Places to see in ( Arezzo - Italy ) San Domenico Church
Places to see in ( Arezzo - Italy ) San Domenico Church
The Basilica of San Domenico is a Medieval church in Arezzo, Tuscany, Italy, dedicated to St Dominic. It is especially renowned for housing a painted crucifix by Cimabue. The construction began in 1275 and was completed in the 14th century.
The exterior is a Tuscan Gothic style. It also contains frescoes depicting Life of Santi Filippo, Giacomo Minore, and Caterina (1395-1400) by Spinello Aretino. Spinello’s son, Parri di Spinello painted holad the Crucifixion and Three Saints.
The Gothic-style Dragomanni chapel has an altar by Giovanni di Francesco (1368) and frescoes of ‘’Jesus among the Doctors by Gregorio and Donato di Arezzo. The tryptich of ‘’St Michael archangel and Domenic and Paul’’ is attributed to the Maestro del Vescovado. A stone statue of the Madonna and child once stood in one of the gates of the city.
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Church of San Domenico, Arezzo, Tuscany, Italy, Europe
The Basilica of San Domenico is a Medieval church in Arezzo, Tuscany, Italy, dedicated to St Dominic. It is especially renowned for housing a painted crucifix (1265) by Cimabue. Construction began in 1275 and was completed in the 13th century. The exterior is a Tuscan Gothic in style. It also contains frescoes depicting Life of Santi Filippo, Giacomo Minore, and Caterina (1395-1400) by Spinello Aretino. Spinello’s son, Parri di Spinello painted the Crucifixion and Three Saints. The Gothic-style Dragondelli chapel has an altar by Giovanni di Francesco (1368) and frescoes of ‘’Jesus among the Doctors by Gregorio and Donato di Arezzo. The tryptich of ‘’St Michael archangel and Domenic and Paul’’ is attributed to the Maestro del Vescovado. A stone statue of the Madonna and child once stood in one of the gates of the city.
Basilica di San Domenico and Arezzo Cathedral Arezzo
The Basilica of San Domenico is a Medieval church in Arezzo, Tuscany, Italy, dedicated to St Dominic. It is especially renowned for housing a painted crucifix (1265) by Cimabue.
Arezzo Cathedral (Italian: Cattedrale di Arezzo, Duomo di Arezzo, Cattedrale di Ss. Donato e Pietro) is a Roman Catholic cathedral in the city of Arezzo in Tuscany, Italy. It is located on the site of a pre-existing Palaeo-Christian church and, perhaps, of the ancient city's acropolis.- Wikipedia
Chiesa di San Domenico, Crocifisso Cimabue, Arezzo
- Chiesa San Domenico, Crocifisso Cimabue, Arezzo
Places to see in ( Arezzo - Italy ) Church of San Francesco Arezzo
Places to see in ( Arezzo - Italy ) Church of San Francesco Arezzo
The Basilica of San Francesco is a late Medieval church in Arezzo, Tuscany, Italy, dedicated to St Francis of Assisi. It is especially renowned for housing in the chancel the fresco cycle Legends of the True Cross by Piero della Francesca.
San Francesco is the second church built by the Franciscans in Arezzo, an earlier church being located outside the city walls and destroyed during the Occupation. The building work on San Francesco was begun around 1290. The decoration of its façade was never realised.
The interior presents as a large church of simple unadorned design with a wide single nave, flanked on the left side by some chapels and, on the right side, by some niches. The tall groin-vaulted chancel is of square plan. Beneath the church is a smaller Chiesa inferiore or Lower Church as at Assisi, with a nave and two aisles, now used as exhibition hall.
At the chancel entrance is suspended a very large painted rood crucifix by one Master of San Francesco, a contemporary of Cimabue. It also contains a Maesta or Madonna in Majesty by Guido da Siena. The walls and particularly the niches on the right have some fresco decoration, which dates in part to the 14th century. The Cappella Maggiore, (Major Chapel or chancel) houses one of the masterworks of Italian Early Renaissance, a fresco cycle by Piero della Francesca depicting the Legend of the True Cross.
The painting of the chancel began with a commission by the Aretine family Bicci, who called the painter Bicci di Lorenzo to paint the large cross-vault. In 1452, at Bicci's death, only the four Evangelists had been painted in the vault, as well as the triumphal arch with the Last Judgement and two Doctors of the Church.
Piero della Francesca was called in to complete the work. According to a document, he did so in two stages, the works halted during 1458-1459, and completed in 1466. The frescoes occupy three levels on the side walls and the eastern wall, surrounding a large window. The theme of the fresco cycle is the Golden Legend by Jacopo da Varagine. Piero della Francesca did not follow a chronological order, preferring to concentrate himself in the creation of symmetrical correspondences between the various scenes.
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Best Attractions and Places to See in Arezzo , Italy
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List of Best Things to do in Arezzo
Villa La Ripa
Piazza Grande
Duomo San Donato
Santa Maria della Pieve
San Domenico Church
Museo Casa di Giorgio Vasari
Church of San Francesco Arezzo
Parco della Fortezza Medicea
Ivan Bruschi House & Museum
Museo Archeologico Mecenate
Arezzo, Die Kirche San Domenico
Tagesausflug nach Arezzo
Places to see in ( Arezzo - Italy )
Places to see in ( Arezzo - Italy )
Arezzo is a city in eastern Tuscany, Italy. The hilltop Arezzo Cathedral features painted vaulted ceilings and a 15th-century fresco of Mary Magdalene by Piero della Francesca. Nearby, the Basilica di San Francesco has a chapel decorated with more Piero frescoes. The Basilica di San Domenico contains the 13th-century “Crucifix” painted by Cimabue. The imposing Medicean Fortress has sweeping city views.
Arezzo may not be a Tuscan centrefold, but those parts of its historic centre that survived merciless WWII bombings are as compelling as any destination in the region – the city's central square is as beautiful as it appears in Roberto Benigni's classic film La vita è bella (Life is Beautiful). Once an important Etruscan trading post, Arezzo was later absorbed into the Roman Empire. A free republic as early as the 10th century, it supported the Ghibelline cause in the violent battles between pope and emperor and was eventually subjugated by Florence in 1384.
Today, the city is known for its churches, museums and fabulously sloping Piazza Grande, across which a huge antiques fair spills each month. Come dusk, Arentini (locals of Arezzo) spill along the length of shop-clad Corso Italia for the ritual late-afternoon passeggiata (stroll).
Arezzo is a bargain hunters paradise. Every first Sunday of the month Arezzo’s main square, Piazza Grande, is packed with over 500 stalls which spill out down the city’s side streets and alleyways. The event draws huge crowds with 30,000 participants, both locals and tourists, in search of unique items. Roman coins, old telephones, ornated grandfather's clocks and china are a few typical items to be found. Even if you miss the monthly extravaganza, Arezzo still has many more antiques to offer in its copious and varied local shops which are open all year round.
Don’t forget to visit the city’s main square also without the hustle of the market. With many cafes and restaurants nearby, the area provides a great place to visit at a slow pace. Be sure to notice the many coat of arms on the surrounding buildings which evoke an authentic medieval atmosphere.
Sitting proudly on the hilltop of the town, this Gothic Cathedral hides intricate and awe-inspiring details inside. Don’t miss Piero della Francesca’s mural of the Mary Madeleine, medieval stained glass and the baptismal font relief designed by Donatello. Perhaps modest and unassuming on the outside, this medieval church houses Piero della Francesca’s impressive fresco cycle ‘Legends of the True Cross’. To see one of Italy’s most treasured and important pieces of Renaissance art, tourists should book in advance, in order to ensure they are not disappointed.
The three-tiered façade and the campanile have earned this church the name of “tower of a hundred holes” due to the numerous windows. But the real attraction of Santa Maria lies inside: visit the crypt to see jewelled artifacts and the bust of San Donato. Each of Arezzo’s neighbourhoods (or ‘Quartieri”) has their own team of knights who joust twice a year, in June and September. The tradition dates back to the 16th century as a means of military training, but now represents a lively social tradition. Tickets range in price, although spectators can watch the procession for free.
Easily forgotten and overlooked, any art lover should see the elaborate interiors of Giorgio Vasari’s renaissance home. As well as containing his own work and fresco’s, the archive contains letters hand written by Michelangelo and Pius V. Built partly on the remains of the amphitheatre, this quiet museum displays many cultural gems from the 2nd century as well as a great opportunity to walk amongst the amphitheatre ruins.
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concerto di Pasqua 2012 Arezzo, Chiesa di San Domenico.
Arezzo Cathedral, Arezzo, Tuscany, Italy, Europe
Arezzo Cathedral is a Roman Catholic cathedral in the city of Arezzo in Tuscany, Italy. It is located on the site of a pre-existing Palaeo-Christian church and, perhaps, of the ancient city's acropolis. A first cathedral of Arezzo was built on the nearby Pionta Hill, over the burial place of Donatus of Arezzo, martyred in 363. In 1203 Pope Innocent III had the cathedral moved within the city's walls, in the current site. The Cathedral, however, lost the relics of Donatus, which were transferred in the church of San Donato in Castiglione Messer Raimondo (in what is now the province of Teramo). In spite of this, the church is still entitled to St. Donatus and houses, at the high altar, a 14th-century arch named after him. The construction of the current structure, started in 1278, went through different phases, and ended in 1511. The façade was built in 1901-1914, replacing the previous, unfinished one, dating to the 15th century. It was the seat of the Bishop of Arezzo from the 3rd century until 1986, and from 1986 onwards of the present Bishop of Arezzo-Cortona-Sansepolcro. The façade was designed by Dante Viviani and has a sculpture description by Giuseppe Cassioli, Enrico Quattrini and Viviani himself. The right side of the church is from the original medieval building, in sandstone. In the middle is a 14th-century portal in Florentine style, with two porphyry columns taken from an ancient temple. The polygonal apse, with double mullioned windows, dates to the 13th century. The interior has a nave and two aisles divided by piers with ogival arches, with five spans covered by cross vault, without a transept. The seven stained glass windows in the right aisles were executed in 1516-1524 by Guillaume de Marcillat. Other stained glass windows are in the presbytery, one also by Marcillat and another by early 15th century Florentine masters. The presbytery houses a large arch dedicated to St. Donatus. Sculpted in marble, it has twelve small piers ending with spires and pinnacles in Gothic style and was executed by Florentine, Aretine and Sienese artists of the 14th century, including (in the lower section) Agnolo di Ventura and Agostino di Giovanni. The wooden choir of the Grand Chapel was designed by Giorgio Vasari in 1554. In the counter-façade is the hexagonal baptismal font, with reliefs by Donatello's workshop, including a Baptism of Christ by Donatello himself. The Chapel of Madonna del Confort is a Neoclassicist work, built from 1796 and housing several terracottas by Andrea della Robbia. In the same side is the cenotaph of Guido Tarlati, lord of Arezzo until 1327. According to some, it was designed by Giotto, and executed by Agnolo di Ventura and Agostino di Giovanni. Near to the cenotaph is Piero della Francesca's Mary Magdalene (1460s). In the right aisle is the funerary monument of Pope Gregory X (died 1276), dating to the early 14th century. Another funerary monument in the aisles is that of Ciuto Tarlati (1334), formed by a marble sarcophagus of the 4th century AD and a series of reliefs by Agostino di Giovanni, crowned by a 14th-century fresco.
Arezzo: The Basilica Of St Francis
The Bacci Chapel, has frescos of the Legend of the True Cross, by Piero della Francesca. The chapel belonged to the wealthy Bacci family, who commissioned its decoration from Bicci di Lorenzo-1447.
But after he had completed work on the chapel’s vaulted ceiling, the two Doctors of the Church in the entrance way and the Last Judgement on the triumphal arch, the maestro died in 1452, the year when Piero della Francesca started working for the Bacci family. It then took him just a few years to complete the frescos conceivable in fifteenth-century Italian painting, with their uniquely measured perspective.
These frescos are set on three levels on the chapel’s side and rear walls, including the most important works: the Dream of Constantine on the rear wall, the Battle at the Milvian Bridge (when Constantine defeated Maxentius) on the right and the Discovery and Verification of the True Cross on the left. Two key scenes are depicted on the rear wall: the Annunciation is an introduction to Christ’s human life on earth, while the Dream of Constantine describes the moment in history when the aspiring sole emperor had a vision of the cross, which then became the victorious battle flag of later Christian sovereigns. The scenes on the side walls are taken from the Old Testament and from the events that followed the Discovery of the True Cross by Constantine’s Mother, the empress Helena.
Pievi e Chiese: La Chiesa di San Domenico ad Arezzo
Places to see in ( Arezzo - Italy ) Fortezza Medicea
Places to see in ( Arezzo - Italy ) Fortezza Medicea
The Medici Fortress , located on the Colle di San Donato (Viale B. Buozzi) in Arezzo , is an example of a 16th century defensive military architecture. The building, perfectly inserted in the walls and the irregular pentagonal plant to adapt to the ground with bastions of different layout and shoe of considerable height compared to the plumb wall, stands at the summit of the Prato span (305 m). The forts of the Fortress constitute a panoramic point on the city, the valley of the Arno , the massif of Pratomagno and the alpe di Catenaia. The Medici Citadel probably stands on the area of the ancient medieval citadel, which probably dates back to the ninth or tenth century.
Certainly it is known that in 1319, during the fortification of the city, the Cassero di San Donato was built, which suffered serious damage due to the revolts against the bishop Guido Tarlati and that in 1343 the Aretini demolished the fortress, then rebuilt in 1344, and that between 1384 and 1398 the fortress was again demolished (this time by the French) and rebuilt by the Florentines , who in the meantime became masters of the city.
During the 1502 uprising against the Florentine dominion, the Aretini tried to demolish the fortress. The Republic of Florence, however, ordered to rebuild it according to the principles of modern fortification , entrusting the works to Giuliano and Antonio da Sangallo . This fortress (with a trapezoidal and not pentagonal shape like the current one, of which the ramparts of the Relief Bridge and of the Church on the eastern side are still visible , as well as some sections of the curtain), however, was damaged around 1530. The current fortification is that built, respecting in part the original drawings of Giuliano and Antonio da Sangallo , between 1538 and 1560 by order of Cosimo I de 'Medici . The work was directed by Antonio da Sangallo the Younger .
During the construction the Palazzo del Comune was demolished with the annexed Red Tower, the ruins of the Palazzo del Capitano del Popolo, the Tarlati Palace of Pietramala and about 17 churches as well as the whole old turreted historic center of the fourteenth-century ancient city. Etruscan city and of the Roman Forum . The military motivation was to clear the field of artillery strikes that could be directed from the fortress against the city to prevent anti-Florentine revolts. In place was created a flat area that was filled with the ruins of the houses and buildings, called the Prato .
The works absorbed part of the previous building: the new building, on which three doors opened, was surrounded by a wide moat, and included the bastions of the Belvedere , the Spina , the Diacciaia on the western flank and the interiors (rooms, galleries , wells and air intakes). At the beginning of the nineteenth century the French troops attempted to blow up the Fortress with mines (the effects of the explosion are still visible on the west side); in 1868 it was restored a first time.
The Fossombroni family bought the Fortress in the mid-nineteenth century. In 1893, by testament of Count Enrico , it became a possession of the Municipality. It was adapted to the garden and to the public with several works carried out in the period 1896-1904. Inside one of the ramparts a door of the fourteenth-century fortress was found, adorned with a statue of San Michele Arcangelo , now preserved in the city's museums. After a new restoration, on June 24, 2016 the fortress was returned to the city; on this occasion, archaeological excavations have brought to light the remains of the church of San Donato in Cremona, dating back to the year 1000, and a mosaic flooring relating to a Roman building.
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Arezzo
Arezzo bellissima città italiana della Toscana orientale. La cattedrale di Arezzo sulla sommità del colle dove sorge la città, ha soffitti a volta dipinti e ospita un affresco del XV secolo di Piero della Francesca raffigurante Maria Maddalena. Nella cappella della vicina basilica di San Francesco si trovano altri dipinti di Piero Della Francesca. La basilica di San Domenico ospita il crocefisso di Santa Croce, dipinto da Cimabue nel XIII secolo. L'imponente fortezza Medicea offre una splendida vista sulla città.
Church of San Domenico, Orvieto Umbria ENG - Orvietoviva.com
Originally this church was built in the Thirteenth Century by Domenican friars, and had a much wider structure, with a large adjacent cloister. Part of the church was demolished during Mussolini's Fascist rein in order to build a female military academy (one of the first ones in Italy). Today, the Church of San Domenico has maintained its wonderful Gothic façade and inside the splendid funeral monument to Cardinal De Braye, made by Arnolfo di Cambio.
Places to see in ( Arezzo - Italy ) Anfiteatro Romano
Places to see in ( Arezzo - Italy ) Anfiteatro Romano
The Roman amphitheater of Arezzo is an archaeological site of the Roman era built in Arezzo which is located in the southern part of the walled city. The amphitheater was built between the last years of the first century and the first of the second century ( the date of the building dates back to the Hadrian period, 117 - 138 AD ). It was explored for the first time in the years 1914 - 1915 , which underwent very serious impairments during the centuries ; the excavations, interrupted due to the war, were resumed in 1926 . Since 1950 the monument has undergone periodic restorations that have brought it completely to light. The archaeological site has an axis greater than 121 meters and a less than 68 meters.
The amphitheater is elliptical and has steps on two orders: the structure, made using blocks of sandstone , bricks and marble , remain the stalls and the remains of the ambulatories. The substructures on the steps of the amphitheater consisted of two concentric ambulatories (covered corridors) and a third ring that had to delimit the arena. Once the porch and the perimeter ambulance have now disappeared , it is however possible to identify the two main accesses at the ends of the longitudinal axis and the two secondary ones at the transversal axis.
The three ambulatories were interposed between two sections of supporting structures interrupted by vomiting , by a terrestrial cell and by accesses with stairs that were all around the ellipse, alternating with regularity. Of the structures there remain different parts according to the various points of the perimeter; there remain ample remains of the cavea constructions: times of vomitoria , partially incorporated in the remains of the convent, remains of stairs to access the media cavea. Instead, the steps of the cavea have disappeared, although the degree of slope can be indicated, referring to the scarce remains left on the ground.
Measurements of the amphitheater could easily be reconstructed : it is a structure with a large arena (71.9 x 42.7 meters ), only slightly less than that of the Colosseum (77 x 46.5 meters ). The thickness of the wall strip (24.7 meters ) is proportionally lower . The structures of the amphitheaterAretine alternates canonical coatings with others of a more rare type. The vaults of the annular corridors are in opus coementicum (mortar mixed with coementa, ie tufaceous or siliceous stone). The opus mixtum is adopted in the wall cladding, alternating the opus reticulatum (squares arranged in long oblique rows) to the opus vittatum (rows, vittae, of rectangular tufels alternating with brick surfaces). The internal stairs are in travertine , on the outside, the amphitheater was probably covered with local sandstone.
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Arezzo Basilica di San Francesco
E' impensabile essere ad Arezzo senza visitare la
Basilica di San Francesco. La Cappella Bacci
con il ciclo di affreschi della Leggenda della Vera Croce,
rappresenta uno dei capolavori di tutta la pittura rinascimentale
ove Pier della Franceca la fa da padrone rispetto a tutte le
altre opere presenti. Le vetrate del Marcillat, gli affreschi di Spinello e seppur notevole, anche della grande Croce lignea di un contemporaneo di Cimabue.
7. Greci schiavi ad Arezzo: la firma di artista dal Convitto
Greci schiavi ad Arezzo: la firma di artista dal Convitto
Fra le firme di artisti si annovera ad Arezzo nel tardo III sec. a.C., in un’Etruria ormai in fase di romanizzazione, quella apposta a crudo sul listello di base di una lastra fittile decorata ad alto rilievo con figure. Il frammento di lastra, che doveva ornare il tetto di un edificio, fu recuperato attorno al 1668 nel corso dei lavori per la realizzazione del Convento dei Gesuiti.
L’iscrizione testimonia l’adozione della lettera gamma per il suono /k/, tipica delle iscrizioni dell’Etruria meridionale come dimostrano l’alfabetario di via Roma della Sala I e l’iscrizione della Chimera nella Sala II del piano inferiore del Museo. Questa lettera fu adottata anche ad Arezzo con la fine del IV secolo a.C. in sostituizione del kappa fino ad allora usato per il medesimo suono. Si legge cnei: urste: il nome è quello di un liberto, cioè una persona liberata dalla schiavitù. Questo liberto assunse il prenome Cnei, corrispondente del latino Gnaeus, conservando come cognome il proprio nome greco di schiavo, Oréstes, etruschizzato Urste. Cnei Urste faceva parte di quel ceto servile che deve aver costituito lo scheletro delle maestranze impegnate nella coroplastica aretina di periodo ellenistico.
Crediti
Voce: Francesco Botti (Spazio Seme)
Testo e video: Andrea Gaucci
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.
AREZZO - ITALY
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AREZZO - ITALY
Arezzo is a city in eastern Tuscany, Italy. The hilltop Arezzo Cathedral features painted vaulted ceilings and a 15th-century fresco of Mary Magdalene by Piero della Francesca. Nearby, the Basilica di San Francesco has a chapel decorated with more Piero frescoes. The Basilica di San Domenico contains the 13th-century “Crucifix” painted by Cimabue. The imposing Medicean Fortress has sweeping city views.
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