosa aquilana. Regia di Patrizio Guerrini, a cura di Maurizio D'Antonio. Sotto l'alto patronato del Pontificio Consiglio della cultura e della Pontificia Commissione dei beni culturali della Chiesa. Con il patrocinio di: Arcidiocesi dell'Aquila, Istituto italiano dei Castelli, Regione Abruzzo, Provincia dell'Aquila, Comune dell'Aquila
L'Aquila e le sue chiese Cap 3: 1450-1600
Si può ipotizzare che le fasi costruttive di quella che sarà la città di Aquila abbiano avuto inizio nel 1195, con l'edificazione e la consacrazione della chiesa di Santa Maria d'Aquili
Dagli studi di monsignor Orlando Antonini sull'architettura religiosa aquilana. Regia di Patrizio Guerrini, a cura di Maurizio D'Antonio. Sotto l'alto patronato del Pontificio Consiglio della cultura e della Pontificia Commissione dei beni culturali della Chiesa. Con il patrocinio di: Arcidiocesi dell'Aquila, Istituto italiano dei Castelli, Regione Abruzzo, Provincia dell'Aquila, Comune dell'Aquila
L'Aquila e le sue chiese Cap 4: 1600-1800
Si può ipotizzare che le fasi costruttive di quella che sarà la città di Aquila abbiano avuto inizio nel 1195, con l'edificazione e la consacrazione della chiesa di Santa Maria d'Aquili
Dagli studi di monsignor Orlando Antonini sull'architettura religiosa aquilana. Regia di Patrizio Guerrini, a cura di Maurizio D'Antonio. Sotto l'alto patronato del Pontificio Consiglio della cultura e della Pontificia Commissione dei beni culturali della Chiesa. Con il patrocinio di: Arcidiocesi dell'Aquila, Istituto italiano dei Castelli, Regione Abruzzo, Provincia dell'Aquila, Comune dell'Aquila
Santa Maria di Collemaggio, L'Aquila, Abruzzo, Italy, Europe
S. Maria di Collemaggio is a large medieval church in L'Aquila, central Italy. It was the site of the original Papal Jubilee, a penitential observation devised by Pope Celestine V, who is buried there. The church, which therefore ranks as a basilica because of its importance in religious history, sits in isolation at the end of a long rectangular sward of grass at the southwest edge of the town. The church is a masterpiece of Abruzzese Romanesque and Gothic architecture and one of the chief sights of L'Aquila. The striking jewel-box effect of the exterior is due to a pattern of blocks of alternating pink and white stone; the interior, on the other hand, is massive and austere. Outbuildings include a colonnaded cloister, with the central fountain typical of many other similar Italian cloisters, and the former monastic refectory. Parts of the structure were significantly damaged in the 2009 earthquake in L'Aquila. While the church's front is intact, its cupola, transept vaults and the triumphal arches have collapsed. In 1274, while traveling through L'Aquila, a hermit from Morrone named Pietro, founder of the Celestine Order, spent the night on a nearby hill, the Colle di Maggio, and had a dream in which the Virgin Mary, surrounded by angels at the top of a golden stairway, asked him to build a church there in her honor. In 1287 the Celestines bought the land, started construction the following year, and consecrated the still-unfinished church in 1289. The hill that gave its name to the church no longer exists, the valley between it and the city having been filled in during the 19th century; further adjustments to the local topography were made in the 1930s to improve accessibility to the church. On August 29, 1294, Pietro da Morrone was crowned Pope there, as Celestine V, and as part of his coronation instituted a plenary pardon of sins for all who would visit the church, confessed and repentant, on 28 and 29 August of any year. The Pardon of St. Celestine (in Italian: Perdonanza di S. Celestino) is widely viewed by church historians as the immediate ancestor of the Jubilee and Holy Year instituted only six years later by Pope Boniface VIII; and it is still celebrated at the church, thousands of pilgrims converging on L'Aquila for it every year. A Holy Door similar to the one in Rome was added to the church in the 14th century; a fresco in the lunette appropriately depicts the Virgin and Child, St. John the Baptist and St. Celestine. The church continued to be embellished during the Middle Ages, impetus being provided by the canonization of St. Celestine in 1313 and the translation of his relics in 1327. It was reported that a wall of the church collapsed in the earthquake that hit L'Aquila on April 6, 2009. In the first post-quake images of the area, the facade of the church still stands behind the restoration scaffolding. Cracks have appeared in some areas of the walls. The most severe damage to the basilica was the roof and dome collapse over the transept and part of the choir. The tomb of Pope Celestine was also damaged. The elegant Romanesque façade has the appearance of a wall, with a central door, embellished in the 15th century, and two smaller flanking doors; each door is a round arch set into a series of archivolts, and each is surmounted by a rose window. The main decoration of the façade, however, consists in the use of contrasting stone arranged in a sort of tapestry of cruciform elements. The façade lacks any of the customary crowning gables or other superstructures and may be unfinished. An octagonal belfry, reduced to a stub after it had to be demolished following an earthquake, gives the building an asymmetrical appearance. The three portals and three rose-windows are all different. The central door was significantly reworked in the 15th century, decorated with blank niches arranged in two rows over a base composed of square panels carved with floral motifs. A rear view of the church shows a congeries of various extensions over the centuries, mostly of the Gothic period. The interior follows the standard plan of a nave and two side aisles, each one divided from it by a row of columns, from which arches support a tall wooden ceiling. The floor of the nave is in the same red and white stone as the façade. A major restoration, aiming to return the church to its original Romanesque appearance by removing accretions over the centuries, was completed in 1972. This was the first time its furniture was actually refurbished.
Amphitheatre of Amiternum, San Vittorino, L'Aquila, Abruzzo, Italy, Europe
Amiternum was an ancient Sabine city, then Roman city and later bishopric and Latin catholic titular see in the central Abruzzo region of modern Italy at 9 km from L'Aquila. Amiternum was the birthplace of the historian Sallust (86 BC). The site, in the upper Aterno valley, was one of the most important of Sabinum. Amiternum was defeated by the Romans in 293 BC. It lay at the point of junction of four roads: the Via Caecilia, the Via Claudia Nova and two branches of the Via Salaria. There are considerable remains of an amphitheatre and a theatre, all of which belong to the imperial period, while on the hill of the surrounding village of San Vittorino there are some Christian catacombs. A well known Roman funerary relief of the first century BC depicts the Roman funeral procession or pompa. The modern name of the locality, San Vittorino, recalls the martyr of Victorinus, who is looked on as bishop of Amiternum, of the time of the persecution by Roman Emperor Nerva (30-98 AD), b-while other sources put the bishopric's foundation circa 300AD. Circa 400 AD it gained territory from the suppressed Diocese of Pitinum. Other bishops of Amiternum include Quodvultdeus, who encouraged the religious veneration of Victorinus by constructing his tomb, Castorius, who is mentioned by Pope Gregory I, Saint Cetteus, martyred by the Lombards in 597, and Leontius, a brother of Pope Stephen II. The last known bishop is Ludovicus, who took part in a synod held in Rome in 1069. Circa 1060 AD, the bishopric was suppressed and it the territory merged into the Rieti. In the mid-13th century the population was transferred to the newly founded town of L'Aquila, which was erected as a diocese by Pope Alexander IV on 20 February 1257, incorporating in it the territory that had once been that of the diocese of Amiternum.
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JIMMY GHIONE intervista (In libero Stato. L'occasione fa l'uomo Laico) - WWW.RBCASTING.COM
JIMMY GHIONE - Intervista di Marilena Vinci per RB Casting, in occasione della manifestazione-spettacolo In libero Stato. L'occasione fa l'uomo Laico, il cui scopo è sostenere il valore della laicità dello Stato troppe volte attaccato dall'invasione clericale nelle nostre vite e raramente difeso dalla classe politica esistente.
Gli artisti che hanno aderito e sono intervenuti alla serata con letture, canzoni e improvvisazioni teatrali sono: Stefano Disegni, Luca Barbarossa, Alessandro Haber, Ennio Fantastichini, Giuliana De Sio, Maria Amelia Monti, Roy Paci, Neffa, Sergio Rubini, Massimo Ghini, Milena Vukotic, Rocco Papaleo, Andrea Rivera, Gianfelice Imparato, Luigi Diberti, Marcello Cesena, Jimmy Ghione, Stefano Masciarelli, Rodolfo Laganà, Vito, Sergio Cammariere, Monica Scattini, Mimmo Locasciulli, Gianmarco Tognazzi, Massimo Olcese, Adolfo Margiotta, Stefano De Sando...
Roma, Teatro Vittoria, lunedì 31 maggio 2010. 31/05/2010.