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Il Sacro Monte si trova in un contesto paesaggistico straordinario, su un promontorio boscoso che si protende nel lago di Orta. Venti cappelle immerse nella natura illustrano con sculture e pitture gli episodi della vita di San Francesco, distribuite lungo un percorso che si snoda sulla cima del monte, aprendo spettacolari vedute sul lago e sull'isola di San Giulio.
La prima idea della comunità di realizzare un itinerario religioso sul modello del Sacro Monte di Varallo risale al 1583, ma si concretizzò soltanto nel 1590 grazie all’apporto dell’abate novarese Amico Canobio e al progetto dell'architetto cappuccino Cleto da Castelletto Ticino. Tra il 1593 e il 1615 il vescovo di Novara Carlo Bascapé divenne il vero protagonista del cantiere, decidendo la successione di scene da realizzare all'interno delle cappelle, stabilendo con Cleto da Castelletto la struttura architettonica del complesso e chiamando ad Orta artisti di notevole fama.
Le statue e i dipinti del Sacro Monte compongono scene di grande realismo, dove le atmosfere intime e naturali tipiche dell'arte lombarda di primo Seicento si combinano con la vivace teatralità barocca di fine secolo. Tra gli artisti che lavorarono al Sacro Monte di Orta, spiccano i Fiammenghini, il Morazzone, Cristoforo Prestinari, i fratelli d’Enrico, Dionigi Bussola e i fratelli Nuvolone.
Il percorso di visita termina all'interno della chiesa di San Nicolao, edificio proto-romanico, completamente rimodellato nel corso del XVII secolo ad imitazione della Basilica inferiore di Assisi, che ospita l'antico gruppo ligneo della Madonna della Pietà (XIV secolo).
La bellezza del paesaggio, il silenzio e il rapporto armonico tra arte, architettura e natura riflettono pienamente la spiritualità francescana.
Sacro Monte is located in an extraordinary landscape setting, on a wooded promontory jutting into Lake Orta. Twenty chapels surrounded by nature illustrate with sculptures and paintings the episodes in the life of St. Francis, distributed along a path that winds along the top of the mountain, opening up spectacular views of the lake and the island of San Giulio.
The community's first idea of creating a religious itinerary on the model of the Sacro Monte of Varallo dates back to 1583, but it did not materialize until 1590 thanks to the contribution of the Novarese abbot Amico Canobio and the design of the Capuchin architect Cleto da Castelletto Ticino. Between 1593 and 1615 the bishop of Novara Carlo Bascapé became the real protagonist of the building site, deciding on the succession of scenes to be realized inside the chapels, establishing with Cleto da Castelletto the architectural structure of the complex, and calling to Orta artists of considerable fame.
The statues and paintings at Sacro Monte compose scenes of great realism, where the intimate and natural atmospheres typical of early 17th-century Lombard art are combined with the lively Baroque theatricality of the late 20th century. Among the artists who worked at Sacro Monte di Orta are the Fiammenghini, Morazzone, Cristoforo Prestinari, the d'Enrico brothers, Dionigi Bussola and the Nuvolone brothers.
The tour ends inside the church of San Nicolao, a proto-Romanesque building, completely remodeled during the 17th century in imitation of the Lower Basilica in Assisi, which houses the ancient wooden group of the Madonna of Mercy (14th century).
The beauty of the landscape, the silence and the harmonious relationship between art, architecture and nature fully reflect Franciscan spirituality.
Surplombant le promontoire étendu sur le lac d’Orta, où la végétation s’alterne avec des panoramas lacustres spectaculaires, le parcours du Sacro Monte serpente, dans un environnement tantôt de jardins tantôt de bois, au cœur de vingt chapelles comportant en leur sein des sculptures et des peintures évoquant les épisodes de la vie de saint François par analogie avec la vie de Jésus.
L’idée première de la communauté de réaliser un itinéraire religieux, semblable au Sacro Monte de Varallo, remonte à 1583 mais ne prendra forme qu’en 1590 grâce à l’initiative de l’abbé de Novare Amico Canobio et selon le projet défini par l’architecte capucin Cleto da Castelletto Ticino qui répartit les œuvres architecturales entre le paysage naturel et les ouvertures scénographiques donnant sur le lac. Les scènes, peuplées de statues et de peintures très réalistes, proposent une alternance d’atmosphères intimistes et naturelles du début du dix-septième siècle représentées par la théâtralité pleine de vivacité du baroque de la fin du siècle ; elles furent réalisées par les plus importants artistes de l’école flamande tels que Morazzone, Cristoforo Prestinari, les frères d’Enrico, Dionigi Bussola et beaucoup d’autres encore.
Le parcours processionnel se termine avec l’église de saint Nicolas, édifice proto-roman complètement remodelé au cours du dix-septième siècle et à l’image de la basilique inférieure d’Assise, qui abrite l’ensemble de sculptures en bois de la Vierge de la Pitié (quatorzième siècle).Le charme du paysage et le silence du lieu se marient parfaitement à la spiritualité franciscaine.
34.12 feets in width and 26.25 in height - 1513 cycle of frescoes of the life of Jesus - Gaudenzio Ferrari (from 1575 to 1580 - 1546) - tramezzo of the Church of Santa Maria della Grazie - Varallo
La chiesa, situata ai piedi del Sacro Monte di Varallo, con relativo convento francescano, è strettamente legata alla storia del Sacro Monte stesso e al volere di frate Bernardino Caìmi, che la fa edificare tra il 1487 e il 1501. L’edificio, secondo il modello francescano, è a navata unica, con copertura lignea a vista. Vi si trova un eccezionale ciclo di affreschi della “Vita e Passione di Cristo”, sulla parete divisoria tra l’abside e il presbiterio, realizzato fra il 1512 e il 1513 da Gaudenzio Ferrari e composto da 21 riquadri tra i quali spicca al centro, di maggiori dimensioni, la “Crocefissione”. Santa Maria delle Grazie viene affiancata nel 1486 da Santa Maria Immacolata, una seconda chiesa idealmente collegata alla prima da un grande arco.
The church, located at the foot of the Sacro Monte in Varalllo, has, on the wall that divides the presbytery from the apse, a grandiose fresco cycle done between 1512 and 1513 by Gaudenzio Ferrari which shows the life of Christ in 21 pictures. Santa Maria delle Grazie was flanked by Santa Maria Immacolata, a second church ideally connected to the first by a large arch, in 1486. The construction of the church and the conventual complex are tied to the history of the Sacro Monte and greatly desired by Franciscan Monk Bernardino Caimi. In the square, which during the summer turns into a concert venue, one can view the statue dedicated to Gaudenzio Ferrari.
Il Santuario della Madonna del Sasso domina la città di Locarno dalla punta di uno sperone roccioso, a 370 metri s.l.m.. Propriamente situato nel Comune di Orselina, rappresenta una delle principali attrazioni della località svizzera, anche per lo splendido panorama sul Lago Maggiore.
Le origini del Santuario della Madonna del Sasso
Fra’ Bartolomeo d’Ivrea è considerato il fondatore del complesso: alla fine del XV secolo dal Convento di San Francesco di Locarno, scelse una vita da eremita insediandosi ai piedi della rupe, dove sorse una prima chiesa.
Alla fine del XVI secolo si diede avvio alla costruzione di una seconda chiesa, l’attuale Santuario, sulla sommità dello sperone roccioso, e alla progettazione di un percorso sacro, sull’esempio di altri Sacri Monti, come quello di Varallo Sesia: nacque così la Via Crucis. Alcuni artisti operanti sul percorso di Locarno erano attivi anche nella realizzazione di opere per il Sacro Monte di Varese.
Il complesso, proprietà e Convento dei cappuccini, fu espropriato nel XIX dalla Repubblica svizzera e divenne proprietà del Canton Ticino, ma ancora oggi i frati ne sono i custodi.
The Sanctuary of the Madonna del Sasso dominates the town of Locarno from the tip of a rocky spur, at 370 meters above sea level .. Properly located in the Municipality of Orselina, it represents one of the main attractions of the Swiss resort, also due to the splendid panorama over Lake Maggiore.
The origins of the Sanctuary of the Madonna del Sasso
Fra ’Bartolomeo d’Ivrea is considered the founder of the complex: at the end of the 15th century from the Convent of San Francesco in Locarno, he chose a hermit's life settling at the foot of the cliff, where a first church was built.
At the end of the sixteenth century the construction of a second church was started, the current Sanctuary, on the top of the rocky spur, and the planning of a sacred path, following the example of other Sacred Mountains, such as that of Varallo Sesia: this was how the Via Crucis. Some artists working on the Locarno route were also active in the construction of works for the Sacro Monte di Varese.
The complex, property and Convent of the Capuchins, was expropriated by the Swiss Republic in the 19th century and became the property of the Canton Ticino, but still today the friars are its custodians.
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EXPLORE:Aug 2, 2009 #1
Info photo: Fobello city
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Fobello (in piemontese Fobél o Fobeli) è un comune di 246 abitanti della provincia di Vercelli. Si trova in Valsesia, collocato all'estremità di uno dei due rami della Val Mastallone.
Il nome significa faggio bello, a segnalare la presenza di ricchi boschi che circondano l'abitato.
A Fobello nacque Vincenzo Lancia, fondatore dell'omonima casa automobilistica. Si trasferisce poi a Varallo per affrontare gli studi e qui inizia a lavorare come meccanico, acquisendo quelle prime competenze e la passione che lo spingeranno a costruire una casa automobilistica.
Il vallone di Roj, nel territorio comunale di Fobello, fa parte del Parco naturale Alta Valsesia.
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Fobello is a comune (municipality) in the Province of Vercelli in the Italian region Piedmont, located about 100 km northeast of Turin and about 70 km northwest of Vercelli. As of 31 December 2004, it had a population of 246 and an area of 29.3 km².[1]
Fobello borders the following municipalities: Bannio Anzino, Carcoforo, Cervatto, Cravagliana, Rimasco, Rimella, and Rossa.
The famous automotive engineers Vincenzo Lancia (1881-1937) and his son Gianni Lancia (1924-) were from Fobello.
Andrea Costa Photography - Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
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L’inverno è morto; la primavera è pazza; l’estate è allegra e l’autunno è saggio!
(Mehmet Murat ildan)
1513 cycle of frescoes of the life of Jesus - Gaudenzio Ferrari (from 1575 to 1580 - 1546) - tramezzo of the Church of Santa Maria della Grazie - Varallo
La chiesa, situata ai piedi del Sacro Monte di Varallo, con relativo convento francescano, è strettamente legata alla storia del Sacro Monte stesso e al volere di frate Bernardino Caìmi, che la fa edificare tra il 1487 e il 1501. L’edificio, secondo il modello francescano, è a navata unica, con copertura lignea a vista. Vi si trova un eccezionale ciclo di affreschi della “Vita e Passione di Cristo”, sulla parete divisoria tra l’abside e il presbiterio, realizzato fra il 1512 e il 1513 da Gaudenzio Ferrari e composto da 21 riquadri tra i quali spicca al centro, di maggiori dimensioni, la “Crocefissione”. Santa Maria delle Grazie viene affiancata nel 1486 da Santa Maria Immacolata, una seconda chiesa idealmente collegata alla prima da un grande arco.
The church, located at the foot of the Sacro Monte in Varalllo, has, on the wall that divides the presbytery from the apse, a grandiose fresco cycle done between 1512 and 1513 by Gaudenzio Ferrari which shows the life of Christ in 21 pictures. Santa Maria delle Grazie was flanked by Santa Maria Immacolata, a second church ideally connected to the first by a large arch, in 1486. The construction of the church and the conventual complex are tied to the history of the Sacro Monte and greatly desired by Franciscan Monk Bernardino Caimi. In the square, which during the summer turns into a concert venue, one can view the statue dedicated to Gaudenzio Ferrari.
3rd Chapel: The visitation of Mary to her cousin Saint Elizabeth. - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)
Maria rende visita ad Elisabetta sua parente,
Ha saputo infatti dall'arcangelo che anche Elisabetta, sterile ed anziana, per un miracolo di Dio, è diventata Madre di Giovanni Battista che sarà il Precursore di Gesù.
La capella è stata costruita verso il 1543.
Statue forse del tabacchetti e di Giovanni d'Enrico (inizio del sec. XVII).
Affreschi attribuiti a Giulio Cesare Luini e a Fermo Stella (15544-45 circa).
Decorazione rifatta da Andrea Bonini negli ultimi anni del XIX secolo.
Maria has known, from the Archangel Gabriele, that also Elizabeth, sterile and elderly, for a miracle of God, has become mother of Giovanni Battista that he will be the precursor of Jesus.
The chapel was built in 1543.
Statue of Giovanni d'Enrico (beginning of the century XVII).
Frescoes attributed to Giulio Cesare Luini and Fermo Stella (approximately 15544-45).
Decoration rebuilt by Andrea Bonini in the late XIX century
1513 cycle of frescoes of the life of Jesus - Gaudenzio Ferrari (from 1575 to 1580 - 1546) - tramezzo of the Church of Santa Maria della Grazie - Varallo
La chiesa, situata ai piedi del Sacro Monte di Varallo, con relativo convento francescano, è strettamente legata alla storia del Sacro Monte stesso e al volere di frate Bernardino Caìmi, che la fa edificare tra il 1487 e il 1501. L’edificio, secondo il modello francescano, è a navata unica, con copertura lignea a vista. Vi si trova un eccezionale ciclo di affreschi della “Vita e Passione di Cristo”, sulla parete divisoria tra l’abside e il presbiterio, realizzato fra il 1512 e il 1513 da Gaudenzio Ferrari e composto da 21 riquadri tra i quali spicca al centro, di maggiori dimensioni, la “Crocefissione”. Santa Maria delle Grazie viene affiancata nel 1486 da Santa Maria Immacolata, una seconda chiesa idealmente collegata alla prima da un grande arco.
The church, located at the foot of the Sacro Monte in Varalllo, has, on the wall that divides the presbytery from the apse, a grandiose fresco cycle done between 1512 and 1513 by Gaudenzio Ferrari which shows the life of Christ in 21 pictures. Santa Maria delle Grazie was flanked by Santa Maria Immacolata, a second church ideally connected to the first by a large arch, in 1486. The construction of the church and the conventual complex are tied to the history of the Sacro Monte and greatly desired by Franciscan Monk Bernardino Caimi. In the square, which during the summer turns into a concert venue, one can view the statue dedicated to Gaudenzio Ferrari.
Varallo Sesia
Sorge lungo le rive del fiume Sesia ed è diviso in due parti dal torrente Mastallone, suo affluente, che separa il centro storico, detto Varallo Vecchio, dalle aree più recenti. Unisce attività industriali e turistiche. È dominato dal Sacro Monte di Varallo, uno dei maggiori luoghi di culto del cattolicesimo del Piemonte, che attira annualmente migliaia di turisti.
Gaudenzio was born to Franchino Ferrari at Valduggia in the Valsesia in the Duchy of Milan. Valduggia is now in the Province of Vercelli in Piedmont. He is said to have first learned the art of painting at Vercelli from Gerolamo Giovenone. He subsequently studied in Milan, in the school of the Cathedral artisan Giovanni Stefano Scotti, and perhaps alongside Bernardino Luini. Circa 1504 he proceeded to Florence. It was once thought that he later moved to Rome. He died in Milan.
Gaudenzio was not related to Defendente Ferrari (c.1490–1535) a painter from Chivasso, nor to Eusebio Ferrari (1508–1533) the painter from Vercelli.
His initial pictorial style may be considered as derived mainly from the old Milanese school, which had imbibed the classic influence of Leonardo and pupils such as Bramantino. However, the provincial impetus was also strong, as is demonstrated in his emotive work at the Sacro Monte of Varallo.
Gaudenzio Ferrari, Crucifixion, 1513, fresco, Santa Maria delle Grazie, Varallo Sesia
By 1513, Gaudenzio had depicted the life of Christ in a fresco at Santa Maria delle Grazie in Varallo Sesia. He returned to work in the chapels of the Sacro Monte di Varallo by 1524. The chapels are dispersed over a hilltop sanctuary, connected by a winding path, and containing a combination of diorama and wax museum with life-size terracotta figures. He executed his most memorable work, a fresco of the Crucifixion (pictured right), with a multitude of figures, no less than twenty-six of them being modelled in actual relief, and colored; on the vaulted ceiling are lamenting angels. The figures include goitrous bestial assailants.
There are other works which show flashes of innovation such as the crowded chorus decorating duomo of Santa Maria dei Miracoli in Saronno or his fresco of St Anne. This painting shows the overlap of Milanese realism and Venetian colorism.
He was a very prolific painter, distinguished by strong animation. In general character, his work suggests more the 15th than the 16th century. His subjects were always religious. Andrea Solario, Giovanni Battista Cerva, Gian Paolo Lomazzo, and Fermo Stella were his principle students.
La Gr.880-051 transita nei pressi dell'ormai soppressa fermata di San Bernardino (NO) mentre effettua un treno speciale proveniente da Milano Centrale e diretto a Varallo Sesia.
A special train from Milano Centrale to Varallo Sesia, hauled by Gr.880-051, is seen here passing next to San Bernardino, Italy.
Il Sacro Monte si trova in un contesto paesaggistico straordinario, su un promontorio boscoso che si protende nel lago di Orta. Venti cappelle immerse nella natura illustrano con sculture e pitture gli episodi della vita di San Francesco, distribuite lungo un percorso che si snoda sulla cima del monte, aprendo spettacolari vedute sul lago e sull'isola di San Giulio.
La prima idea della comunità di realizzare un itinerario religioso sul modello del Sacro Monte di Varallo risale al 1583, ma si concretizzò soltanto nel 1590 grazie all’apporto dell’abate novarese Amico Canobio e al progetto dell'architetto cappuccino Cleto da Castelletto Ticino. Tra il 1593 e il 1615 il vescovo di Novara Carlo Bascapé divenne il vero protagonista del cantiere, decidendo la successione di scene da realizzare all'interno delle cappelle, stabilendo con Cleto da Castelletto la struttura architettonica del complesso e chiamando ad Orta artisti di notevole fama.
Le statue e i dipinti del Sacro Monte compongono scene di grande realismo, dove le atmosfere intime e naturali tipiche dell'arte lombarda di primo Seicento si combinano con la vivace teatralità barocca di fine secolo. Tra gli artisti che lavorarono al Sacro Monte di Orta, spiccano i Fiammenghini, il Morazzone, Cristoforo Prestinari, i fratelli d’Enrico, Dionigi Bussola e i fratelli Nuvolone.
Il percorso di visita termina all'interno della chiesa di San Nicolao, edificio proto-romanico, completamente rimodellato nel corso del XVII secolo ad imitazione della Basilica inferiore di Assisi, che ospita l'antico gruppo ligneo della Madonna della Pietà (XIV secolo).
La bellezza del paesaggio, il silenzio e il rapporto armonico tra arte, architettura e natura riflettono pienamente la spiritualità francescana.
Sacro Monte is located in an extraordinary landscape setting, on a wooded promontory jutting into Lake Orta. Twenty chapels surrounded by nature illustrate with sculptures and paintings the episodes in the life of St. Francis, distributed along a path that winds along the top of the mountain, opening up spectacular views of the lake and the island of San Giulio.
The community's first idea of creating a religious itinerary on the model of the Sacro Monte of Varallo dates back to 1583, but it did not materialize until 1590 thanks to the contribution of the Novarese abbot Amico Canobio and the design of the Capuchin architect Cleto da Castelletto Ticino. Between 1593 and 1615 the bishop of Novara Carlo Bascapé became the real protagonist of the building site, deciding on the succession of scenes to be realized inside the chapels, establishing with Cleto da Castelletto the architectural structure of the complex, and calling to Orta artists of considerable fame.
The statues and paintings at Sacro Monte compose scenes of great realism, where the intimate and natural atmospheres typical of early 17th-century Lombard art are combined with the lively Baroque theatricality of the late 20th century. Among the artists who worked at Sacro Monte di Orta are the Fiammenghini, Morazzone, Cristoforo Prestinari, the d'Enrico brothers, Dionigi Bussola and the Nuvolone brothers.
The tour ends inside the church of San Nicolao, a proto-Romanesque building, completely remodeled during the 17th century in imitation of the Lower Basilica in Assisi, which houses the ancient wooden group of the Madonna of Mercy (14th century).
The beauty of the landscape, the silence and the harmonious relationship between art, architecture and nature fully reflect Franciscan spirituality.
Varallo Pombia. Italy.
Ring tailed Lemuri.
Spent the Sunday at the zoo with family.
I do not have a tele, therefore this is One of the few good shots of the animals I got.
Zoo safari. Lemure dalla coda ad anelli.
Il Santuario della Madonna del Sasso domina la città di Locarno dalla punta di uno sperone roccioso, a 370 metri s.l.m.. Propriamente situato nel Comune di Orselina, rappresenta una delle principali attrazioni della località svizzera, anche per lo splendido panorama sul Lago Maggiore.
Le origini del Santuario della Madonna del Sasso
Fra’ Bartolomeo d’Ivrea è considerato il fondatore del complesso: alla fine del XV secolo dal Convento di San Francesco di Locarno, scelse una vita da eremita insediandosi ai piedi della rupe, dove sorse una prima chiesa.
Alla fine del XVI secolo si diede avvio alla costruzione di una seconda chiesa, l’attuale Santuario, sulla sommità dello sperone roccioso, e alla progettazione di un percorso sacro, sull’esempio di altri Sacri Monti, come quello di Varallo Sesia: nacque così la Via Crucis. Alcuni artisti operanti sul percorso di Locarno erano attivi anche nella realizzazione di opere per il Sacro Monte di Varese.
Il complesso, proprietà e Convento dei cappuccini, fu espropriato nel XIX dalla Repubblica svizzera e divenne proprietà del Canton Ticino, ma ancora oggi i frati ne sono i custodi.
The Sanctuary of the Madonna del Sasso dominates the town of Locarno from the tip of a rocky spur, at 370 meters above sea level .. Properly located in the Municipality of Orselina, it represents one of the main attractions of the Swiss resort, also due to the splendid panorama over Lake Maggiore.
The origins of the Sanctuary of the Madonna del Sasso
Fra ’Bartolomeo d’Ivrea is considered the founder of the complex: at the end of the 15th century from the Convent of San Francesco in Locarno, he chose a hermit's life settling at the foot of the cliff, where a first church was built.
At the end of the sixteenth century the construction of a second church was started, the current Sanctuary, on the top of the rocky spur, and the planning of a sacred path, following the example of other Sacred Mountains, such as that of Varallo Sesia: this was how the Via Crucis. Some artists working on the Locarno route were also active in the construction of works for the Sacro Monte di Varese.
The complex, property and Convent of the Capuchins, was expropriated by the Swiss Republic in the 19th century and became the property of the Canton Ticino, but still today the friars are its custodians.
The Church of Our Lady of the Graces is a Gothic-style, Roman Catholic church in Varallo Sesia, province of Vercelli, region of Piedmont, Italy. The church was built, together with the adjacent Franciscan convent, by padre Bernardo Caimi between 1486 and 1493. At this time, the construction of the Sacro Monte was also beginning. In December 1931, Pope Pius XI gave the church the title of Minor Basilica.
The interior is subdivided into spaces for the general public and for the friars, separated by a partition wall (tramezzo), supported by three round arches. The central arch opens to a hall reserved for friars, while the two lateral arches lead to two chapels. The fresco cycle scheme of the wall is traditionally attributed to Bernardino of Siena, and painted in 1531 by Gaudenzio Ferrari.
Similar decorative structures, with a partition wall entirely decorated with frescoes of the life of Jesus, were typical of the religious and artistic culture of the Friars Minor in Piedmont and Lombardy between the 15th and 16th centuries.
By the end of the 15th century, the Franciscan convent was much larger than today. The ancient building consisted of two cloisters, the friars' cells, a refectory, a library and kitchens. The monks vacated the convent by the early 20th century, and restorations began. Since 1953 the complex has hosted the nuns Suore Missionarie di Gesù Eterno Sacerdote.
Common for Franciscan churches, the bare façade does not hint at the rich fresco decoration inside. In the cosy atmosphere of the church, with the gothic arches sustaining the ceiling trusses, the wall of frescos by Gaudenzio Ferrari are one of the masterpieces of Renaissance painting in Piedmont and Lombardy. They depict the life and passion of Jesus Christ on a surface of 82 m2: twenty equal frames narrate the main facts told by the gospels from the Annunciation to the Resurrection, working as Biblia pauperum. The Crucifixion, as the most important narrative scene, occupies the center with four frames.
The painter from Valsesia completed the frescos in 1513 (as it is written on the wall by the author himself, "Gaudenzius Ferrarius Vallis Siccidae pinxit"). He had worked in Varallo, at the Sacro Monte, for ten years and had already painted the polyptych of St Anne.
Ferrari's influences, for example in his orientation of the Last Supper include da Vinci's famous fresco in Milan. Ferrari's landscapes also recall Leonardo's style. But Ferrari had traveled to Rome, and met or saw the work of Bramantino in Milan or Perugino in Rome.
The most important model was Giovanni Martino Spanzotti, author of a similar decoration in the church of San Bernardino in Ivrea. The nocturnal Arrest of Jesus quotes from the same scene in Ivrea.
Despite the importance of his models, Ferrari also painted some figures (such as armors, horse heads, halos) in relief to give them particular prominence; an innovation perhaps prompted by the three dimensional tableaux of the Sacro Monte chapels.
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EXPLORE: Jul 4, 2009 #88
Info photo: Fobello
Retouching and paint: NO
Postprocessing RAW: levels and saturation
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"Campo scout a casa Tabor"
Fobello (in piemontese Fobél o Fobeli) è un comune di 246 abitanti della provincia di Vercelli. Si trova in Valsesia, collocato all'estremità di uno dei due rami della Val Mastallone.
Il nome significa faggio bello, a segnalare la presenza di ricchi boschi che circondano l'abitato.
A Fobello nacque Vincenzo Lancia, fondatore dell'omonima casa automobilistica. Si trasferisce poi a Varallo per affrontare gli studi e qui inizia a lavorare come meccanico, acquisendo quelle prime competenze e la passione che lo spingeranno a costruire una casa automobilistica.
Il vallone di Roj, nel territorio comunale di Fobello, fa parte del Parco naturale Alta Valsesia.
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Fobello is a comune (municipality) in the Province of Vercelli in the Italian region Piedmont, located about 100 km northeast of Turin and about 70 km northwest of Vercelli. As of 31 December 2004, it had a population of 246 and an area of 29.3 km².[1]
Fobello borders the following municipalities: Bannio Anzino, Carcoforo, Cervatto, Cravagliana, Rimasco, Rimella, and Rossa.
The famous automotive engineers Vincenzo Lancia (1881-1937) and his son Gianni Lancia (1924-) were from Fobello.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
...Hard to find in a man.
This was taken at the Zoo in Varallo Pombia, Italy. All the Raptors of the structure have been saved, and they are trained for falconery; no One of them have been captured.
Raw file edited and converted by DarkTable... At ISO 800, I did not apply any noise reduction, I used instead B&W to convert the noise in a kind of film grain and preserve the details.
Btw: I Will never pay Adobe monthly to keep the editing profiles of my Photos. Free softwares as DarkTable and Rawtherapee are great. They Can match professionals products as CaptureOne, probably the best Raw converter...if you have the patient for learning... excuse my anger, today is one of those days..."
Varallo Sesia, Italy
Sacro Monte, World Heritage Site UNESCO
The Sacred Mountain of Varallo is a type of mountainside Christian devotional complex that re-builts Jerusalem's holy places overlooking the town of Varallo Sesia. Founded in 1491 by the franciscan friar Bernardino Caimi and the artist Gaudenzio Ferrari, the site comprises a basilica and 45 chapels, either isolated or inserted into the large monumental complexes, all painted and populated by more than 800 life size painted statues, in wood and terracotta, that dramatically illustrate the life, passion, death and resurrection of Christ.
Surplombant le promontoire étendu sur le lac d’Orta, où la végétation s’alterne avec des panoramas lacustres spectaculaires, le parcours du Sacro Monte serpente, dans un environnement tantôt de jardins tantôt de bois, au cœur de vingt chapelles comportant en leur sein des sculptures et des peintures évoquant les épisodes de la vie de saint François par analogie avec la vie de Jésus.
L’idée première de la communauté de réaliser un itinéraire religieux, semblable au Sacro Monte de Varallo, remonte à 1583 mais ne prendra forme qu’en 1590 grâce à l’initiative de l’abbé de Novare Amico Canobio et selon le projet défini par l’architecte capucin Cleto da Castelletto Ticino qui répartit les œuvres architecturales entre le paysage naturel et les ouvertures scénographiques donnant sur le lac. Les scènes, peuplées de statues et de peintures très réalistes, proposent une alternance d’atmosphères intimistes et naturelles du début du dix-septième siècle représentées par la théâtralité pleine de vivacité du baroque de la fin du siècle ; elles furent réalisées par les plus importants artistes de l’école flamande tels que Morazzone, Cristoforo Prestinari, les frères d’Enrico, Dionigi Bussola et beaucoup d’autres encore.
Le parcours processionnel se termine avec l’église de saint Nicolas, édifice proto-roman complètement remodelé au cours du dix-septième siècle et à l’image de la basilique inférieure d’Assise, qui abrite l’ensemble de sculptures en bois de la Vierge de la Pitié (quatorzième siècle).Le charme du paysage et le silence du lieu se marient parfaitement à la spiritualité franciscaine.
Varallo Sesia commonly known as Varallo, is a comune and town in the province of Vercelli in the Piedmont region of Italy. It is situated in Valsesia, at 450 metres above sea level and some 66 kilometres north-northeast of Vercelli and 55 kilometres northwest of Novara.
Once called Varade, it is divided in two boroughs (Varallo Vecchia and Varallo Nuova) by the Mastallone stream.
In 1971, Varallo was awarded the Golden Medal for Military Valor for the deeds of its population against the German occupation in the late stages of World War II.
The valley of the Sesia is very narrow at this point as it nears its source. Varallo lies on the left bank where the Mastallone flows into the Sesia.
The town is surrounded by the foothills of the Alps and is not far from the Monte Rosa, which is visible from the surrounding hills.
A priest at his evening prayer in front of the Basilica of Our Lady of the Assumption of Sacro Monte di Varallo.
Italiano:
Basilica di Madonna Assunta del Sacro Monte di Varallo
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved Cicay
La Gr. 640 143 di Fondazione FS, con il treno speciale Novara-Varallo Sesia, in transito a San Bernardino di Briona (NO)
Il giallo del riso maturo contorna il transito della ALn663.1203, qui ripresa mentre si dirige verso Novara, con un regionale da Varallo Sesia, in una calda giornata estiva.
An FS ALn663 DMU is seen here in San Bernardino (near Novara) with a regional train from Varallo Sesia to Novara, in a sunny August afternoon.
The Sacred Mount of Varallo is located in Valsesia, in the province of Vercelli. It sits on a buttress of rock above the town of Varallo (600 m a.s.l) and it is the oldest and the most important Sacred Mount of the alpine region.
Its story begins at the end of the 15th century, when the Franciscan friar Bernardino Caimi di Milano, on his return from the Holy Land, where he had been the guardian of the Holy Sepulchre, decided to reproduce the holy places of Palestine in Valsesia. The “New Jerusalem” as the Sacred Mount was called, initially was meant to reproduce the distant sites of the Christian tradition for all those who would never be able to go there. Inside these places, there were images, paintings and sculptures that evoked the corresponding events of the story of the life of Christ.
Already in the early 16th century, thanks to the work of the painter, sculptor and architect Gaudenzio Ferrari, the scenes inside the chapels were presented in a genial and innovative merging of painting, and sculptures with strong realism, so that the devout could feel strongly involved, almost part of the spectacle presented. Gaudenzio Ferrari’s work would be taken as a model for the construction of many other Sacred Mounts.
In the Counter-Reformation period, the Sacred Mount took on the
nature of a route, real but at the same time mystical, that pilgrims followed recalling the story of the life of Christ.
The Sacred Mount of Varallo includes a basilica and forty-five frescoed chapels populated by over eight hundred statues. Over a period of time,
numerous important Piemonte artists contributed to the decoration and completion of this extraordinary complex; among these, besides Gaudenzio Ferrari, there were Bernardino Lanino, Tanzio da Varallo, the d’Enrico brothers, il Morazzone, Dionigi Bussola and Benedetto Alfieri.