Chiesa San Barnaba prima parte
nella Città Antica a Modena questa Storica Chiesa.
Umu Oma dance Group Modena
The Umu Dance group from Modena, Italy. At the I gbankwu - Igbo traditional marriage ceremony, Verona, Italy.
This group came to the limelight at the wake of 2010 and is comprised of the female folks from St. Barnabas Anglophone African Catholic Community Modena predominantly Igbos. Their major aim is to revive the African culture among them, children born here in oversee. They have featured in in some major events, such as; Chukwuemka Udumegwu Ojukwu's burial ceremony at Padova Italy, Iri ji Ndi Igbo in Italy and a host of other prominent ocassions. The group is being coordinated by Oleh Celestine Chinedu.
Places to see in ( Alba - Italy )
Places to see in ( Alba - Italy )
Alba is a town and comune of Piedmont, Italy, in the province of Cuneo. It is considered the capital of the UNESCO Human Heritage hilly area of Langhe, and is famous for its white truffle, peach
The Langhe is a hilly area to the south and east of the river Tanaro in the province of Cuneo in Piedmont, northern Italy. It is famous for its cheeses, and truffles—particularly the white truffles of Alba. On 22 June 2014, Langhe was inscribed on UNESCO World Heritage list for its cultural landscapes.
Alot to see in ( Alba - Italy ) such as :
Of the Roman city, which had a polygonal form, parts of the fortified gate and remains of some edifices with marble and mosaics can still be seen.
The Palazzo Comunale (13th century, housing a Nativity by Macrino d'Alba of 1501) and the Bishop's Palace.
Some towers of the 14th and 15th centuries: Alba was once known as the City with hundred towers.
the Romanesque Alba Cathedral of San Lorenzo (Duomo), built in the 12th century, probably over holy edifices of Roman age. It was restructured in the 15th century, by bishop Andrea Novelli, and again in the following centuries. The current appearance is from the controversial restoration of the 19th century, of which the three portals and the crypt are from the original edifice. The church is well known for its wood-carved chorus made in 1512 by Bernardino Fossati. The current belfry, from the 12th century, includes entirely the original bell tower.
The Gothic church of San Domenico (13th through 14th centuries), the most artistically relevant church in town. It has a noteworthy portal with a triple arch within a pointed arch, a polygonal apse and traces of Renaissance frescoes. During the Napoleonic Wars it was used a stable, and was reconsecrated on 22 June 1827.
The Baroque church of St. John the Baptist, housing a Madonna of the Graces (1377) by Barnaba da Modena and a Madonna with Saints (1508) by Macrino d'Alba.
The city museums include the F. Eusebio Municipal Museum of Archaeology and Natural Science.
( Alba - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting the city of Alba. Through a series of videos we will try to show you recommended places to visit in Alba - Italy
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Leonardo da Vinci's Machines, Saint Augustine Museum, Genoa, Italy, Europe
The church of St. Augustine was a religious building in the historic center of Genoa, located in Piazza Renato Negri. Adjacent to the Museum of St. Augustine and now deconsecrated, it is sometimes home to the nearby Teatro theater of the Cough. The church was built upon by the Augustinians in the year 1260, initially dedicated to Santa Tecla, and is one of the few surviving Gothic churches in Genoa in the construction of roads, modern, which, especially in the nineteenth century, saw the demolition of a large number of churches and convents. The church has the typical facade with colored bands, white marble and black stone promontory. The prospectus, tripartite pilasters, has a portal with a pointed arch, in the lunette, a fresco by Giovanni Battista Merano depicting St. Augustine. There is also a rose window open under a frieze of arches and two lateral mullioned windows. Makes it particularly important that both the church and the particular context of the squares facing, is the bell tower on the right side of the transept. The bell tower is formed by overlapping orders of mullioned windows and four-and ends with a high spire and four spiers tiled side (ie covered with polychrome tiles). The interior is very large, has three naves separated by pointed arches, the latter built on sturdy stone columns painted white-black bands with cubic capitals. The aisles were originally covered by ceiling beams but were raised in 1400, and later, in the seventeenth century it had to provide to redo the cover of the nave, now unsafe, the chorus, however, has maintained the original curbs times. On the right side of the church, near the main altar, there is a fresco by the painter Pietro Toesca Barnaba da Modena, depicting the Last Judgment. This fresco is most likely one of the last works of Barnabas. It is divided into two parts: in the lower pane two angels overlooking the graves from which the bodies of the dead rise up to the sound of the trumpets of the Last Judgment. In the lunette above a concise dramatic tone takes on the plea of John the Baptist which the Redeemer turns with the look angry, but already subsided in the gesture of the hand turns to him: painting, a dense shadows, gives prominence to the drapery and flashes eyes. Both in Christ and in the Baptist there is still no sign of the Byzantine style that Barnabas has not forgotten its probable in this last work, but there is also the plastic relief of the figures that characterizes his last works. The temple, desecrated as early as the late eighteenth century, was severely damaged by bombing during the Second World War. After the war it was used for several decades as a repository of sculptures, architectural fragments and frescoes from churches destroyed, that have formed the core of the Museum of Sculpture of St. Augustine. Built at the end of the seventies of the twentieth century and designed by Franco Albini and Franca Helg, the museum building has included in its facilities the two cloisters of the religious complex: the so-called triangular cloister dating from the fourteenth or fifteenth century, located on the right side of the church, with columns on drums and cubic capitals and the eighteenth century, rectangular and bigger, which was moved and renovated. The most important piece of the museum is probably the tomb of Margaret of Brabant (dated around 1313), commissioned by Giovanni Pisano, in Pisa, the emperor Henry VII.
Leonardo da Vinci's Machines, Saint Augustine Museum, Genoa, Italy, Europe
The church of St. Augustine was a religious building in the historic center of Genoa, located in Piazza Renato Negri. Adjacent to the Museum of St. Augustine and now deconsecrated, it is sometimes home to the nearby Teatro theater of the Cough. The church was built upon by the Augustinians in the year 1260, initially dedicated to Santa Tecla, and is one of the few surviving Gothic churches in Genoa in the construction of roads, modern, which, especially in the nineteenth century, saw the demolition of a large number of churches and convents. The church has the typical facade with colored bands, white marble and black stone promontory. The prospectus, tripartite pilasters, has a portal with a pointed arch, in the lunette, a fresco by Giovanni Battista Merano depicting St. Augustine. There is also a rose window open under a frieze of arches and two lateral mullioned windows. Makes it particularly important that both the church and the particular context of the squares facing, is the bell tower on the right side of the transept. The bell tower is formed by overlapping orders of mullioned windows and four-and ends with a high spire and four spiers tiled side (ie covered with polychrome tiles). The interior is very large, has three naves separated by pointed arches, the latter built on sturdy stone columns painted white-black bands with cubic capitals. The aisles were originally covered by ceiling beams but were raised in 1400, and later, in the seventeenth century it had to provide to redo the cover of the nave, now unsafe, the chorus, however, has maintained the original curbs times. On the right side of the church, near the main altar, there is a fresco by the painter Pietro Toesca Barnaba da Modena, depicting the Last Judgment. This fresco is most likely one of the last works of Barnabas. It is divided into two parts: in the lower pane two angels overlooking the graves from which the bodies of the dead rise up to the sound of the trumpets of the Last Judgment. In the lunette above a concise dramatic tone takes on the plea of John the Baptist which the Redeemer turns with the look angry, but already subsided in the gesture of the hand turns to him: painting, a dense shadows, gives prominence to the drapery and flashes eyes. Both in Christ and in the Baptist there is still no sign of the Byzantine style that Barnabas has not forgotten its probable in this last work, but there is also the plastic relief of the figures that characterizes his last works. The temple, desecrated as early as the late eighteenth century, was severely damaged by bombing during the Second World War. After the war it was used for several decades as a repository of sculptures, architectural fragments and frescoes from churches destroyed, that have formed the core of the Museum of Sculpture of St. Augustine. Built at the end of the seventies of the twentieth century and designed by Franco Albini and Franca Helg, the museum building has included in its facilities the two cloisters of the religious complex: the so-called triangular cloister dating from the fourteenth or fifteenth century, located on the right side of the church, with columns on drums and cubic capitals and the eighteenth century, rectangular and bigger, which was moved and renovated. The most important piece of the museum is probably the tomb of Margaret of Brabant (dated around 1313), commissioned by Giovanni Pisano, in Pisa, the emperor Henry VII.
Chiesa San Barnaba seconda parte
nel Centro Storico questa Magnifica Chiesa di inestimabile valore.
Places to see in ( Alba - Italy )
Places to see in ( Alba - Italy )
Alba is a town in Italy’s Piedmont region. It's known for its white truffles. The Alba Cathedral, rebuilt in Gothic style, has a bell tower with city views. Nearby, the Church of San Giovanni Battista contains artworks from the 14th century onward. The Federico Eusebio Museum houses artifacts from prehistoric to Roman times, plus a natural history section.
A once-powerful city-state – its centre sported more than 100 towers – Alba is considered the capital of the Langhe and has big-city confidence and energy while retaining all the grace and warmth of a small rural town. Alba's considerable gastronomic reputation comes courtesy of its white truffles, dark chocolate and wine. Its annual autumn truffle fair draws huge crowds and the odd truffle-mad celebrity (Jay Z, we're looking at you). The vendemmia (grape harvest) remains refreshingly local and low key, if ecstatic in its own way. The vine-striped Langhe Hills radiate out from the town like a giant undulating vegetable garden, replete with grapes, hazelnut groves and wineries. Exploring Alba's fertile larder on foot or with two wheels is a delicious pleasure.
Alba's origins date from before the Roman civilization, connected probably to the presence of Celtic and Ligurian tribes in the area. The modern town occupies the site of ancient Alba Pompeia, the name given after being officially recognized as a town by the Roman consul Gnaeus Pompeius Strabo while constructing a road from Aquae Statiellae (Acqui) to Augusta Taurinorum (Turin). Alba was the birthplace of Publius Helvius Pertinax, briefly Roman emperor in 193.
Of the Roman city, which had a polygonal form, parts of the fortified gate and remains of some edifices with marble and mosaics can still be seen.
Other attractions include:
The Palazzo Comunale (13th century, housing a Nativity by Macrino d'Alba of 1501) and the Bishop's Palace.
Some towers of the 14th and 15th centuries: Alba was once known as the City with hundred towers.
the Romanesque Alba Cathedral of San Lorenzo (Duomo), built in the 12th century, probably over holy edifices of Roman age. It was restructured in the 15th century, by bishop Andrea Novelli, and again in the following centuries. The current appearance is from the controversial restoration of the 19th century, of which the three portals and the crypt are from the original edifice. The church is well known for its wood-carved chorus made in 1512 by Bernardino Fossati. The current belfry, from the 12th century, includes entirely the original bell tower.
The Gothic church of San Domenico (13th through 14th centuries), the most artistically relevant church in town. It has a noteworthy portal with a triple arch within a pointed arch, a polygonal apse and traces of Renaissance frescoes. During the Napoleonic Wars it was used a stable, and was reconsecrated on 22 June 1827.
The Baroque church of St. John the Baptist, housing a Madonna of the Graces (1377) by Barnaba da Modena and a Madonna with Saints (1508) by Macrino d'Alba.
The city museums include the F. Eusebio Municipal Museum of Archaeology and Natural Science.
Alba won a Gold Medal for Military Valour for the heroic activity of its citizens in the Italian resistance movement during the course of World War II. On 10 October 1944, the town was liberated by partisans who established a Republic of Alba which for a few weeks was able to maintain its independence from the Fascist Republic of Salò. The republic lasted to 2 November 1944, when Republic of Salo retook it. It was finally liberated by French troops on 2 May 1945.
( Alba - Italy ) is well know as a tourist destination because of the variety of places you can enjoy while you are visiting Alba . Through a series of videos we will try to show you recommended places to visit in Alba - Italy
Join us for more :
Palazzo Comunale
Videoguida descrittiva del Palazzo Comunale, curata dalla Rete Civica in collaborazione con Pongo Films. Regia di Davide Fonda. Animazione e grafica: Giampiero Puricella. Guida Turistica: Chiara Reverberi. Testi: Servizio Comunicazione del Comune di Modena. Coordinamento editoriale: Corrado Nuccini. Materiale fotografico: Fotomuseo Panini, Beppe Zagaglia, Bruno Marchetti.
Il Duomo di Fanano - Pieve di San Silvestro Papa - 4K
Il tempio, eretto molto probabilmente alla fine del XII secolo sopra i resti della chiesa abbaziale che Sant’Anselmo aveva fondato nel 749, era considerato uno dei più significativi esempi di architettura tardo-romanica dell’Appennino.
La sua struttura, che riprendeva quella basilicale del duomo di Modena, con tre navate, cripta e presbiterio sopraelevato, fu poi modificata nel 1612 con l’inversione della pianta e con l’aggiunta del transetto e della cupola. L’aspetto originario è riconoscibile soprattutto nella navata centrale e, in particolare, nelle possenti colonne sormontate da notevoli capitelli di scuola campionesse (o antelamica): nel terzo a destra, uno dei più ricchi, si legge 1206 In conversione Sancti Pauli (cioè 25 gennaio 1206, probabile data di consacrazione della chiesa), mentre sul quarto un pittore modenese del ‘300 (Tommaso o Barnaba da Modena?) ha affrescato una delicata “Madonna con Bambino”. Lungo le navate laterali e nel transetto si aprono tredici cappelle, edificate nei secoli XVI e XVII: tutte incorniciate da eleganti archi in pietra arenaria, sono opera di scalpellini locali e toscani (come la prima, con il Battistero, di Giovanni Battista da Firenze, del 1534) .
In queste cappelle, volute dalle più importanti famiglie fananesi, si conservano notevoli dipinti: di scuola veneta (Matteo Ponzone, 4° cappella a destra), toscana (Francesco Curradi, 2° cappella a sinistra; Domenico Cresti, detto “il Passignano”, 5° cappella a destra) ed emiliana (Magnanini, 3° cappella a destra e quella a sinistra dell’altare maggiore; Pellegrino da Fanano, 2°, 4° e 6° a destra; Francesco Vellani, 1° a destra; ed altri).
Il grande crocifisso appeso sopra l’altar maggiore è di uno scultore locale del XIV secolo. Da notare anche il portale laterale, finemente scolpito in pietra arenaria, che riporta la data “1502”; sopra di esso, resti di un affresco dei Magnanimi.
Agli impegnativi restauri effettuati da Don Eugenio Battistini all’inizio del XX secolo risalgono in particolare l’attuale facciata in stile neo-romanico e gli affreschi dei soffitti, del transetto e della cupola (Fermo Forti di Carpi e Silvestro Bergamini di Modena); sempre in occasione di quei restauri sono riaffiorati i resti dell’antica cripta, recentemente tornati visibili nella parte anteriore della chiesa. Nella primavera del 2010 il pavimento in cotto, risalente a poco più di un secolo fa, è stato sostituito da uno in pietra arenaria, molto più adatto all’ambiente.
Riprese e montaggio video:
STAN 4K Video Making
Music:
Stronger
Written By Kevin Austin Graham
Performed By Kevin Graham
Campo San Barnaba Indiana Jones
Santa Messa per la comunità filippina
Nella chiesa dei Santi Faustino e Giovita in via San Faustino il cardinale Luis Antonio Gokim Tagle, arcivescovo di Manila e presidente di Caritas Internationalis, ha celebrato la Messa per la comunità filippina di Brescia.
Edgardo Gherlinzoni & Ercole Omodei - O Mimì
Edgardo Gherlinzoni (1876-1961) was an Italian tenor who enjoyed a relatively brief career in the early 20th century. Born in the Northern Italian town of Stellata, Gherlinzoni demonstrated musical talent from a very early age and attracted much attention from locals for his singing. In spite of his vocal abilities, the young man initially trained to be a shoemaker (or a bricklayer, depending on which biography you believe). Gherlinzoni gave little thought to a career as a singer until the late 1890s when he began working with a local operetta troupe. However, the pay was so paltry that he soon resumed his earlier profession just to make ends meet. After a few more false starts… including a return to operetta and a failed venture in the retail industry…Gherlinzoni launched into a brief but intensive period of vocal study. It was during this period that he made the acquaintance of Tullio Serafin. The famed conductor, then in the infancy of his career, saw the potential in the young tenor and encouraged him to pursue a career on the operatic stage. In particular, Serafin advised Gherlinzoni to concentrate on the treacherously high lying role of Arturo in I Puritani. The conductor felt that, with the young tenor’s easy top, this role would fit him like a glove.
It was as Arturo that Gherlinzoni made his official debut in June of 1903 at the Teatro Carignano in Turin. During that same season, he also sang the Duke in Rigoletto with the company. The young tenor’s reputation spread rapidly throughout Italy and engagements followed in Savona, Parma, Trieste, Milan, Lugo, Modena, Bologna, Padua, Bari, Genoa, Venice and Rimini. Gherlinzoni’s first engagement outside of his native country occurred in December of 1908, when he travelled to the Teatro Reale in Madrid to sing what had become his signature role, Arturo. Although appearances in Brussels, Alexandria, St. Petersburg, Zagreb and Warsaw followed, Gherlinzoni’s career was fated to be an Italian provincial affair.
Gherlinzoni’s career was also fated to be a very brief one. At the early age of 42, he left the stage and pursued concert work for a few years. His last recorded appearance was a gala concert at the Teatro Comunale in Bologna on October 8, 1921. After that performance, the tenor disappeared from public life, with the intention of trying his hand in the business world again. When this venture failed, Gherlinzoni turned to teaching, with a bit more success. Essentially a self-taught singer who had barely learned the fundamentals of reading music, the aging ex-tenor was not exactly in great demand from major music schools. He did, however, manage to eke out a meager living by teaching private lessons from his home. Eventually, even this venture failed and, destitute and forgotten, Edgardo Gherlinzoni was moved to a nursing home in Ferrara where he spent his final years. His death on November 15, 1961 went largely unnoticed, barely meriting a notice in the press, a sad comedown for such a fine artist.
There are numerous reasons for the obscurity into which Edgardo Gherlinzoni has fallen. First, there was the brevity of his operatic career…barely 15 years. Second, apart from a few appearances at major houses…the Petruzzelli in Bari and the dal Verme in Milan among them…the tenor essentially spent his career in the smaller theaters of Italian provinces. Third, his repertoire only encompassed about a dozen roles, including Rodolfo in La Bohème, Alfredo in La Traviata, the Duke in Rigoletto, Enzo in La Gioconda, Edgardo in Lucia di Lammermoor, Faust in both Gounod’s work and Boito’s Mefistofele, Faone in Pacini’s Saffo, Accaro in William Legrand Howland’s Sarrona, and, of course, Arturo in I Puritani. And fourth, Gherlinzoni’s recorded legacy is quite scarce…about a dozen discs for Columbia and an obscure pair for Odeon. It is on this paltry legacy that the tenor’s reputation lies. On Gherlinzoni’s discs we hear an evenly produced lyric instrument with top notes easily extending to high C. We also hear tremendously eloquent phrasing, sensitive musicality and a rare sense of detail. Unfortunately, one also notices a number of glaring rhythmic mistakes and coordination issues with the orchestra. While these errors may very well have been the fault of the conductor or studio musicians, they certainly don’t help cement the reputation of Gherlinzoni as a first-rate artist. Perhaps a few retakes might have been in order. Here, Gherlinzoni joins baritone Ercole Omodei (1882-1953) for the duet O Mimì, tu più non torni from Act IV of Puccini's La Bohème. This recording was made in Milan for Columbia Records in 1908.
M. Mussorgsky. Night on Bald Mountain.Volodymyr Sheiko. Ukrainian Radio Symphony Orchestra
M. Mussorgsky. Night on Bald Mountain.
Conductor-Volodymyr Sheiko.
Ukrainian Radio Symphony Orchestra (URSO)
DJ SPRANGA live from MAZOOM SIRMIONE (BS) 22-2-2014
Piacenza-Torino 3-1 - Radiocronaca di Carlo Nesti (30/9/2001) da Tutto il calcio minuto per minuto
AUDIO, 30 Settembre 2001: l'ultima apparizione radiofonica del popolare radiotelecronista CARLO NESTI nella storica Tutto il calcio minuto per minuto
Piacenza (4-4-2): Orlandoni , Cristante , Boselli , Lamacchi , Mora , Gautieri , Matuzalem (8' St Miceli ), Volpi , Tosto (18' St Cardone ), Poggi (40' St Caccia ), Hubner . (16 Bagnacani, 6 A.Lucarelli, 11 Ambrosetti, 9 Amauri). All. Novellino .
Torino (3-4-1-2): Bucci , Galante (25' St Comotto ), Fattori , Delli Carri , Asta , Vergassola , Brambilla , Castellini , Pinga (1' St Ferrante ), C.Lucarelli , Osmanovski (34' St Maspero ). (16 Sorrentino, 2 Garzya, 4 Venturin, 30 Calaio'). All. Camolese .
Arbitro: Treossi
Recupero: 2' e 4'.
Angoli: 7-2 per il Torino
Espulso: Fattori al 40' St per doppia ammonizione.
Ammoniti: Volpi, Lucarelli, Delli Carri, Osmanovski, Castellini per gioco scorretto. Comotto e Miceli per condotta non regolamenttare.
Spettatori: 8 mila circa
I gol:
9' pt - fuga sulla destra di Gautieri, cross basso dal fondo e tocco comodo in rete di Hubner.
20' - punizione di Volpi e colpo di testa vincente di Gautieri con palla imprendibile nell' angolo piu' lontano.
14' st - punizione di Lucarelli da 18 metri, deviazione della barriera che spiazza Orlandoni.
41' - intervento di Castellini su Guatieri lanciato a rete, forse sulla palla: l'arbitro concede il rigore, Hubner lo trasforma con un preciso rasoterra.
piacenza torino toro carlo nesti dario hubner carmine gautieri cristiano lucarelli sport calcio campionato radio rai radiocronaca soccer football
Summertime - Antonella Ruggiero & Saint Louis Pop Orchestra
Roma, 13 marzo 2017 - Teatro Eliseo
Voce: Antonella Ruggiero
Musiche: Saint Louis Pop Orchestra
Arrangiamenti e Direzione: Vincenzo Presta
Chiesa santa Maria a Venaria
Benedizione Eucaristica
Congresswoman Millicent Fenwick Interview, 1991
In this special edition of One-on-One with Steve Adubato from the Gone But Not Forgotten series, Steve Adubato interviews Congresswoman Millicent Fenwick in 1991, the energetic, colorful figure in favor of civil rights and the women's movement.
6/25/15
#1732
Preventing Sex Abuse in Church
Sex Abuse is very serious. This vlog give advices on creating a safe envorinment for children. This vlog is signed in American Sign Language.
29° giornata Piacenza vs Empoli 2-1 Sportitalia
ALL'EMPOLI NON BASTA FORESTIERI
E' il solito Cacia. Il Piacenza vola
PIACENZA dVince il Piacenza con l'ennesima rimonta. Vince con una partita tutta cuore, viste le assenze pesanti di Catinali e Graffiedi in particolare e lo fa con un secondo tempo che ribalta completamente gli equilibri in campo, dopo un primo tempo nel quale si era fatta preferire la manovra più rapida e precisa dei toscani. Per il Piacenza è il quarto risultato utile di fila, con tre successi. E Cacia sale a quota 17. Bel gioco Le due squadre ci danno dentro a velocità non elevate, ma decise a fare gioco più che a distruggere quello altrui. Accende la miccia Cacia con uno spunto incontenibile al 12', chiuso in extremis da Stovini. Poi ci prova Piccolo dalla distanza, pericoloso: Handanovic vola e mette in angolo. Ma l'occasione-super la manca Forestieri al 24' su invito di Coralli: conclusione fuori da un passo. I gol E' il segnale che l'inerzia passa dalla parte dei toscani, che raccolgono i frutti al 32', con Forestieri che entra sul cross di Nardini «lisciato» da Coralli. Handanovic dice di no a Cacia, Cassano fa altrettanto con Coralli e si chiude il primo tempo. Il secondo si apre con il pari: si sveglia Piccolo che scappa a sinistra, gran palla per Cacia, che ci arriva in scivolata per il gol numero 17. Poi è Handanovic a opporsi al tap in di Piccolo da un passo,ma non può opporsi al fulmine al volo dello stesso attaccante napoletano su invito di Bianchi. Parte l'assedio disordinato dell'Empoli, vacilla la difesa di casa, Coralli si stira, ma i tre cambi sono già stati effettuati. E al 3' di recupero Volpi su punizione colpisce la traversa.
PIACENZA EMPOLI 2-1
MARCATORI Forestieri (E) al 3' p.t.; Cacia (P) al 6', Piccolo (P) al 22' s.t.
PIACENZA (4-3-1-2) Cassano 6,5; D. Zenoni 6, Conteh 6, Rickler 5,5,Anaclerio 6; Mandorlini 6 (dal 30' s.t. Volpi s.v.), Cofie 6,5, Bianchi 6; Guzman 5,5 (dal 35' s.t. Sbaffo s.v.); Piccolo 7,5 (dal 24' s.t. Avogadri 6), Cacia 7.
PANCHINA Donnarumma, Gervasoni, Mei, Tremolada. ALLENATORE Madonna 6,5.
EMPOLI (4-3-2-1) Handanovic 6,5; Vinci 6 (dal 11' s.t. Tonelli 6), Marzoratti 6, Stovini 6,5, Gorzegno 6; Moro 5,5 (dal 36' s.t. Signorelli s.v.), Valdifiori 5,5, Soriano 5,5; Nardini 6 (dal 24' s.t. Saponara 6), Forestieri 6,5; Coralli 6.
PANCHINA Pelagotti, Gotti, Musacci, Laurito.
ALLENATORE Aglietti 6. ARBITRO Cervellera di Taranto 6.
GUARDALINEE Chiocchi 6 - Costanzo 6. AMMONITI Soriano (E), Marzoratti (E), Conteh (P) e D. Zenoni (P) per giocoscorretto.
NOTE paganti 711, incasso di 4.366 euro; abbonati 1.617, quota di 9.130 euro.
Tiri in porta 7-2. Tiri fuori 3-11. In fuorigioco 0-3. Angoli 2-3. Recuperi: p.t. 3', s.t. 4'.
la gazzetta dello sport