18th Chapel: the crucifixion - Sacred Mount of Crea - UNESCO World Heritage Site (2003)

La scena della crocifissione di Gesù, diversamente da quella del Sacro Monte di Varallo, è molto spoglia e ridotta all’essenziale, con solo otto statue che raffigurano i personaggi descritti dal Vangelo. Gesù in croce, con aria di abbandono, è attorniato dai due ladroni: quello di destra, “il cattivo ladrone”, sdentato e contorto, ha l’aspetto rabbioso, mentre quello di sinistra, “il buon ladrone”, ha l’aria serena e volge uno sguardo pieno di fiducia verso Gesù, dal quale sarà ricompensato. Davanti, da destra, vediamo in successione Giuseppe d’Arimatea, discepolo discreto e fedele che si farà poi carico della sepoltura di Gesù; Giovanni che vive il suo dolore solitario; la Maddalena accasciata ed angosciata e Maria, la madre, piegata dal dolore e sostenuta da una pia donna.

La decorazione delle pareti lascia intravedere discretamente i soldati e le folle, sullo sfondo di una Gerusalemme avvolta dalle tenebre e da una luce rossastra dietro la croce, mentre un fulmine colpisce il tempio, una punizione celeste che non trova riscontro nel racconto evangelico.

The scene of the crucifixion of Jesus, unlike that of the Sacro Monte of Varallo, is very bare and reduced to essential, with only eight statues depicting the characters described in the Gospel. Jesus on the cross, with an air of abandonment, is surrounded by two thieves: one on the right, "the bad thief", toothless and twisted, he looks angry, and the left, "the good thief", has the air serene and turns a look of confidence in Jesus, from which he will be rewarded. In front, from right, we see in succession Joseph of Arimathea, discreet and faithful disciple who will then load the burial of Jesus; John, who lives his solitary suffering; Magdalene slumped and distressed and Mary, the mother, bent with pain and backed by a pious woman.

The decoration of the walls glimpse discreetly soldiers and crowds, against the backdrop of Jerusalem surrounded by darkness and by a red light behind the cross, while lightning strikes the temple, a heavenly punishment that is not reflected in the Gospel story.

15th Chapel: the healing - Sacred Mounth of Varallo - UNESCO World Heritage Site (2003)

Gesù prova la sua divinitá con i miracoli.

Mentre sta insegnando in una casa di Cafarnao, viene calato dal tetto scoperchiato un paralitico che vuole essere guarito.

Gesù gli perdona i peccati e gli dona la perfetta salute del corpo

Iniziata prima nel 1583 su progetto di Galeazzo Alessi, fu modificata da Giovanni d' Enrico. Statue di Giovanni d' Enrico.

Affreschi di Cristoforo Martinolio detto ' il Rocca'

Jesus proves his divinity by miracles. While he is teaching in a house in Capharnaum, a man wishing to be cured of his paralysis is lowered from the roof. Jesus forgives him his sins and gives him perfect health in body.

Built in 1583. Statues by Giovanni d'Enrico 17th cen.). Frescoes by Cristoforo Martinolio known as "Rocca" (17th cen.).

This ist the Antonini Bridge across the Mastallone Torrent ( not the Sesia River) at this beautiful town.

24th Chapel: The Court of Annas - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Inizia la serie dei processi. Davanti ad Anna, suocero di Caifas, Sommo Sacerdote, Gesù viene schiaffeggiato.

Costruita nel 1737 su progetto di G.B. Morondi.

Statue di G.B. Bernero (1776) e di Antoni Tardini di Valsassina (1742-42). Affreschi di Sigismondo Betti (1765).

The series of trials begins. Before Annas, father-in-law of Caiphas, the

High Priest, Jesus is struck by a servant.

Built in 1737 to a design by G.B. Morondi.(18th cen.). Statues by G.B. Bernesi (18th cen.) and Antonio Tantardini of Valsassina (18th cen.). Frescoes by Sigismondo Betti (18th cen.)

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SCOUT EXPLORE: Jul 4, 2009 #35

Info photo: Fobello

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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

Ceiling 43th Chapel: the Holy sepulchre - - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Il Santo Sepolcro è la prima cappella costruita al Sacro Monte da fra Bernardino Caimi. Terminata nel 1491, riproduce il S. Sepolcro di Gerusalemme.

Si notano, fuori dalla porta d'ingresso, due nicchiette, contenenti l'una il teschio del 'Beato' Bernardino Caìmi, l'altra un frammento di roccia del Sepolcro di Gesù.

Nell'atrio, a sinistra, la Maddalena in ginocchio (statua in legno di Gaudenzio Ferrari); a destra, l'Angelo che annuncia la Resurrezione di Gesù. Curvi si entra nel Sepolcro vero e proprio, dove è venerato il Cristo morto (statua in legno) del Ferrari (inizio del 1500). I dipinti sono dei fratelli Bacchetta (1944).

It is the first chapel built on the Sacro Monte by Fra Bernardino Caimi in 1491, and it reproduces the Holy Sepulchre in Jerusalem. Outside the entrance door, two little niches, one containing the skull of Blessed Bernardino Caimi and the other a fragment of rock from the true Sepulchre of Jesus, should be noted.

In the porch, on the left, Mary Magdalen kneeling (a 15th cen. wooden statue by Gaudenzio Ferrari ), and on the right, Angel announcing the Resurrection of Jesus. Bending down, one can enter the Sepulchre proper, in which the dead Christ is venerated (15th cen. wooden statue).The paintings are by the Bacchetta brothers (1944).

5th Chapel: Procession of the Three Kings - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Guidati da una stella, in modo miracoloso, i Magi vengono dall'Oriente per rendere omaggio a Gesù Bambino, il Redentore degli uomini.

Costruita tra il 1519 e il 1525 da Gaudenzio Ferrari.

Statue di Gaudenzio Ferrari e collaboratori.(1525-28)

Affreschi di Gaudenzio Ferrari

Guided by a star, in a miraculous way, the Magi from the East to pay homage to the baby Jesus.

Built between 1519 and 1525 by Gaudenzio Ferrari.

Statues of Gaudenzio Ferrari and collaborators. (1525-28)

Frescoes by Gaudenzio Ferrari

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

Antonio d'Enrico, called Tanzio da Varallo, or simply the Tanzio (Alagna Valsesia, around 1582 - Varallo (?), 1633) - Adoration of the Child with San Carlo Borromeo (around 1627-29) - Oil on canvas 143 x 114, 5 cm - Museum of Palazzo Madama, Turin

Il dipinto proviene dalla raccolta del pittore Ruggero Poletti di Milano, precedentemente si trovava in una raccolta privata di Varese ed era attribuito allo Zurbaran. "L' esatta attribuzione spetta al restauratore Malagutti. Presso la Pinacoteca di Varallo esiste un disegno che è chiaro studio per la mano del pastore di destra" (in G. Testori, a cura di, catalogo della mostra Tanzio da Varallo, Torino 1959, p. 36, n. 10, tav. 64). Si confronti l' opera con la redazione di Los Angeles, County Museum, di maggiori dimensioni e meglio conservata, anch' essa legata ai capolavori tardi di Tanzio.

The painting comes from the collection of the painter Ruggero Poletti of Milan, previously it was in a private collection in Varese and was attributed to the Zurbaran. "The exact attribution belongs to the restorer Malagutti. At the Pinacoteca di Varallo there is a drawing that is a clear study for the hand of the right - hand shepherd" (in G. Testori, edited by, catalog of the exhibition Tanzio da Varallo, Turin 1959, p. 36, no. 10, plate 64). Compare the work with the Los Angeles County Museum, larger and better preserved, also linked to the late masterpieces by Tanzio.

Escultura de São Bartolomeu, que aparece carregando a sua própria pele, no Interior da Catedral de Milão.

Statue of St. Bartholomew in the Duomo di Milano,

Statue of St. Bartholomew, with own skin, by Marco d'Agrate, placed in the Duomo di Milano in 1562.

In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.

Saint Bartholomew was one of the twelve Apostles of Jesus. Bartholomew (Greek: Βαρθολομαίος, transliterated "Vartholomeos") comes from the Aramaic bar-Tôlmay (תולמי‎‎‎‎‎-בר‎‎), meaning son of Tolmay (Ptolemy) or son of the furrows (perhaps a ploughman). Many have, based on this meaning, assumed it was not a given name, but a family name.[1]

The festival of St Bartholomew is celebrated on August 24 in the western Church and on June 11 in the Eastern churches. The Armenian Apostolic Church honours Saint Bartholomew, along with Saint Thaddeus as their patron saint. The Coptic Church remembers him on January 1. The festival in August has been a traditional occasion for markets and fairs; such a fair serves as the scene for Bartholomew Fair, a play by Ben Jonson.

Of the many miracles performed by St. Bartholomew before and after his death, two very popular ones are known by the townfolk of the small island of Lipari. When St. Bartholomew's body was found off the shore, the Bishop of Lipari ordered many men to take the body to the Cathedral. When this failed due to its extreme weight, the Bishop then sent out the children. The children easily brought the body ashore.

The people of Lipari celebrated his feast day annually. The tradition of the people was to take the solid silver and gold statue from inside the Cathedral of St. Bartholomew and carry it through the town. When taking the statue down the hill towards the town, it suddenly got very heavy and had to be set down. When the men carrying the statue regained their strength they lifted it a second time. After another few seconds, it got even heavier. They set it down and attempted once more to pick it up. They managed to lift it but had to put it down one last time. Within seconds, the walls further downhill collapsed. If the statue had been able to be lifted, all of the townspeople would have been killed.

Statue of St. Bartholomew, with own skin, by Marco d'Agrate, placed in the Duomo di Milano in 1562.

During World War II, the Fascist regime looked for ways to finance their activities. The order was given to take the silver statue of Saint Bartholomew and melt it down. The statue was weighed and it was found to be only several ounces. It was returned to its place in the Cathedral in Lipari. In reality, the statue is made from many pounds of silver and it is considered a miracle that it was not melted down.

St. Bartholomew is credited with many other miracles having to do with the weight of objects.

The sixth-century writer in Constantinople, Theodorus Lector, averred that ca 507 the Emperor Anastasius gave the body of Bartholomew to the city of Dura-Europos, which he had recently founded (actually re-founded).[8] The existence of relics at Lipari, a small island off the coast of Sicily, in the part of Italy controlled from Constantinople, was explained by Gregory of Tours[9] by his body having miraculously washed there: a large piece of his skin and many bones that were kept in the Cathedral of St. Bartholomew the Apostle, Lipari, were translated to Beneventum in 803, and to Rome in 983 by Holy Roman Emperor Otto II, at the basilica of San Bartolomeo all'Isola. In time, the church here inherited an old pagan medical center. This association with medicine in course of time caused Bartholomew's name to become associated with medicine and hospitals.[10] Some of Bartholomew's skull was transferred to Frankfurt, while an arm is venerated in Canterbury Cathedral today.

A text, in english, from Wikipedia, the free encyclopedia.

Milan Cathedral

Milan Cathedral (Italian: Duomo di Milano; Milanese: Domm de Milan) is the cathedral church of Milan in Lombardy, northern Italy. It is the seat of the Archbishop of Milan, currently Cardinal Dionigi Tettamanzi.

History:

Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies the most central site in Roman Mediolanum, that of the public basilica facing the forum. Saint Ambrose's 'New Basilica' was built on this site at the beginning of the 5th century, with an adjoining basilica added in 836. When a fire damaged both buildings in 1075, they were rebuilt as the Duomo.

Um texto, em português, do Site "Fatos e fotos de viagens", que pode ser visto no endereço interata.squarespace.com/jornal-de-viagem/2006/11/27/duom...

In 1386 archbishop Antonio da Saluzzo began construction in a rayonnant Late Gothic style more typically French than Italian. Construction coincided with the accession to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes which had been suppressed by his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of 'St. Stephen at the Spring', while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Galeazzo gave the Fabbrica exclusive use of the marble from the Candoglia quarry and exempted it from taxes.

In 1389 a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its strong Gothic imprint. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but anyway they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, due to lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.

In 1500-1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of fifteen statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.

The famous "Madunina" atop the main spire of the cathedral, a baroque gilded bronze artwork.

During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562 Marco d' Lopez's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.

After the accession of the ambitious Carlo Borromeo to the archbishop's throne, all lay monuments were removed from the Duomo. These included the tombs of Giovanni, Barnabò and Filippo Maria Visconti, Francesco and his wife Bianca, Galeazzo Maria and Lodovico Sforza, which were brought to unknown destinations. However, Borromeo's main intervention was the appointment, in 1571, of Pellegrino Pellegrini as chief engineer— a contentious move, since to appoint Pellegrino, who was not a lay brother of the duomo, required a revision of the Fabbrica's statutes.

Borromeo and Pellegrino strove for a new, Renaissance appearance for the cathedral, that would emphasise its Roman / Italian nature, and subdue the Gothic style, which was now seen as foreign. As the façade still was largely incomplete, Pellegrini designed a "Roman" style one, with columns, obelisks and a large tympanum. When Pellegrini's design was revealed, a competition for the design of the facade was announced, and this elicited nearly a dozen entries, including by Antonio Barca [1].

This design was never carried out, but the interior decoration continued: in 1575-1585 the presbytery was rebuilt, while new altars and the baptistry were added in the nave.

Wooden choirstalls were constructed by 1614 for the main altar by Francesco Brambilla.

In 1577 Borromeo finally consecrated the whole edifice as a new church, distinct from the old Santa Maria Maggiore and Santa Tecla (which had been unified in 1549 after heavy disputes).

At the beginning of the 17th century Federico Borromeo had the foundations of the new façade laid by Francesco Maria Richini and Fabio Mangone. Work continued until 1638 with the construction of five portals and two middle windows. In 1649, however, the new chief architect Carlo Buzzi introduced a striking revolution: the façade was to revert to original Gothic style, including the already finished details within big Gothic pilasters and two giant belfries. Other designs were provided by, among others, Filippo Juvarra (1733) and Luigi Vanvitelli (1745), but all remained unapplied. In 1682 the façade of Santa Maria Maggiore was demolished and the cathedral's roof covering completed.

The ultimate facade with its striking rosy marble revetment

In 1762 one of the main features of the cathedral, the Madonnina's spire, was erected at the dizzying height of 108.5 m. The spire was designed by Francesco Croce and sports at the top a famous polychrome Madonnina statue, designed by Giuseppe Perego that befits the original stature of the cathedral.[2] Given Milan's notoriously damp and foggy climate, the Milanese consider it a fair-weather day when the Madonnina is visible from a distance, as it is so often covered by mist.

On May 20, 1805, Napoleon Bonaparte, about to be crowned King of Italy, ordered the façade to be finished. In his enthusiasm, he assured that all expenses would fall to the French treasurer, who would reimburse the Fabbrica for the real estate it had to sell. Even though this reimbursement was never paid, it still meant that finally, within only seven years, the Cathedral had its façade completed. The new architect, Francesco Soave, largely followed Buzzi's project, adding some neo-Gothic details to the upper windows. As a form of thanksgiving, a statue of Napoleon was placed at the top of one of the spires.

In the following years, most of the missing arches and spires were constructed. The statues on the southern wall were also finished, while in 1829-1858, new stained glass windows replaced the old ones, though with less aesthetically significant results. The last details of the cathedral were finished only in the 20th century: the last gate was inaugurated on January 6, 1965. This date is considered the very end of a process which had proceeded for generations, although even now, some uncarved blocks remain to be completed as statues. The Duomo's main facade is under renovation as of 2007; canvas-covered scaffolding obscures most of the facade.

he cathedral of Milano is often described as one of the greatest churches in the world. The ground plan is of a nave with 5 aisles, crossed by a transept and then followed by choir and apsis. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral that was never completed).

The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, sitting upon delicate flying buttresses.

The cathedral's five wide naves, divided by forty pillars, are reflected in the hierarchic openings of the facade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.

The interior of the cathedral includes a huge number of monuments and artworks. These include:

* The Archbishop Alberto da Intimiano's sarcophagus, which is overlooked by a Crucifix in copper laminae (a replica).

* The sarcophagi of the archbishops Ottone Visconti and Giovanni Visconti, created by a Campionese master in the 14th century.

* The sarcophagus of Marco Carelli, who donated 35,000 ducati to accelerate the construction of the cathedral.

* The three magnificent altars by Pellegrino Pellegrini, which include the notable Federico Zuccari's Visit of St. Peter to St. Agatha jailed.

* In the right transept, the monument to Gian Giacomo Medici di Marignano, called "Medeghino", by Leone Leoni, and the adjacent Renaissance marble altar, decorated with gilt bronze statues.

* In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.

* The presbytery is a late Renaissance masterpiece composing a choir, a Temple by Pellegrini, two pulpits with giant telamones covered in copper and bronze, and two large organs. Around the choir the two sacristies' portals, some frescoes and a fifteenth-century statue of Martin V by Jacopino da Tradate) can be seen.

* The transepts house the Trivulzio Candelabrum, which is in two pieces. The base (attributed to Nicolas of Verdun, 12th century), characterized by a fantastic ensemble of vines, vegetables and imaginary animals; and the stem, of the mid-16th century.

* In the left aisle, the Arcimboldi monument by Alessi and Romanesque figures depicting the Apostles in red marble and the neo-Classic baptistry by Pellegrini.

* A small red light bulb in the dome above the apse marks the spot where one of the nails from the Crucifixion of Christ has been placed.

* In November-December, in the days surrounding the birthdate of the San Carlo Borromeo, a series of large canvases, the Quadroni are exhibited along the nave.

DUOMO - A Catedral de Milão

O Duomo é apenas mais um dos fabulosos exemplos de arquitetura e monumentalidade dirigida ao culto ao divino entre tantas outras catedrais construídas na Europa durante a Idade Média, entre os séculos 9 e 12.

Dizem que o Duomo foi projetado pelo pintor, escultor, arquiteto, engenheiro, cientista e inventor italiano Leonardo da Vinci, nascido em Vinci e falecido em Amboise, na França.

Igrejas como as de Chartres , Amiens e Notre Dame de Paris (França), Sevilha e Santiago de Compostela (Espanha), Colônia (Alemanha) e o Duomo de Milão (Itália) são o exemplo máximo do estilo gótico — caracterizado pelo uso das ogivas (cruzamento de arcos), que possibilitavam a construção de altas estruturas. No apogeu do fervor católico, elas foram projetadas usando medidas que reproduziam as proporções do corpo humano.

Situado no centro da cidade , o Duomo é o marco zero geográfico da cidade e ponto de partida para se conhecer a cidade. Muitas de suas atrações estão nas proximidades ou vizinhanças.

Pode-se visitar internamente a igreja e seu telhado. Todos os dias, de 7 às19h de junho a setembro, e de 9 às 16h, de outubro a maio. Para ingressar na igreja nada se paga, mas para subir ao seu telhado paga-se o preço de 4 Euros, por elevador.

Duomo é uma gigantesca igreja catedral, uma das maiores em estilo gótico em todo o mundo, em dimensões, pois tem cerca de 160 m de comprimento por 92 de largura. Suas dimensões representam aquilo que mais impressiona e provoca admiração a quem a visita, num primeiro olhar.

igreja começou a ser construída no Século 14 mas só foi concluída 500 (!!) anos depois.

Uma das coisas mais interessantes a ser fazer em toda Milão é visitar o telhado do Duomo, todo em placas de mármore, da mesma pedra de sua fachada, suas esculturas (santos, gárgulas e agulhas) e de onde se tem uma bela vista de toda a cidade.

A fachada do Duomo não tem apenas um estilo arquitetônico: eles vão do gótico ao renascentista, com alguns elementos neoclássicos.

Ainda no exterior, antes de entrar na igreja, não deixe de observar o rendilhado que envolve as janelas-vitrais e também as belíssimas e enormes portas de bronze, nas quais estão esculturas em baixos e altos-relevos que mostram cenas da história da cidade.

O que mais impressiona no interior é a altura dos enormes pilares góticos que suportam o telhado de toda a igreja e que delimitam suas naves laterais, secundárias e principal, além do altar-mór. Elas enquadram os vitrais igualmente gigantescos e belíssimos.

O interior não impressiona tanto quanto o exterior, ainda que seja solene, grandioso e tenha cinco naves e 52 gigantescas colunas de pedra.

Também o maravilhoso piso de mármore de três ou quatro tonalidades, que formam belos desenhos, dão, na nave central, a verdadeira impressão das dimensões desta fabulosa igreja. Observe o piso (de preferência ajoelhado nele) posisionando-se de costas para o altar-mór e olhando para o portão principal.

Em Milão quase tudo gira ao redor do Duomo, a Catedral de Milão, a terceira maior igreja da cristandade depois da Basílica de São Pedro, em Roma, e da Catedral de Sevilha.

No telhado as centenas de agulhas altíssimas, de arcos e gárgulas, estátuas e cariátides esculpidos em mármore impressionam tanto quanto sua fachada, vista do nível da rua. A mais magestosa das imagens é a estatua dourada da Madonnina do Perego, situada no topo da agulha maior, onde foi colocada em 1744.

Uma visita ao seu telhado dá-nos a dimensão exata da grandiosidade do trabalho de construção desta monumental escultura e nos leva a imaginar o quão difícil deve ter sido, compreendendo-se porque ela iniciou-se em 1386 e terminou em 1887!

O Duomo di Milano é um monumento símbolo do patrimônio Lombardo, dedicado à Santa Maria Nascente e situado na praça central da cidade de Milão, Itália. É uma das mais célebres e complexas construções em estilo Gótico do mundo.

Leia mais sobre a catedral de Milão no endereço www.maconaria.net/portal/index.php?view=article&catid...

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

36th chapel: The road to Calvary -Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Portando la croce, Gesù si avvia faticosamente al Calvario. Per la strada cade tre volte, è aiutato da un contadino di Cirene, incontra la Madonna e altre pie donne, ha un po' di sollievo da parte della Veronica che gli asciuga il volto imbrattato di sangue e sudore.

Iniziata nel 1589. Statue di Giovanni Tabacchetti e Giovanni d' Enrico. Affreschi Pier Francesco Mazzucchelli, detto 'il Morazzone'(1607-8).

Bearing the Cross, Jesus laboriously makes His way to Calvary. On the way the he falls three times, is aided by one Simon of Cyrene coming from the country, meets Mary his Mother and other pious woman, and receives a little relief from Veronica who wipes his blood-stained, sweaty face.

Built about 1599. Statues by Giovanni Tabacchetti and Giovanni d'Enrico. (17th cen.). Frescoes by Pier Francesco Mazzucchelli known as "Morazzone" (17th cen.).

27th Chapel: Jesus before Pilate's Court - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Per ottenere una legale condanna a morte, Gesù viene condotto da Pilato, governatore romano della Palestina. Egli lo interroga, ma accortosi della sua innocenza e saputolo Galileo, tenta di liberarsene mandandolo ad Erode, figlio di colui che ordinò la strage degli Innocenti.

Costruita all'inzio del 1600.

Statue di Giovanni d' Enrico(1615-16).

Affreschi di Antonio d'Enrico, detto il Tanzio da Varallo (1616-17).

In order that a legal sentence to death may be obtained, Jeus is led before Pilate, the Roman Governor of Palestine. Pilate interrogates him but, noting his innocence and finding he is a Galilean, tries to free him by sending him to Herod, the son of the one who had ordered the massacre of the Innocents.

Built in the early 1600s.

Statue of Giovanni d' Enrico (1615-16).

Frescoes by Antonio d'Enrico, said "Tanzio da Varallo" (1616-17).

ALn.668.2410 a S.Bernardino locale per Varallo

24th Chapel: The Court of Annas - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Inizia la serie dei processi. Davanti ad Anna, suocero di Caifas, Sommo Sacerdote, Gesù viene schiaffeggiato.

Costruita nel 1737 su progetto di G.B. Morondi.

Statue di G.B. Bernero (1776) e di Antoni Tardini di Valsassina (1742-42). Affreschi di Sigismondo Betti (1765).

The series of trials begins. Before Annas, father-in-law of Caiphas, the

High Priest, Jesus is struck by a servant.

Built in 1737 to a design by G.B. Morondi.(18th cen.). Statues by G.B. Bernesi (18th cen.) and Antonio Tantardini of Valsassina (18th cen.). Frescoes by Sigismondo Betti (18th cen.)

...IMAGINE TO BE HERE....

the most important Italian Gothic Cathedral for YOU

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“It is an illusion that photos are made with the camera…

they are made with the eye, heart and head.”

[Henry Cartier Bresson]

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18th Chapel: the crucifixion - Sacred Mount of Crea - UNESCO World Heritage Site (2003)

La scena della crocifissione di Gesù, diversamente da quella del Sacro Monte di Varallo, è molto spoglia e ridotta all’essenziale, con solo otto statue che raffigurano i personaggi descritti dal Vangelo. Gesù in croce, con aria di abbandono, è attorniato dai due ladroni: quello di destra, “il cattivo ladrone”, sdentato e contorto, ha l’aspetto rabbioso, mentre quello di sinistra, “il buon ladrone”, ha l’aria serena e volge uno sguardo pieno di fiducia verso Gesù, dal quale sarà ricompensato. Davanti, da destra, vediamo in successione Giuseppe d’Arimatea, discepolo discreto e fedele che si farà poi carico della sepoltura di Gesù; Giovanni che vive il suo dolore solitario; la Maddalena accasciata ed angosciata e Maria, la madre, piegata dal dolore e sostenuta da una pia donna.

La decorazione delle pareti lascia intravedere discretamente i soldati e le folle, sullo sfondo di una Gerusalemme avvolta dalle tenebre e da una luce rossastra dietro la croce, mentre un fulmine colpisce il tempio, una punizione celeste che non trova riscontro nel racconto evangelico.

The scene of the crucifixion of Jesus, unlike that of the Sacro Monte of Varallo, is very bare and reduced to essential, with only eight statues depicting the characters described in the Gospel. Jesus on the cross, with an air of abandonment, is surrounded by two thieves: one on the right, "the bad thief", toothless and twisted, he looks angry, and the left, "the good thief", has the air serene and turns a look of confidence in Jesus, from which he will be rewarded. In front, from right, we see in succession Joseph of Arimathea, discreet and faithful disciple who will then load the burial of Jesus; John, who lives his solitary suffering; Magdalene slumped and distressed and Mary, the mother, bent with pain and backed by a pious woman.

The decoration of the walls glimpse discreetly soldiers and crowds, against the backdrop of Jerusalem surrounded by darkness and by a red light behind the cross, while lightning strikes the temple, a heavenly punishment that is not reflected in the Gospel story.

24th Chapel: The Court of Annas - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Inizia la serie dei processi. Davanti ad Anna, suocero di Caifas, Sommo Sacerdote, Gesù viene schiaffeggiato.

Costruita nel 1737 su progetto di G.B. Morondi.

Statue di G.B. Bernero (1776) e di Antoni Tardini di Valsassina (1742-42). Affreschi di Sigismondo Betti (1765).

The series of trials begins. Before Annas, father-in-law of Caiphas, the

High Priest, Jesus is struck by a servant.

Built in 1737 to a design by G.B. Morondi.(18th cen.). Statues by G.B. Bernesi (18th cen.) and Antonio Tantardini of Valsassina (18th cen.). Frescoes by Sigismondo Betti (18th cen.)

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Varallo Sesia

Region Piemont

37th Chapel: Jesus is nailed to the Cross - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Sul calvario, piccola altura al di fuori di Gerusalemme, presso le mura della città Gesù viene inchiodato alla croce. Sono presenti sua Madre, l'apostolo Giovanni e alcune pie donne.

Costruita tra il 1630 e il 1635. Statue di Giacomo Ferro e Giovanni d' Enrico. Affreschi Melchiorre Gilardini detto 'il Ceranino '(1637-47).

On Calvary, a hill outside Jerusalem, near to the walls of the city, Jesus is nailed to the Cross. His Mother, the discipline John and a number of holy women are present. The hatred of his enemies is ferocious.

Built between 1589 and 1640. Statues by Giacomo Ferro and Giovanni d'Enrico (17th cen.) and unknown artists. Frescoes by Melchiorre Gilardini known as "il Ceranino" (17th cen.).

27th Chapel: Jesus before Pilate's Court - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Per ottenere una legale condanna a morte, Gesù viene condotto da Pilato, governatore romano della Palestina. Egli lo interroga, ma accortosi della sua innocenza e saputolo Galileo, tenta di liberarsene mandandolo ad Erode, figlio di colui che ordinò la strage degli Innocenti.

Costruita all'inzio del 1600.

Statue di Giovanni d' Enrico(1615-16).

Affreschi di Antonio d'Enrico, detto il Tanzio da Varallo (1616-17).

In order that a legal sentence to death may be obtained, Jeus is led before Pilate, the Roman Governor of Palestine. Pilate interrogates him but, noting his innocence and finding he is a Galilean, tries to free him by sending him to Herod, the son of the one who had ordered the massacre of the Innocents.

Built in the early 1600s.

Statue of Giovanni d' Enrico (1615-16).

Frescoes by Antonio d'Enrico, said "Tanzio da Varallo" (1616-17).

5x7" (13x18 cm) pure palladium print on Hanemühle platinum rag paper, pretreated with fumed silica.

The negative was really light, so it has been intensified after development, and still retain a DR of only 0,5. It has been used 0,145 ml Na2 20% for each ml of sensitizer. No grainy outcome, which could has been easy to say if the contrast was increased with Potassium chlorate. Exposure time 3'30". Developer Potassium Oxalate 50°C.

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The Philbrook Museum of Art in Tulsa, Oklahoma is an art museum housed in part in a 1920’s villa, situated on 23 acres of formal and informal gardens. The original structure is the former home of Oklahoma oil pioneer Waite Phillips and his wife Genevieve (Elliott) Phillips. As of 2007, the museum has a staff of 60 and an operating budget of nearly $6 million. The museum opened October 25, 1939. It was known as the Philbrook Art Center until 1987, when the name was changed to Philbrook Museum of Art. The collection housed at the Philbrook Museum of Art includes works from Giovanni Bellini, William-Adolphe Bouguereau, William Merritt Chase, Leonardo Drew, Arturo Herrera, Charles Loloma, Maria Martinez, Thomas Moran, Fritz Scholder, Tanzio da Varallo, Rachel Whiteread, and Andrew Wyeth.The museum serves an average of 149,000 visitors annually.

36th chapel: The road to Calvary -Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Portando la croce, Gesù si avvia faticosamente al Calvario. Per la strada cade tre volte, è aiutato da un contadino di Cirene, incontra la Madonna e altre pie donne, ha un po' di sollievo da parte della Veronica che gli asciuga il volto imbrattato di sangue e sudore.

Iniziata nel 1589. Statue di Giovanni Tabacchetti e Giovanni d' Enrico. Affreschi Pier Francesco Mazzucchelli, detto 'il Morazzone'(1607-8).

Bearing the Cross, Jesus laboriously makes His way to Calvary. On the way the he falls three times, is aided by one Simon of Cyrene coming from the country, meets Mary his Mother and other pious woman, and receives a little relief from Veronica who wipes his blood-stained, sweaty face.

Built about 1599. Statues by Giovanni Tabacchetti and Giovanni d'Enrico. (17th cen.). Frescoes by Pier Francesco Mazzucchelli known as "Morazzone" (17th cen.).

Charming historic village of Valsesia

Mat Velvet up on the German Wheel pretending to be the star of the show ,while his side kick Charlie acts as his assistant. Charlie (his wife in disguise) is the real star of the show and later strips out of the overalls and begins the real show. They have been doing this act around the world for many years!

Waterloo Busker Carnival 2019.

Waterloo,Ontario.

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.

...IMAGINE TO BE HERE....

the most important Italian Gothic Cathedral for YOU

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.

Mat Velvet & Charlie Show members at the Waterloo Busker Carnival 2019.

Waterloo,Ontario.

Alley of Varallo Sesia

35th Chapel: Jesus sentenced to death - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Sulla croce, un cartiglio reca il nome del condannato e il perchè della condanna: 'Gesù Nazzareno Re dei Giudei'. I Farisei protestano, perchè la frase si presta ad un malinteso, ma Pilato non recede dalla sua decisione.

Costruita verso il 1610. Statue di Giovanni d' Enrico. Affreschi Pier Francesco Mazzucchelli, detto 'il Morazzone' (1614).

On the cross, a scroll bears the name of the condemned man and the reason for the sentence: "Jesus of Nazareth, King of the Jews." The Pharisees protest that the words may be misunderstood, but Pilate refuses to go back on his decision.

Built about 1600. Statues by Giovanni d'Enrico (17th cen.). Frescoes by Pier Francesco Mazzucchelli known as "Morazzone" (17th cen.).

Ero a Varallo per una mia serata, sapendo che è molto bello ho deciso di andarci il pomeriggio per fare qualche scatto.. era una giornata strana con foschia.. però mi sono divertito lo stesso a fare delle belle foto (almeno spero) in B&W sembra una foto di tanti anni fa.. non vi pare?

... IMAGINE TO BE HERE

ENJOING THIS MAGIC MOMENT LOOKING AT THE MAGIC OF GOTHIC ARCHITECTURE....

Basilica of Our Lady of the Assumption of Sacro Monte di Varallo at evening.

Italiano:

Basilica di Madonna Assunta del Sacro Monte di Varallo

My Most Interesting Photos | My Rally di Varallo e Borgosesia - 2014 Set | My 500px Photos

36th chapel: The road to Calvary -Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Portando la croce, Gesù si avvia faticosamente al Calvario. Per la strada cade tre volte, è aiutato da un contadino di Cirene, incontra la Madonna e altre pie donne, ha un po' di sollievo da parte della Veronica che gli asciuga il volto imbrattato di sangue e sudore.

Iniziata nel 1589. Statue di Giovanni Tabacchetti e Giovanni d' Enrico. Affreschi Pier Francesco Mazzucchelli, detto 'il Morazzone'(1607-8).

Bearing the Cross, Jesus laboriously makes His way to Calvary. On the way the he falls three times, is aided by one Simon of Cyrene coming from the country, meets Mary his Mother and other pious woman, and receives a little relief from Veronica who wipes his blood-stained, sweaty face.

Built about 1599. Statues by Giovanni Tabacchetti and Giovanni d'Enrico. (17th cen.). Frescoes by Pier Francesco Mazzucchelli known as "Morazzone" (17th cen.).

34th Chapel: Pilate washes his hands - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Pilato di fronte alle minacce dei Giudei, si arrende e consegna Gesù, perchè sia messo in croce.Si lava poi le mani davanti al popolo, per indicare che egli non vuole essere responsabile di quella morte.

Costruita verso il 1610. Statue di Giovanni d' Enrico. Affreschi Antonio d'Enrico, detto 'il Tanzio' (1618-20).

Before the threats of the Jews Pilate gives in and delivers up Jesus to be crucified. He then washes his hands in front of the people to show that he does not wish to be held responsible for this death.

Built about 1600. Statues by Giovanni d'Enrico (17th cen.). Frescoes by Antonio d'Enrico, known as "Tanzio" (1618-20).

20th Chapel: the last supper - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

È la vigilia della dolorosa Passione: il Giovedì Santo. Terminato il rito della Pasqua ebraica, in cui si mangia l'agnello con le erbe amare e si cantano i salmi, Gesù istituisce l'Eucarestia e il Sacerdozio.

La cappella esisteva già ai tempi di fra Bernardino Caimi (sec. XV) ed è stata trasferita nel palazzo attuale nel sec. XVIII.

Statue di ignoto(fine sec. XV).

Affreschi e decorazioni di Antonio Orgiazzi(1780).

It is the eve of the Passion: Holy Thursday. Having finished the rite of

the Hebrew Passover, in which lamb is eaten with bitter herbs and psalms are

sung, Jesus institutes the Eucharist and the Priesthood.

The chapel was already in existence in the times of Fra Bernardino CaA' (15th

cen.) and was incorporated into the present building in the 18th century. Statues

by an unknown artist (15th cen.). Frescoes by Antonio Orgiazzi (1780).

33th Chapel: Ecce Homo - Sacred Mount of Varallo (new Jerusalem) - UNESCO World Heritage Site (2003)

Pilato fa un ultimo tentativo per salvare Gesù, innocente. Lo presenta al popolo, ridotto ad una piaga dalla flagellazione e dalla coronazione di spine. Ma dalla folla aizzata si alza il grido: "crocifiggilo, crocifiggilo".

Costruita verso il 1605. Statue di Giovanni d' Enrico.

Affreschi Pier Francesco Mazzucchelli detto 'il Morazzone'(1678-79).

Pilate makes a last attempt to save the innocent Jesus. He shows him to the people, reduced to a sore by the scourging and the crown of thorns. But from the incensed crowd rises the cry of "Crucify him, crucify him."

Built about 1600. Statues by Giovanni d'Enrico (17th cen.). Frescoes by Pier Francesco Mazzucchelli known as "Morazzone" (17th cen.).

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