View allAll Photos Tagged Signorelli
Florencia fue un semillero de las artes en el Renacimiento, y todavía lo sigue siendo. Sus rincones aún rezuman la aroma que dejaron pintores tan universales como Vasari, Bronzino, Pontormo, Andrea del Sarto, Fra Bartolommeo, Miguel Ángel, Rafael, Leonardo da Vinci, Perugino, Signorelli, Girlandaio, Masaccio, Giotto, Botticelli, Andrea Verrochio, Fraangelico, Filippino Lippi y Piero della Francesca, y la presencia de otros menos conocidos pero también importantes. Me refiero a los que ejercen en calles y plazas, no siempre lo suficientemente considerados. El de la foto, como otros muchos, consigue aislarse del bullicio y, cigarro en la boca, logra concentrarse en su trabajo, manejando con increíble destreza el lápiz o el pincel con el fin de que su producción no decaiga, porque quizá es el único medio de que dispone para subsistir.
Malvín 65 Hebraica y Macabi 61 y forzó el quinto y último partido del playoffs final de la Liga Uruguaya de Básquetbol.
Hebraica Macabi
Aguiar, Mauricio
Parodi, Luciano
Barrera, Gustavo
Lepiani, Lucas
Izuibejeres, Joaquín
Bastón, Emiliano
Barriola, Miguel
Trindade, Jorge
Freije, Matt
Passos, Hatila
Head Coach: Signorelli Marcelo
Malvín
Jeffries Christopher
Newsome Reque
Myles Anthony
Martinez Fernando
Fitipaldo Bruno
Blankson Ryan
Head Coach:Lopez Pablo
Camera: Canon EOS 5D Mark II
Lens: EF15mm f/2.8 Fisheye
Focal Length: 15 mm
Exposure: ¹⁄₁₆₀ sec at f/3.5
ISO: 2000
Luca Signorelli (c. 1450-1523)
The Damned are Taken to Hell and Received by the Demons (1500-1503)
Orvieto, Cathedral, Chapel of the Madonna of San Brizio
Signorelli and his school spent two years creating a series of frescoes concerning the Apocalypse and the Last Judgment, starting with the Preaching of the Antichrist, continuing with tumultuous episodes of the End of the World, finding a counterpart in the Resurrection of the Flesh. The fourth scene is a frightening depiction of the Damned taken to Hell and received by Demons.
The Damned are taken to Hell and received by Demons is in stark contrast to The Elect in Paradise. Signorelli has gone to the extremes of his fantasy and evocative powers to portray his cataclysmic vision of the horrible fate, the agony and the despair of the damned. He uses the naked human body as his only expressive element, showing the isolated bodies entangling each other, merging in a convoluted mass. They are overpowered by demons in near-human form, depicted in colours of every shade of decomposing flesh. Above them, a flying demon transports a woman. This is probably a depiction of the Whore of the Apocalypse.
The two "slaves" of the Louvre date to the second version of the tomb of Pope Julius II which was commissioned by the Pope's heirs, the Della Rovere in May 1513. Although the initial plans for a gigantic mausoleum were set aside, the work was still monumental, with a corridor richly decorated with sculpture and Michelangelo was immediately put in charge of the work. Among the first pieces completed were the two Prigioni (renamed the "slaves" only in the nineteenth century), destined for the lower part of the funerary monument, next to the pilasters which framed the niches containing the Victories. Their poses were determined by the needs of this architectural setting, so from the front they have great effect, but the side views received less care than usual.
The date of the two statues is confirmed by a letter of Michelangelo to Marcello dei Covi, in which he speaks of a viewing by Luca Signorelli in his Roman house, while he worked on "a figure of marble, standing four cubits high, which has its hands behind its back".
All the Prigioni produced in the studio of the artist were eliminated from the monument in its final version, completed in 1542. In 1546 Michelangelo gave the two works in the Louvre to Roberto Strozzi, for his generous hospitality in his Roman house during Michelangelo's periods of sickness in July 1544 and June 1546. When Strozzi was exiled to Lyon in April 1550 for his opposition to Cosimo I de' Medici, he had the two statues sent ahead. In April 1578 they were put on view in two niches in the courtyard of the castle of the constable of Montmorency at Écouen, near Paris.
In 1632 they were sold by Henri II de Montmorency to Cardinal Richelieu, who had them sent to his Château in Poitou, where they were seen by Gianlorenzo Bernini who made an illustration of them, on his travels.
In 1749, the Duke of Richelieu had them taken to Paris and placed in the Pavillon de Hanovre. They were hidden in 1793, but when the widow of the last Marshal of Richelieu attempted to put them on sale, they became property of the government and joined the collection which is now in the Louvre.
From Wikipedia
Giovanni Bazzi, detto Il Sodoma.
Self portrait in the Sodoma/Signorelli frescoes of scenes from the life of St Benedict in the Cloister at Monteoliveto Maggiore (1503 to 1508). They repay viewing at original size.
Q. Caepio Brutus and C. Cassius Longinus with M. Servilius. Aureus, mint moving with Cassius and Brutus (probably Sardis ?) 42, AV 8.16 g. M·SERVILIVS – LEG Laureate head of Libertas r. Rev. Q·CAEPIO· – BRVTVS·IMP Helmeted and cuirassed trophy with shield and two spears. Babelon Cassia 20 and Servilia 38. C 8. Bahrfeldt 66. Sydenham 1314. Sear Imperators 206. Calicó 61. Crawford 505/4.
Very rare. A pleasant specimen of this important and desirable issue, good very fine Ex Santamaria 4 June 1952, Signorelli, 806 and Sotheby’s 20 June 1976, Patrick A. Doheny, 71 sales.
NAC73, 234
Angel playing a medieval viola
Loreto, Basilica Santuario della Santa Casa
Sagrestia di San Giovanni
Sacristy of Saint John the Baptist
Frescoes of Luca Signorelli in the vault [~1480]
Ph. Florencia Signorelli / peppermintph
Production. Juli Santini / Juli Santini
Make Up & Hair. Laska Bleu , Fiamma Ruffo & Herminia Sanchez / Mery Garcia Make up!
Featuring. Saritta Peirano / LO MANAGEMENT
Special Thanks. Maia Platiskaia, Nestor Santini & Marisa Antoszewski
Angel playing a lute
Loreto, Basilica Santuario della Santa Casa
Sagrestia di San Giovanni
Sacristy of Saint John the Baptist
Frescoes of Luca Signorelli in the vault [~1480]
This is the square in Florence with a human statue of Dante!
Via Santa Margherita in Florence off Via Dante Alighieri. We stopped here during our guided walking tour of the city. Occasionally he would say something off by heart if his book was turned to a certain page!
The core of the medieval Florence and more specifically the area between the church of "St. Martino "and" Piazza dei Donati ", was the 13th century location of the houses of the Alighieri family, as reported in many old documents. At the beginning of the 20th century, after several studies and researches, the Municipal Administration ordered the building of a house to celebrate the place of birth of Dante.
Today, the building is the seat of the House-Museum of Dante, which was reopened to the public on June 1st, 1994. The museum is arranged on three floors.
The first floor with a series of documents on the subject of the 13th century Florence and on the youth of Dante, on his christening in the "beautiful St. John" (the "Baptistery of St. Mary of the Flower"), on his public political and military struggles (the plastic model representing the Battle of Campaldino and the reproductions of the weapons used at the time are very interesting.
The second floor exhibits documents related to his painful exile of 1301, the year of his condemnation. After visiting several cities (Forli, Verona and Bologna), the poet decided to spend his last years at Ravenna where we would die (1321) in the home of Guido da Polenta.
The iconography and fortune of Dante over the centuries, from the 14th century to the present day. Reproductions includes works by artists like Giotto, Fra Angelico, Andrea del Castagno, Ghirlandaio, Luca Signorelli, Raphael and Michelangelo.
Torre della Castagna is opposite the Dante Museum.
The Castagna Tower, also called Bocca di Ferro is one of the oldest towers in the historic center of Florence , among the best preserved, located in Piazza San Martino on the corner with Via Dante Alighieri.
The tower is very old and has a very varied history. Already built in 1038 it was given on that date by the emperor Conrad II to the monks of the adjacent Badia Fiorentina , in defense of the monastery itself. From 1282 it was the first meeting place of the priors of Florence from 1282 until the construction of the Bargello palace (the historical function is also testified by a modern plaque on Via Alighieri). The name derives from the chestnuts that they used to put in particular bags during the voting. It is a curious coincidence that in Florence chestnuts were used for voting (in Florentine called ballotte ) and the term ballot , which the etymological dictionaries refer to a French word. The tower, thanks to its origin "above the parts" was spared from the destruction in the second half of the thirteenth century.
The tower has a quadrangular base and is rather tall and slender. A restoration of 1921 brought it back to its most ancient forms. Today the ground floor and the first floor (with a mezzanine) are owned by the National Veterans Association and veterans G. Garibaldi, who has also set up inside a small museum of Renaissance memorabilia, which can be visited on Thursday afternoons. The upper floors belong to the adjacent Court of Florence and can not be visited.
The portal on the ground floor has a double arch, also called Sienese . On the right there is a plaque mentioning the fourth paragraph of the first book of the Chronic by Dino Compagni that mentions the tower, while on Via Alighieri a second, large memorial plaque recalls the role of seat of the priori government meetings in the tower.
The tower is located on the north side in front of the Casa di Dante museum. In reality, the museum is not located in the Alighieri houses, but incorporates other medieval buildings such as the Giuochi tower . The real houses of the Alighieri were to the right of the Castagna tower, but now they have no more traces of their medieval appearance.
Plaque seen from the Dante Museum area. Didn't go that way, and our guide took us in the direction of the Duomo after this, so a zoom in from where I was standing.
Montepulciano is a medieval and Renaissance hill town and comune in the Italian province of Siena in southern Tuscany. It sits high on a 605-metre limestone ridge, 70 kilometres southeast of Siena. Montepulciano is a major producer of food and drink. Renowned for its pork, cheese, "pici" pasta, lentils, and honey, it is known worldwide for its wine. Connoisseurs consider its Vino Nobile, which should not be confused with varietal wine merely made from the Montepulciano grape, among Italy's best. The main landmarks include:
•The Palazzo Comunale, designed by Michelozzo in the tradition of the Palazzo della Signoria (Palazzo Vecchio) of Florence.
•Palazzo Tarugi, attributed to Antonio da Sangallo the Elder or Jacopo Barozzi da Vignola. It is entirely in travertine, with a portico which was once open to the public.
•The Cathedral of Santa Maria Assunta, or the Duomo of Montepulciano, constructed between 1594 and 1680, includes a masterpiece from the Sienese School, a massive Assumption of the Virgin triptych painted by Taddeo di Bartolo in 1401.
•The church of Santa Maria delle Grazie (late 16th century). It has a simple Mannerist façade with a three-arcade portico. The interior has a single nave, and houses a precious terracotta altar by Andrea della Robbia.
•The Sanctuary of the Madonna di San Biagio is on the road to Chianciano outside the city. It is a typical 16th century Tuscan edifice, designed by Antonio da Sangallo the Elder on a pre-existing Pieve, between 1518 and 1545. It has a circular (central) plan with a large dome over a terrace and a squared tambour. The exterior, with two bell towers, is built in white travertine.
•Baroque church of Santa Lucia has an altarpiece by Luca Signorelli.
•The walls of the city date to around the 14th century.
La Iglesia de Nuestra Señora del Sagrado Corazón, más conocida como Parroquia de Punta Carretas, se emplaza en Montevideo, en el barrio de Punta Carretas, en la esquina de las calles José Ellauri y Solano García.
Historia
Originalmente estaba a cargo de la orden de los Hermanos Menores Capuchinos. En la época que se inicia su construcción, había en la zona una carencia de templos católicos, y además entraba en vigencia la Constitución de 1918, que separaba a la Iglesia Católica del Estado; por lo cual esta construcción fue realizada en base a donaciones privadas. Entre los impulsores de la misma, cabe destacar a la Liga de Damas Católicas del Uruguay y al poeta Juan Zorrilla de San Martín. Uno de los primeros clérigos a cargo fue el padre Agustín de Savona.[1]
Desde 1983 es una parroquia de la Curia Eclesiástica, cuyo párroco más recordado fue el Pbro. Haroldo Ponce de León.
A mediados de la década de 1990, la construcción del Punta Carretas Shopping, combinada con el efecto vibratorio del tránsito, afectó la estructura del edificio; con tal motivo, tras estudios realizados por la Facultad de Ingeniería,[2] [3] en 1997-1999 fue sometida a obras de restauración, a cargo de los arquitectos Antonio Cravotto y Eduardo Signorelli.
Descripción
De estilo neorrománico, fue construida entre 1917 y 1927, obra del arquitecto Elzeario Boix. El mismo describe con sus propias palabras este templo:[4]
"La Capilla Votiva de Nuestra Señora del Sagrado Corazón está inspirada en la arquitectura italiana de la Edad Media. Recuerda tanto en su planta como en su aspecto exterior las pequeñas iglesias románicas construidas en ladrillo y cubiertas de bóvedas tabicadas, sostenidas éstas fácilmente, en razón de su poco peso, por columnas esbeltas en vez de los recios pilares de las estructuras de piedra coetáneas francesas y españolas. Esta disposición usual en gran parte de Italia mantiene, como es sabido, la tradición de las viejas basílicas sin abovedar de los primeros siglos. En nuestro caso: tres naves sin crucero, separada la central de las colaterales por columnas (6 de cada lado) simbolizando los 12 apóstoles, sobre las que descansan los arcos que soportan a su vez el muro sobrepuesto donde se abren los ventanales de iluminación. Estos están, a su vez, formados por triples vidrieras, cubiertas interiormente por lunetas que forman penetraciones en la bóveda central. En ella arcos torales que a modo de fajas acusan los cinco tramos en que está dividida. En el fondo el ábside de cierta profundidad, abovedado también y cubierto en su extremo semicircular por el correspondiente nicho en cuarto de esfera.
La arquitectura interior es de gran sobriedad. Surge naturalmente de la disposición de los elementos descritos, realzados con ornamentos que falta todavía hacer: las ménsulas en que rematan los arcos torales y los capiteles de bronce que habrán de envolver la parte superior, ahora en rústico, de las columnas de granito. Un amplio friso sobre los arcos será campo propicio para el desarrollo pictórico de un posible e interesante tema de iconografía franciscana.
El exterior acusa tanto en la fachada principal como en las laterales con toda claridad la estructura interna, acentuada por los elementos arquitectónicos característicos del estilo románico bizantino. Techos de teja rematando en cornisas de fuerte saliente sostenidas por arquitos en serie, contrafuertes adosados al muro para contrarrestar los empujes de la bóveda alternando con los ventanales: tales son los elementos principales de las fachadas laterales. En cuanto a la principal, además de las cornisas y arcos rampantes que acentúan su silueta, el gran ventanal de iluminación, los recios pilares que lo encuadran y el pórtico por fin, que falta todavía construir. Este presentará la disposición de un pequeño pabellón exento, formando nártex constituido por columnas, tres en cada uno de los ángulos extremos y dos más (una a cada lado) en la puerta de entrada, sobre las que descansarán arcos que a su vez sostendrán una cubierta a dos vertientes adosada al muro de fachada por debajo del gran ventanal.
Realzando la silueta y como elemento en cierto modo independiente si bien adherido a la construcción, la torre‑campanario, de forma cuadrada, que por encima de un friso decorado en sus ángulos con los emblemas de los Evangelistas remata en dos pisos: un tramo ochavado que forma la transición del cuadrado al círculo y finalmente la loggia cubierta por el cupulín donde descansa la cruz a 35 metros del suelo.
Como elemento estético, obtenido por la policromía resultante de los materiales empleados, el contraste entre el blanco de los elementos arquitectónicos con el rojo del ladrillo que forma los fondos.
Tales son, en síntesis, los caracteres resaltantes de esta obra aún inconclusa en que se ha buscado traducir con elementos arquitectónicos adecuados el programa de una parroquia adaptada en su interior a las necesidades del culto y que refleja en su exterior claramente la índole de su destino acentuado con la esbelta silueta del campanil vertical, tendida al cielo en contraste con la horizontal del vasto horizonte de mar que desde ella se divisa, faro espiritual, emplazado en un saliente de nuestra costa Sur, que lleva con su voz de bronce el nombre de Dios a los navegantes que a ella se acercan."
Una capilla lateral para la celebración de misas diarias está dedicada a san Marcelino Champagnat.
ÓRGANO:
Este templo cuenta con un órgano alemán de marca Walcker,del año 1954.
I primed Rootstein's Magaret, Mounia, Tracy, and Allesandra. I Dremeled and Bondoed Sayoko. Tracy still needs more work, noticed only after I had finished priming her. Sayoko had a bunch of cracks and potholes. Blisters....
Loreto, Basilica Santuario della Santa Casa
Sagrestia di San Giovanni
Sacristy of Saint John the Baptist
Frescoes of Luca Signorelli in the vault [~1480]
In the eight sectors are the four fathers of the church (Jerome, Gregory, Ambrose, Augustin) alternating with the four evangelists (Matthew with angel, Mark with lion, Luke with bull, and John with eagle).
Original photo by courtesy of turismo.marche.it
I primed Rootstein's Magaret, Mounia, Tracy, and Allesandra. I Dremeled and Bondoed Sayoko. Tracy still needs more work, noticed only after I had finished priming her. Sayoko had a bunch of cracks and potholes. Blisters....
I primed Rootstein's Magaret, Mounia, Tracy, and Allesandra. I Dremeled and Bondoed Sayoko. Tracy still needs more work, noticed only after I had finished priming her. Sayoko had a bunch of cracks and potholes. Blisters....
Visions of the Apocalypse by Luca Signorelli in San Brizio Chapel in Orvieto's Duomo. Signorelli's depictions of human anatomy influenced Michelangelo.
Praying or singing angel
Loreto, Basilica Santuario della Santa Casa
Sagrestia di San Giovanni
Sacristy of Saint John the Baptist
Frescoes of Luca Signorelli in the vault [~1480]
Poor girl arrived after a month long travel from Germany with two broken off fingers. Otherwise she is fabulous. She needs a makeover. Looking a bit pasty.
Poor girl arrived after a month long travel from Germany with two broken off fingers. Otherwise she is fabulous. She needs a makeover. Looking a bit pasty.
I primed Rootstein's Magaret, Mounia, Tracy, and Allesandra. I Dremeled and Bondoed Sayoko. Tracy still needs more work, noticed only after I had finished priming her. Sayoko had a bunch of cracks and potholes. Blisters....
Angel playing a lute
Loreto, Basilica Santuario della Santa Casa
Sagrestia di San Giovanni
Sacristy of Saint John the Baptist
Frescoes of Luca Signorelli in the vault [~1480]
This is the square in Florence with a human statue of Dante!
Via Santa Margherita in Florence off Via Dante Alighieri. We stopped here during our guided walking tour of the city. Occasionally he would say something off by heart if his book was turned to a certain page!
The core of the medieval Florence and more specifically the area between the church of "St. Martino "and" Piazza dei Donati ", was the 13th century location of the houses of the Alighieri family, as reported in many old documents. At the beginning of the 20th century, after several studies and researches, the Municipal Administration ordered the building of a house to celebrate the place of birth of Dante.
Today, the building is the seat of the House-Museum of Dante, which was reopened to the public on June 1st, 1994. The museum is arranged on three floors.
The first floor with a series of documents on the subject of the 13th century Florence and on the youth of Dante, on his christening in the "beautiful St. John" (the "Baptistery of St. Mary of the Flower"), on his public political and military struggles (the plastic model representing the Battle of Campaldino and the reproductions of the weapons used at the time are very interesting.
The second floor exhibits documents related to his painful exile of 1301, the year of his condemnation. After visiting several cities (Forli, Verona and Bologna), the poet decided to spend his last years at Ravenna where we would die (1321) in the home of Guido da Polenta.
The iconography and fortune of Dante over the centuries, from the 14th century to the present day. Reproductions includes works by artists like Giotto, Fra Angelico, Andrea del Castagno, Ghirlandaio, Luca Signorelli, Raphael and Michelangelo.
Dante human statue
Poor girl arrived after a month long travel from Germany with two broken off fingers. Otherwise she is fabulous. She needs a makeover. Looking a bit pasty.
Orvieto is a city in southwestern Umbria, Italy.
Orvieto is noted for its Gothic cathedral, or duomo. The church is striped in white travertine and greenish-black basalt in narrow bands; its design has often been attributed to Arnolfo di Cambio, but the prevailing modern opinion is that its master mason was an obscure monk named Fra' Bevignate from Perugia; construction began in 1290. The façade is particularly striking and includes some remarkable sculpture by Lorenzo Maitani (14th century). Inside the cathedral, the Chapel of San Brizio is frescoed by Fra Angelico and with Luca Signorelli's masterpiece, his Last Judgment (1449-51).
The Vertical Garden – frozen nougat, rose blossom loukoum, lychee jelly, raspberry yolk and pistachio wall
Malvín 65 Hebraica y Macabi 61 y forzó el quinto y último partido del playoffs final de la Liga Uruguaya de Básquetbol.
Hebraica Macabi
Aguiar, Mauricio
Parodi, Luciano
Barrera, Gustavo
Lepiani, Lucas
Izuibejeres, Joaquín
Bastón, Emiliano
Barriola, Miguel
Trindade, Jorge
Freije, Matt
Passos, Hatila
Head Coach: Signorelli Marcelo
Malvín
Jeffries Christopher
Newsome Reque
Myles Anthony
Martinez Fernando
Fitipaldo Bruno
Blankson Ryan
Head Coach:Lopez Pablo
Camera: Canon EOS 5D Mark II
Lens: EF15mm f/2.8 Fisheye
Focal Length: 15 mm
Exposure: ¹⁄₁₆₀ sec at f/3.5
ISO: 2000
Again, I could only shoot outside the windows but was not allowed to take any shots of inside the palace. Pity.
Anyway, just a short description in lieu of photos.
You have the Silverworks museum, Boboli Gardens, Porcelain Museum and Carriage Museum in the Ground Floor, both inside and outside. The First Floor contains the Palatine Gallery, the White Room, the Tapestry Apartments, the Royal Apartments, and lastly the Second Floor houses the Modern Art Gallery, the Fiorino Room, the Winter Apartments and the Costume Gallery.
The Palatine Gallery has an assortment of rooms (you get the feeling that they had more than they knew what to do with!), each with its own theme and name according to its decoration; Psyche Room, Music Room, Room of the Ark, Ulysses Room, Flora Room, Saturn Room, and many etcs more. Paintings by doquier, by Raphael, Botticelli, Luca Signorelli, Filipo Lippi, Titian, Perugino, among many others adorn the walls. (One of my favourites being Madonna della Seggiola, or Madonna and Child with St John the Baptist by Raphael.)
Then you have the Royal Apartments with their colourful names. Green Room, Red Room (Throne Room), Blue Room, as well as the Chapel, Parrot Room, Oval Room, King's Bedroom, etc. They were named by their colour or decoration. For example the Green Room (my favourite, despite being kept a bit too dark due to sparse lighting) has green damask silk covering the walls, green curtains in contrast with a red carpet and golden trimmings. I particularly adored the tiny paintings in the Stipo Della Granduchessa Vittoria della Rovere, or ebony cabinet belonging to Grand Duchess Vittoria della Rovere, standing against the west wall's corner.
Then the Bourbon Quarters or New Palatine section shows art from Napoleon's time and others. Quite enjoyed the Portrait of Henrietta of France as Flora by Jean Marc Nattier, though I think that was in one of the colour rooms. And adored teh statue of Abandone Psyche by Pietro Tenerani, as well as In Bed by Federico Zandomeneghi, among others, of course. I was surprised to see a very nice painting of two children with musical instruments by Elizabeth Chaplin, which I thought "any relation?".
Other works which caught my eye were by Giovan Battista Foggini, Francisco Botticini, Buto de Giovane Donna and Filadelfo Simi. And two paintings by Murillo (one I like, the other not so much), since I'm Spaniard like him.
Though I absolutely hated the section of modern art (I just don't get it most of the time). And saw some nice and not so nice costumes along the way as well. Didn't visit the Porcelaine or Cartridge museums due to time constrictions.
Angel playing a psaltery (medieval zither)
Loreto, Basilica Santuario della Santa Casa
Sagrestia di San Giovanni
Sacristy of Saint John the Baptist
Frescoes of Luca Signorelli in the vault [~1480]
Italien / Toskana - Pienza
Pienza (Italian pronunciation: [piˈɛntsa]) is a town and comune in the province of Siena, Tuscany, in the historical region of Val d'Orcia. Situated between the towns of Montepulciano and Montalcino, it is considered the "touchstone of Renaissance urbanism".
In 1996, UNESCO declared the town a World Heritage Site, and in 2004 the entire valley, the Val d'Orcia, was included on the list of UNESCO's World Cultural Landscapes.
History
Before the village was renamed Pienza its name was Corsignano. It is first mentioned in documents from the 9th century. Around 1300 parts of the village became property of the Piccolomini family. After Enghelberto d'Ugo Piccolomini had received the fief of Montertari in Val d'Orcia from the emperor Frederick II in 1220. In the 13th century Franciscans settled down in Corsignano.
In 1405 Aeneas Silvius Piccolomini (Italian: Enea Silvio Piccolomini) was born in Corsignano, a Renaissance humanist born into an exiled Sienese family, who later became Pope Pius II. Once he became Pope, Piccolomini had the entire village rebuilt as an ideal Renaissance town and renamed it Pienza ("city of Pius"). Intended as a retreat from Rome, it represents the first application of humanist urban planning concepts, creating an impetus for planning that was adopted in other Italian towns and cities and eventually spread to other European centers.
The rebuilding was done by Florentine architect Bernardo Gambarelli (known as Bernardo Rossellino) who may have worked with the humanist and architect Leon Battista Alberti, although there are no documents to prove it for sure. Alberti was in the employ of the Papal Curia at the time and served as an advisor to Pius. Construction started about 1459. Pope Pius II consecrated the Duomo on 29 August 1462, during his long summer visit. He included a detailed description of the structures in his Commentaries, written during the last two years of his life.
Main sights
Palazzo Piccolomini
The trapezoidal piazza is defined by four buildings. The principal residence, Palazzo Piccolomini, is on the west side. It has three stories, articulated by pilasters and entablature courses, with a twin-lighted cross window set within each bay. This structure is similar to Alberti's Palazzo Rucellai in Florence and other later palaces. Noteworthy is the internal court of the palazzo. The back of the palace, to the south, is defined by loggia on all three floors that overlook an enclosed Italian Renaissance garden with Giardino all'italiana era modifications, and views into the distant landscape of the Val d'Orcia and Pope Pius's beloved Monte Amiata beyond. Below this garden is a vaulted stable that had stalls for 100 horses.
The Duomo
The Duomo (Cathedral), which dominates the center of the piazza, has a facade that is one of the earliest designed in the Renaissance manner. Although the tripartite division is conventional, the use of pilasters and of columns, standing on high dados and linked by arches, was novel for the time. The bell tower, however, has a Germanic flavor as is the layout of the Hallenkirche plan, a "triple-nave" plan where the side aisles are almost as tall as the nave; Pius, before he became pope, served many years in Germany and praised the effects of light admitted into the German hall churches in his Commentari. Works of art in the duomo include five altar paintings from the Sienese School, by Sano di Pietro, Matteo di Giovanni, Vecchietta and Giovanni di Paolo. The Baptistry, dedicated as usual to San Giovanni, is located next to the apse of the church.
Palazzo Vescovile
Pius encouraged cardinals to build palazzi to complete the city. Palazzo Vescovile, on the third side of the piazza, was built by Cardinal Rodrigo Borgia, at the time Church Vice Chancellor and the future Pope Alexander VI, to comply with the request by Pope Pius II for the Cardinals to have a residence in the town. It became the residence of the Bishop of Pienza when the town was elevated to a bishopric in 1462. It is now home to the Diocesan Museum,[9] and the Museo della Cattedrale. The collection includes local textile work as well as religious artifacts. Paintings include a 12th-century painted crucifix from the Abbey of San Pietro in Vollore, 14th century works by Pietro Lorenzetti (Madonna with Child) and Bartolo di Fredi (Madonna della Misericordia). There are also important works from the 14th and 15th centuries, including a Madonna attributed to Luca Signorelli.
Palazzo Comunale
Across from the church is the town hall, or Palazzo Comunale. When Corsigniano was given the status of an official city, a Palazzo was required that would be in keeping with the "city's" new urban position, although it was certainly more for show than anything else. It has a three-arched loggia on the ground floor facing the Cathedral and above it is the council chamber. It also has a brick bell tower that is shorter than its counterpart at the cathedral, to symbolize the superior power of the church. The set-back addition to the tower dates from 1599. It is likely that Bernardo Rossellino designed the Palazzo Comunale to be a free standing civic mediator between the religious space before the cathedral and secular market square to its rear.
The travertine well in the Piazza carries the Piccolomini family crest, and was widely copied in Tuscany during the following century. The well-head resembles a fluted, shallow Etruscan Bowl. The flanking Corinthian support a classical entablature columns whose decorations are clearly based upon actual source materials.
Other buildings
Other buildings in Pienza dating from the era of Pius II include the Ammannati Palace, named for Cardinal Jacopo Piccolomini-Ammannati, a "curial row" of three palaces (the Palazzo Jouffroy or Atrebatense belonging to Cardinal Jean Jouffroy of Arras, the Palazzo Buonconti, belonging to Vatican Treasurer Giliforte dei Buonconti, and the Palazzo Lolli constructed by apostolic secretary and papal relative Gregorio Lolli) arranged along the street behind the Bishops Palace. along the main road there are also the Palazzo Gonzaga, built in 1463 by Cardinal Francesco Gonzaga, Palazzo Forteguerri built in 1460 by Ambrogio Fortguerri, Apostolic Treasurer, and the Palazzo of Ambrogio Spannocchi, now Cittadini, again of the XV century. In the northeastern corner of Pienza, in via Casanuova, is a series of Twelve row houses constructed at the orders of the pope by the Sienese building contractor Pietro Paolo da Porrina.
About fifty meters west of the Cathedral Piazza is the church of San Francesco, with a gabled facade and Gothic portal. Among the buildings that survived from the old Corsignano, it is built on a pre-existing church that dated from the 8th century. The interior contains frescoes depicting the life of Saint Francis, those on the walls having been painted by Cristofano di Bindoccio and Meo di Pero, 14th-century artists of the Sienese School.
The Romanesque Pieve of Corsignano is located in the neighbourhood. The monastery of Sant'Anna in Camprena was founded in 1332-1334 by Bernardo Tolomei as a hermitage for the Benedictines; it was remade in the late 15th-early 16th century, and several times in the following centuries. The refectory houses frescoes by il Sodoma (1502–1503).
Monticchiello
The frazione of Monticchiello is home to a characteristic Romitorio, a series of grottoes carved in the rock by hermit monks. In the same locality is the pieve of Santi Leonardo e Cristoforo, rebuilt in the 13th century in Gothic style. The interior has frescoes from a 14th-century Sienese painter, a cyborium in the shape of a small Gothic portal and an alte 15th-century Crucifix. At San Pietro in Campo are the remains of the eponymous abbey.
Monticchiello is the subject of the documentary Spettacolo.
(Wikipedia)
Pienza ist eine italienische Stadt mit 2058 Einwohnern (Stand 31. Dezember 2019) im Val d’Orcia (Toskana), gelegen zwischen den Städten Montepulciano und Montalcino.
Allgemeines
Pienzas Altstadt gehört zum Weltkulturerbe
Der Ort liegt in der klimatischen Einordnung italienischer Gemeinden in der Zone E, 2 113 GR/G.
Einziger Ortsteil ist Monticchiello (500 m, ca. 200 Einwohner). Die Nachbargemeinden Pienzas sind Castiglione d’Orcia, Chianciano Terme, Montalcino, Montepulciano, Radicofani, San Quirico d’Orcia, Sarteano, Torrita di Siena und Trequanda.
1996 erklärte die UNESCO das historische Zentrum Pienzas zum Weltkulturerbe; 2004 wurde zudem das ganze Orcia-Tal in die Liste aufgenommen.
Geschichte
Bevor der Ort in Pienza umbenannt wurde, hieß er Corsignano. Im 9. Jahrhundert wurde er erstmals urkundlich erwähnt. Um 1300 gelangten Teile des Ortes in den Besitz der Familie Piccolomini,[4] nachdem Enghelberto d’Ugo Piccolomini von Kaiser Friedrich II. 1220 mit dem Gut Montertari im Orcia-Tal belehnt worden war. Im 13. Jahrhundert ließen sich Franziskaner in Corsignano nieder.
1405 war Corsignano Geburtsort von Aeneas Silvius Piccolomini, Spross einer verbannten Sieneser Familie und später Papst unter dem Namen Pius II. Als Pontifex Maximus begann Pius, der sich in der Tradition antiker Stadtgründer sah, mit dem Ausbau des Ortes zu einer „idealen Stadt“ und benannte diese nach sich selbst („Pi“-us II.) in Pienza um. Das gilt als ein erstes Beispiel einer so genannten humanistischen Stadtplanung – eine Anregung, die andere italienische Städte aufnahmen und die sich schließlich über ganz Europa verbreitete.
Die Umgestaltung wurde vom Florentiner Architekten Bernardo Rossellino 1459 begonnen, und innerhalb von drei Jahren wurden die Hauptbauten fertiggestellt. Durch den Tod Pius II. im Jahre 1464 wurde die Gesamtplanung jedoch nicht vollkommen verwirklicht. Rossellino entwarf den neuen Stadtplatz, die Piazza Comunale und die sie flankierenden vier Hauptbauten: den Dom und das Rathaus (Palazzo Pubblico, auch Palazzo Comunale genannt) sowie die beiden Palazzi Vescovile und Piccolomini. Ersterer wurde Wohnsitz von Kardinal Rodrigo Borgia, dem späteren Papst Alexander VI. Der Palazzo Piccolomini war Wohnsitz der Familie Pius II., ein vom Florentiner Palazzo Rucellai inspiriertes Gebäude und zugleich das größte und wohl schönste am Platz. Den neuen Dom hat Pius II. am 29. August 1462 geweiht.
Von allen Seiten führen Straßen auf die Piazza Comunale, wobei jeder Standort wechselvolle, harmonische Perspektiven auf die Gebäude bietet und weite Ausblicke in die Szenerie des umliegenden Orcia-Tals gewährt. Der Travertin-Brunnen auf der Piazza, durch seine Aufstellung vor dem Palazzo Piccolomini die bewusste Asymmetrie des Platzes stärkend, trägt das Familienwappen der Piccolominis und wurde in den folgenden Jahrhunderten Vorbild vieler toskanischer Brunnen.
Sehenswürdigkeiten
Der Dom von Pienza wurde von Rossellino zwischen 1459 und 1462 als dreischiffige Hallenkirche mit Umgangschor errichtet. Trotz seiner Renaissance-Fassade ist das Gotteshaus an typischen Bauten der nordalpinen Gotik orientiert, was den zahlreichen Reisen des späteren Papstes Pius II. unter anderem auch in deutsche Länder zu danken ist. Im dreischiffigen Inneren belegen Bündelsäulen und toskanische Kapitelle, wie die Übersetzung eines gotischen Raumkonzepts in die Formensprache der Frührenaissance gelungen ist. Das einer Krypta ähnliche Baptisterium findet sich unter der Apsis; in Teilen entstammt es noch seinem ursprünglich romanischen Vorgängerbau.
Es gibt ein Museo della Cattedrale im Dom. Das Diözesan-Museum im Palazzo Vescovile zeigt sowohl lokale Textilarbeiten als auch religiöse Werke. Drei Wandteppiche mit religiösen Darstellungen sind zu sehen; sie sind Ende des 15. Jahrhunderts in Flandern entstanden und gelangten durch die Piccolominis nach Pienza. In der Gemäldesammlung ist mit Christus am Kreuz („La Croce“) eine Arbeit des 7. Jahrhunderts zu finden. Weiterhin zeigt die Ausstellung Bildnisse von Pietro Lorenzetti (Madonna mit dem Kind) und Bartolo di Fredi (Gnadenmadonna, „Madonna della Misericordia“), allesamt aus dem 14. Jahrhundert. Unter den weiteren Werken des 14. und 15. Jahrhunderts ragt besonders eine Madonnendarstellung heraus, die Luca Signorelli zugeschrieben wird.
Die Kirche von San Francesco, mit Giebelfassade und gotischem Portal, ist eines der wenigen Gebäude, das noch aus der Zeit des alten Corsignano stammen. Sie ist auf den Grundmauern einer Kirche des 8. Jahrhunderts errichtet. Im Inneren befinden sich Fresken aus dem 14. Jahrhundert, von Cristofano di Bindoccio und Meo di Pero, Künstlern der Sieneser Schule, die das Leben des heiligen Franziskus zeigen. Das wertvolle alte Kircheninventar – etwa das mit Tempera gemalte Tafelkreuz von Segna di Bonaventura – ist inzwischen im Diözesan-Museum untergebracht.
Weiterhin sind die Palazzi Ammannati (auch Jouffroy), Gonzaga Simonelli und der Palazzo del Cardinale Atrebatense erwähnenswert, die alle aus dem 15. Jahrhundert stammen.
In der Nähe befindet sich mit der Pieve di Corsignano eines der wichtigsten romanischen Monumente der Gegend.
Die südwestlich gelegene Terrapille dient Fotografen aus aller Welt als toskana-typisches Postkartenmotiv. 1999 war sie zudem einer der Drehorte für den Film Gladiator. Der Domplatz sowie der Palazzo Piccolomini dienten 1968 als Drehorte der 1969 mit zwei Oscars ausgezeichneten Verfilmung von Shakespeares Romeo und Julia. Regie führte Franco Zeffirelli.
Wirtschaft
Pienza ist Sitz von Bottega Verde, der größten Kosmetikkette Italiens.
Auf dem Gemeindegebiet liegen Rebflächen für Weine mit einer „geschützten Herkunftsbezeichnung“: „Orcia DOC“ und „Chianti DOCG“.
(Wikipedia)
Abbazia territoriale di Monte Oliveto Maggiore (SI), fondée en 1313 par San Bernardo Tolomei - congrégation Bénédictine - dans le cloître fresques de Luca Signorelli et du Sodome représentant des scènes de la vie de Saint Benoît- dans l'église et la bibliothèque, marqueteries de Fra Giovanni da Verona
- Giovanni Antonio Bazzi, dit Il Sodoma
Grimoald III, 788-806
Denar 792-806, AR 1.21 g. Monogram of Grimoald: in l. field, cross. Rev. BENE Ÿ – Ÿ BENTV Cross potent on three steps; on sides, A – W. BMC Vandals 18. Arslan 99. MEC I, 1100.
Very rare. Old cabinet tone and good extremely fine
Ex Santamaria 21 March 1955, 1063, and Leu-MM 1987, 102 sales. From the Signorelli collection and Spahr collections. Sambon, Wroth and Grierson attribute this coin to the second period when Grimoald had the title of Prince while the authors of CNI assign it to the first period.
NAC93, 1338
Freshmen Cole Buchanan (’23, L) and Sam Signorelli (’23, R) pet goats on Manchester Plaza during a pop-up petting zoo hosted by WFU Student Government as a part of Mental Health Week 2020. Noah’s Place Petting Zoo provided the animals and helped facilitate the event on Wednesday, March 4, 2020.
Montepulciano is a medieval and Renaissance hill town and comune in the Italian province of Siena in southern Tuscany. It sits high on a 605-metre limestone ridge, 70 kilometres southeast of Siena. Montepulciano is a major producer of food and drink. Renowned for its pork, cheese, "pici" pasta, lentils, and honey, it is known worldwide for its wine. Connoisseurs consider its Vino Nobile, which should not be confused with varietal wine merely made from the Montepulciano grape, among Italy's best. The main landmarks include:
•The Palazzo Comunale, designed by Michelozzo in the tradition of the Palazzo della Signoria (Palazzo Vecchio) of Florence.
•Palazzo Tarugi, attributed to Antonio da Sangallo the Elder or Jacopo Barozzi da Vignola. It is entirely in travertine, with a portico which was once open to the public.
•The Cathedral of Santa Maria Assunta, or the Duomo of Montepulciano, constructed between 1594 and 1680, includes a masterpiece from the Sienese School, a massive Assumption of the Virgin triptych painted by Taddeo di Bartolo in 1401.
•The church of Santa Maria delle Grazie (late 16th century). It has a simple Mannerist façade with a three-arcade portico. The interior has a single nave, and houses a precious terracotta altar by Andrea della Robbia.
•The Sanctuary of the Madonna di San Biagio is on the road to Chianciano outside the city. It is a typical 16th century Tuscan edifice, designed by Antonio da Sangallo the Elder on a pre-existing Pieve, between 1518 and 1545. It has a circular (central) plan with a large dome over a terrace and a squared tambour. The exterior, with two bell towers, is built in white travertine.
•Baroque church of Santa Lucia has an altarpiece by Luca Signorelli.
•The walls of the city date to around the 14th century.
gefilmt am 25. November 2001 am Höllenbach / Auetal bei Hattendorf / Lauenau
===============================
"In christlichen Kirchen und Religionsgemeinschaften wird die Hölle meist als ein möglicher Ausgang des so genannten „Jüngsten Gerichts“ gesehen, als Strafe der Verdammnis, im Gegensatz zum Zustand absoluter Glückseligkeit (genannt „Paradies“, „ewiges Leben“ oder „Himmel“) und in Abgrenzung zum Fegefeuer. In die Hölle gelange der Mensch, der sich nicht entsprechend gewisser Verhaltensregeln der jeweiligen Religionsgemeinschaft verhalte bzw. deren Glauben nicht teile.
Während die Hölle in einigen Weltreligionen (s. u.) der Läuterung dient und ein Ende hat (entweder insgesamt oder zumindest für jeden einzelnen) und somit ein Mittel der Besserung ist, geht die Lehre der großen christlichen Religionsgemeinschaften von einer „ewigen Hölle“ aus – einer Strafe als unveränderlichen Zustand, nicht als endlichen Vorgang.
Die Hölle wird im westlichen Kulturraum häufig als Höllenrachen, als lodernder Flammenort und als Höllenberg dargestellt. Die Ostkirche kennt auch den Feuerfluss und den Drachenschlund. Berühmte Bildnisse stammen von Malern wie Hieronymus Bosch (1450–1516), Hans Memling (vermutlich 1433/1440–1494), Luca Signorelli (vermutlich 1445/50–1523), Peter Paul Rubens (1577–1640) Sandro Botticelli (1445–1510) mit seinem Bildzyklus (siehe Auszug aus der Miniaturen-Handschrift rechts), Beschreibungen stammen von Schriftstellern wie Dante Alighieri (1265–1321). Dantes Hauptwerk Die Göttliche Komödie ist eine Art literarische Jenseitswanderung durch Hölle, Fegefeuer und Paradies, mit Wiedertreffen alter Bekannter und Honoratioren aus Florenz, ein Ort fürchterlicher körperlicher Qual mit strafenden Riesen, lachenden Teufeln und abgestuften Strafen. Im hier gezeigten Bild peitschen Teufel zum Beispiel Kuppler und Dirnen. In der Nachfolge Dantes' entstand eine Vielzahl genauerer Ortspläne (so die 7 Sündenstufen, die 9 Höllenkreise – die Vorhölle ist als 10. Kreis gedacht), Lagebeschreibungen und Bewohnerverzeichnisse.
Im Zeitalter der Aufklärung, und auch teilweise bis in die Gegenwart, wurde die Hölle als eine angstauslösende Metapher verstanden, welche durchaus für weltliche Zwecke eingesetzt wurde (und wird) und „die erfunden werden müsste, wenn es sie nicht gäbe“ (Nicolas Sylvestre Bergier in der Encyclopédie Française von Denis Diderot, 1772)." Quelle und weitere Informationen: Wikipedia: Hölle / Überblick
===============================
weiterführende Links:
Homepage: www.iep.utm.edu/hell/
45info: de.45info.com/video/H%c3%b6lle
eyeplorer: de.eyeplorer.com/show/me/H%c3%b6lle
At Piazza Garibaldi in Cortona.
The square named after Giuseppe Garibaldi, the man who helped to unify / libertate the whole of the Italian peninsula during the 1860s.
View of a church with a bell tower above.
Basilica of Saint Margaret of Cortona
Basilica of Santa Margherita is a Neo-gothic style, Roman Catholic church, located just outside the Tuscan town of Cortona, Italy, at the intersection of Via delle Santucce and Via Sant Margherita, on a hill just below the Fortezza Medicea, and dedicated to a native saint of town, Margaret of Cortona.
The church was originally the site of a small oratory dedicate to San Basilio, and built by Camaldolese Monks in the 11th century. Damaged during the 1258 siege of the town by Arezzo, the church and adjacent convent were rebuilt in 1288 by efforts led by Margherita di Cortona herself, a Franciscan tertiary, and dedicated to Saints Basil, Egidius, and Catherine of Alexandria. It was then still called an oratory and measured only 15 meters long, and was adjacent to a small chapel of St Basil. Margaret died in 1297 in a room behind the old church where she had lived the last years of her life; the room roughly corresponded to the present site of the 3rd altar on the left of the nave. She was buried in a wall of the chapel of St Basil. By 1330, the Cortonese had constructed a larger church and designed by Giovanni Pisano, in part to house her relics, disinterred in 1456, in that had become a source of veneration. The old church now became part of the nave of the newer, 30 meter long, structure. The saint was canonized in 1728.
Fragments of a fresco from the church, attributed to Pietro Lorenzetti, is now conserved in the Diocesan Museum. Other 14th-century frescoes such as ones by Barna da Siena have disappeared. Many of the canvases once in the interior have been dispersed or moved.
The church underwent major enlargements and reconstructions in 1738 and in 1874-1878; only the choir and two vaults, the second and third of the central nave, remain from the original church. The present Gothic Revival architecture style church is the work of Enrico Presenti and Mariano Falcini. The facade was designed by Domenico Mirri (1856-1939), and completed by Giuseppe Castellucci.
The rich marble mausoleum on the left of the transept by the Sienese workshops and the saint's silver casket (1774) at the main altar, displaying her incorrupt body, was designed by Pietro Berrettini. The main altarpiece once held a large Deposition by Luca Signorelli, now in the Diocesane museum. The marble statue (1781) of the saint in a niche on the right was sculpted by Vincenzo Pacetti.
The second altar on the right has an altarpiece depicting Virgin and St Elizabeth of Hungary, by Jacopo da Empoli. On an altar on the right there is a 13th-century wooden crucifix, originally from in the church of San Francesco, Cortona. It is said St Margaret prayed before this crucifix. On the right side walls there are relics and captured standards donated by the Knights of Malta stationed in Cortona. On the left nave we see a large chapel in memory of those Cortonese fallen during the war, with frescos by Osvaldo Bignami. The first altar on the left had an altarpiece depicting Saints Louis of Toulouse, Francis, Dominic, and Margaret by Francesco Vanni. the second altar had a painting depicting the Massacre of the Innocents by Pietro Giannotti.
The church was elevated to the status of minor basilica in 1927. Behind the church is the bell-tower (1650) and a monastery of the Franciscan Order.