Italy Travel Guide | Certosa Di Pavia By Drone | HD Aerial Footage V.2
The Certosa di Pavia is a monastery and complex in Lombardy, northern Italy, situated near a small town of the same name in the Province of Pavia, 8 km north of Pavia. Built in 1396-1495, it was once located on the border of a large hunting park belonging to the Visconti family of Milan, of which today only scattered parts remain. It is one of the largest monasteries in Italy.
Certosa is the Italian name for a house of the cloistered monastic order of Carthusians founded by St. Bruno in 1044 at Grande Chartreuse. Though the Carthusians in their early centuries were known for their seclusion and asceticism and the plainness of their architecture, the Certosa is renowned for the exuberance of its architecture, in both the Gothic and Renaissance styles, and for its collection of artworks which are particularly representative of the region. This video was shot with a DJI Inspire2 Drone with a Zenmuse X5S camera.
The church is built on a Latin cross plan, with a nave, two aisles and transept, typical of Gothic architecture. The chancel terminates with an apse. It is covered by crossed vaults on Gothic arches and is inspired, on a reduced scale, by the Duomo of Milan. The vaults are alternatively decorated with geometrical shapes and starry skies. The transept and the main chapel end with square-plan chapels with smaller, semi-circular apses on three sides.
The façade of the church is famous for its exuberant decorations, typical of Lombard architecture, every part being decorated with reliefs, inlaid marble and statues. Sculptors who worked on it include Cristoforo Mantegazza and Giovanni Antonio Amadeo himself. In addition to applied sculpture, the facade itself has a rich sculptural quality because of the contrast between richly textured surfaces, projecting buttresses, horizontal courses and arched openings, some of which are shadowed, while those in the small belfries are open to the sky.
In 1492 Gian Giacomo Dolcebuono took up the construction, assisted on site, for he was cocurrently occupied with the cathedrals at Pavia and at Milan and other churches, by his inseparable collaborator on both cathedrals, Giovanni Antonio Amadeo. In their hands the project was thoroughly redesigned.[5] Scores of artists were involved. The classicist style portal is by Benedetto Briosco (1501). The porch has a large arch of classicist form resting on paired Corinthian columns which are each surmounted by a very strongly modelled cornice on which the arch rests, the construction being derived from the Classical, used by Brunelleschi, and employed here for a bold and striking effect. The decoration is of bas-reliefs illustrating the History of the Certosa. Above the central arch is a shallow balcony of three arches, above which rises the central window.
La Certosa di Pavia è un complesso monumentale storico che comprende un monastero e un santuario. Si trova nel comune omonimo di Certosa di Pavia, località distante circa otto chilometri a nord del capoluogo di provincia.
Edificato alla fine del XIV secolo per volere di Gian Galeazzo Visconti, signore di Milano, in adempimento al voto della consorte Caterina dell'8 gennaio 1390, e completato entro la fine del 1400 in circa 50 anni, assomma in sé diversi stili, dal tardo-gotico italiano al rinascimentale, e vanta apporti architetturali e artistici di diversi maestri del tempo, da Bernardo da Venezia, il suo progettista originario, a Giovanni Solari[4] e suo figlio Guiniforte, Giovanni Antonio Amadeo, Cristoforo Lombardo e altri.
Originariamente affidato alla comunità certosina, poi quella cistercense e, per un breve periodo, anche quella benedettina, dopo l'unificazione del Regno d'Italia la Certosa fu dichiarata nel 1866 monumento nazionale e acquisita tra le proprietà del demanio dello Stato italiano, così come tutti i beni artistici ed ecclesiastici in essa contenuti; dal 1968 ospita una piccola comunità monastica cistercense.
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La casa delle favole: un posto abbandonato molto misterioso
In questa puntata di Urbex Italia abbiamo fatto un'esplorazione in uno dei luoghi abbandonati italiani più misteriosi, la casa delle favole. Apparteneva a 2 fratelli, Alice e Nellino, che l'hanno trasformata completamente dipingendo sulle pareti di ogni stanza e costruendo statue ispirandosi ai personaggi delle fiabe o della televisione.
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Basilica of Saint Anthony of Padua, Padua, Veneto, Italy, Europe
The Pontifical Basilica of Saint Anthony of Padua is a Roman Catholic church and minor basilica in Padua, northern Italy. Although the Basilica is visited as a place of pilgrimage by people from all over the world, it is not the titular cathedral of the city, a title belonging to the Cathedral-Basilica of St. Mary of Padua. The basilica is known locally as il Santo. It is one of the eight international shrines recognized by the Holy See. Sant'Antonio is a giant edifice without a precise architectural style. Over the centuries, it has grown under a variety of different influences as shown by the exterior details. The new basilica was begun as a single-naved church, like that of St Francis of Assisi, with an apsidal chancel, broad transepts and two square nave bays roofed with hemispherical domes like that of San Marco, Venice. The exterior style is a mixing of mainly Romanesque and Byzantine elements, with some Gothic features. Later in the 13th century, the aisles were added in a more Gothic style, the length of each nave bay being divided into two aisle bays with pointed arches and quadripartite vaults. The eastern apse was also extended in the Gothic style, receiving a ribbed vault and nine radiating chapels in the French manner. Later also, the Treasury chapel was built in 1691 in the Baroque style by Filippo Parodi, a pupil of Bernini. Externally, the brick facade has a Romanesque central section which was extended outwards when the aisles were built, acquiring in the process four deep Gothic recesses and an elegant arcaded balcony which stretches across the broad front of the building. The facade gable shows little differentiation between the nave and aisle, screening the very large buttresses that have the same profile and form a richly sculptural feature when the building is viewed from the side. The domes, like the domes of St. Mark's Basilica, were raised in height externally, giving a Byzantine appearance to the building, while the multitude of small belfries which accompany the domes recall Turkish minarets. Externally, at the main roof line each section of the building is marked by a low gable decorated with blind arcading in brick. These gables combine with the domes, the broad buttresses and the little towers to create a massive sculptural form, both diverse and unified in its conglomeration of features. As a work of architecture the building is particularly effective when viewed from the north west, an extra dimension being added to the facade by the huge plinth and dynamic equestrian monument of the Condottiero Gattamelata by Donatello. The interior of the church contains numerous funerary monuments, some of noteworthy artistic value. The Chapel of the Holy Sacrament (Cappella del Santissimo Sacramento, also known as Cappella Gattamelata), in the right aisle, houses the tomb of the famous condottiero Gattamelata and of his son Giannantonio. The bronze tabernacle is made by Girolamo Campagna. This chapel, with its broad bands of polychrome and carved Gothic details, has had many stages of decoration, the final stage being the creation of an atmospheric mosaic in the tall rear niche representing the Holy Spirit with rays of golden light descending against a background of intensely blue sky. This highly theatrical work was created by Lodovico Pogliaghi between 1927–36.
Relics of St Anthony are to be found in the ornate baroque Treasury Chapel (begun in 1691). The body of the saint, which was in the Madonna Mora Chapel, has, from 1350, lain in a separate transept chapel, the Chapel of St Anthony, the interior decoration being attributed to Tullio Lombardo, who also provided the sixth and seventh reliefs depicting the miracles of St Anthony (Miracle of the stingy man's heart, Miracle of the repentant man). The third relief Saint bringing back to life a man who had been murdered is a masterpiece by Girolamo Campagna. The late-16th century statues are by Tiziano Aspetti. The Basilica contains several important images of the Madonna. The Madonna Mora is a statue of the Madonna with the Christ Child by the French sculptor Rainaldino di Puy-l'Evéque, dating from 1396. Her name refers to her black hair and olive skin tone, being interpreted as swarthy. The Madonna del Pilastro is a mid-14th-century fresco by Stefano da Ferrara, located on the pier adjacent the left aisle. Among other sculptural work is the magnificent Easter candelabrum in the apse, finished in 1515 by Andrea Briosco and considered his masterwork. The most famous and striking features of the high altar area are however the bronze Madonna with Child and six statues of Saints by Donatello, who also executed four reliefs with episodes of life of St. Anthony.
Gairo, città abbandonata e dei cani impiccati raccontata da Marcello Polastri
Con Marcello Polastri alla scoperta delle città deserte e abbandonate dell'OGLIASTRA, in Sardegna. Oggi visitiamo GAIRO, città abbandonata nel 1951 in seguito a un violento nubifragio: furono giorni di pioggia intensa che colpirono la Sardegna decretando il crollo di decine di palazzi anche a Osini, paese adiacente Gairo.
In questo canale troverai le belle immagini e i programmi televisivi di #MarcelloPolastri.
STUDIO DENTISTICO ABBANDONATO CON ANNESSA L'ABITAZIONE DEL MEDICO ● TESORI ABBANDONATI ● URBEX
Studio dentistico abbandonato con annessa l'abitazione del dentista.
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MONTELAGO CELTIC FESTIVAL 2014 ~ Good People Good Times • Ep.2
l'avventura continua al Montelago Celtic Festival 2014, il festival celtico che si svolge ogni anno a Colfiorito, nelle Marche!
Sole, freddo, cornamuse e pannocchie a volontà in compagnia della YouTube come si deve ;)
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