...IMAGINE TO BE HERE....

the most important Italian Gothic Cathedral for YOU

*************************************************************************************

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

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

[Henry Cartier Bresson]

*************************************************************************************

Please don't use any of my images on websites, blogs or other media without my explicit written permission.

© All rights reserved

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.).

Caltignaga

My Most Interesting Photos | My 9° Rally città di Varallo e Borgosesia Set | My 500px Photos

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.[1]

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.[2] 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.[citation needed

Eh oui, chacun porte sa croix... qui plus, qui moins... tout dépend de la qualité du bois! Il y a ceux qui la portent comme la fleur au fusil, ceux qui plient sous le poids de leur existence et ceux qui, en toute conscience, la tiennent fermement sur l'épaule... et les petits malins, ceux qui l'ont brisée et en prennent un petit morceau de temps en temps...

La galerie du Chemin de Croix au Sacro Monte de la Très Sainte Trinité de Ghiffa (Verbano-Cusio-Ossola) près de Verbania. Ce lieu sacré fait partie, comme tous les Sacri Monti du Piémont et de la Lombardie, du patrimoime Mondial de l'Unesco depuis 2003.

Contrairement aux autres Sacri Monti, bien plus riches en constructions, à Ghiffa trois chapelles seulement furent réalisées: la première est consacrée au Couronnement de Marie, la deuxième à St. Jean-Baptiste et la troisième à Abraham. On ignore encore aujourd'hui les noms de ceux qui ont conçu et réalisé cet ensemble monumental du XVIIème siècle, qui n'a jamais été achevé.

Les plus importants: Sacro Monte de Varallo, appelée aussi la Nouvelle Jérusalem (construit à partir de 1487) - Sacro Monte de Orta dédié à St.François d'Assise ( à partir de 1590) - Sacro Monte Calvario de Domodossola (à partir de 1656) - Sacro Monte de Crea (XVIe, XVIIe)... pour le Piémont...

Les Sacri Monti sont des itinéraires de dévotion très particuliers, institués au cours des siècles passés et dont on a reconnu, de nos jours, la valeur historique, artistique et culturelle. Ils se caractérisent par une suite de chapelles qui constituent autant d'étapes d'un parcours et qui sont disposées suivant un ordre bien précis sur une colline. À l'intérieur, des peintures et des sculptures illustrent des épisodes de l'Ancien et du Nouveau Testament, ou de la vie des saints.

Nul besoin d'avoir la foi pour les découvrir, c'est un cheminement à travers l'art d'une grande valeur...

linea Novara-Varallo.

40th Chapel: the Pietà - Sacred Mount of Varallo - UNESCO World Heritage Site (2003)

Il corpo straziato di Gesù viene deposto sul grembo di Maria, sua Madre.

Costruita alla fine del sec. XV, sotto la guida di Fra Bernardino Caìmi. Rappresentava allora la spogliazione delle vesti ed a questo oggetto si richiamano gli affreschi.

Inseguito fu destinata alla 'Pietà'.

Statue e affreschi di Giovanni d'Enrico (1635 circa). Affreschi di Gaudenzio Ferrari verso il 1510.

The tormented body of Jesus, is placed in the lap of Mary, his Mother.

Built at the end of the 15th century, under the guidance of Fra Bernardino Caimi . It then represented the "parting of the garments" and the frescoes recall this subject. Subsequentely it was devoted to the "PietA' Statues by Giovanni d'Enrico (17th cen.). Frescoes by Gaudenzio Ferrari verso il 1510.

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.).

Interior da Catedral de Milão.

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...

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.).

In sosta a Novara

My Most Interesting Photos | My 8° Rally Città di Varallo e Borgosesia - 2015 Set | My 500px Photos

Foto: M. Kißler

San Giacomo, Varallo

Treno speciale da Milano per Varallo Sesia con la 625.142

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.[1]

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.[2] 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.[citation needed

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 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.

just before the sunset.

In Sacro Monte di Varallo

(Holy Mount of Varallo), Valsesia, Vercelli, Italy

.

-better seen large-

www.santuari.it/varallo/eng/default.htm

.

REGIONE PIEMONTE

Please take a moment to visit my website www.scorcio.it

... IMAGINE TO BE HERE

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

The oratory, of ancient foundation, has been remodeled several times over the centuries, and at the beginning of this century the decorative apparatus has been completely renovated. A cycle of frescoes of exceptional interest and very high quality, so far unknown, has been brought to light in the recent years.

Valsesia (Piedmontese: Valsesia; Walser German: Tseschrutol; Italian: Valle della Sesia) is a group of valleys in the north-east of Piedmont in the Province of Vercelli, Italy; the principal valley is that of the river Sesia.

The major towns located here are Varallo Sesia, Borgosesia and Serravalle Sesia; tourist villages include Alagna Valsesia, Rima San Giuseppe, Carcoforo and Scopello. While the valley mainly belongs to the province of Vercelli three of its comuni, namely Romagnano Sesia, Prato Sesia and Grignasco, are part of the province of Novara.

Varallo Sesia, Italy.

World Heritage Site UNESCO 2003

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, populated by more than 800 life size painted statues, in wood and terracotta, that dramatically illustrate the life, passion, death and resurrection of Christ.

The statues are locked in chapels and are visible through peepholes spaced more than the pupillary distance, so the photos are necessarily HYPERSTEREO.

CROSSVIEW

To view 3D pics cross your eyes focusing between at the pictures until both images overlap one another in the middle.

Per vedere le foto in 3D incrociare (strabuzzare) gli occhi fino a che le due immagini si sovrappongono formandone una sola centrale.

Francis' death - Sacred Mount of Varalo - UNESCO World Heritage Site (2003)

Il Sacro Monte di Varallo costituisce, tra i Sacri Monti esistenti, l'esempio più antico e di maggior interesse artistico. Consta di una basilica e di quarantacinque cappelle affrescate e popolate da oltre ottocento statue di terracotta policroma a grandezza naturale. È situato nel comune di Varallo (Vc), in Valsesia.

The Sacred Mountain of Varallo (Italian: Sacro Monte di Varallo) is the oldest of the Italian and foreign constructions of its kind. It was founded in 1491, by friar Bernardino Caimi of the Ordine dei Minori Osservanti di San Francesco. The Sacro Monte was built on a rocky foundation, positioned on the slopes of Monte Tre Croci (Mount of three crosses), on the left-hand side of the river Sesia, where it leaves Val Mastallone (Piedmont, northern Italy). This natural terrace (600m) soars above the historic centre of Varallo (450m).

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.).

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).

"Sento che sei con me, come se ora un tuo dito si fosse appoggiato fragile e leggero sul mio cuore, come se ora facessi un respiro profondo e scovassi profumo di te nell'aria.

Ti penso, ti sento...

Tra 10 anni mi piacerebbe ancora stare con te perchè sei tu e nessun altro."

Valentina, giorni fa, mentre saliva le scale.

Oggi

_____Valentina

______________scende

_____________________le scale

des visages, des figures

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.

(the sacrifice of Isaac) - 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.).

Le statue in terracotta, a grandezza naturale, pressoché ultimate nel 1610 ad opera di Cristoforo Prestinari, sono poste all’interno di uno spazio che finge una stalla. Gli affreschi dai colori vivaci, di cui si conservano i pagamenti scalati fra il 1608 e il 1615, sono opera dei fratelli ortesi Giacomo Filippo e Bernardo Monti, autore quest’ultimo aIl 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.nche della coloritura delle statue. Nel 1682 furono aggiunte altre due figure, la nutrice e la donna che fa capolino accanto alla mamma di Francesco, plasmate da Carlo Pagano da Valsolda.

Gli affreschi mostrano un Angelo vestito da pellegrino che domanda l’elemosina nella casa di Francesco e consiglia alla padrona di partorire in una stalla, il battesimo di Francesco e poi sempre Francesco ventiduenne, volontario nella battaglia contro Perugia, fatto prigioniero, che conforta e rallegra i compagni.

The life-size terracotta statues, nearly completed in 1610 by Cristoforo Prestinari, are placed inside a space pretending to be a stable. The brightly colored frescoes, of which payments scaled between 1608 and 1615 are preserved, are the work of the Orta brothers Giacomo Filippo and Bernardo Monti, the latter also the author of the coloring of the statues. In 1682 two more figures were added, the nurse and the woman peeping beside Francis' mother, molded by Carlo Pagano da Valsolda.

The frescoes show an Angel dressed as a pilgrim asking for alms in Francis's house and advising his mistress to give birth in a stable, Francis's baptism, and then again 22-year-old Francis, a volunteer in the battle against Perugia, taken prisoner, comforting and cheering up his companions.

My Most Interesting Photos | My 9° Rally città di Varallo e Borgosesia Set | My 500px Photos

Tramonto domenicale.

Lo so Gianni, avrei dovuto esser lì all'oratorio per la sfida al calcio balilla, ma la luce a ponente ha catturato il mio istinto, e il volante della mia auto ha dovuto obbedire! ;-)

The oratory, of ancient foundation, has been remodeled several times over the centuries, and at the beginning of this century the decorative apparatus has been completely renovated. A cycle of frescoes of exceptional interest and very high quality, so far unknown, has been brought to light in the recent years.

Valsesia (Piedmontese: Valsesia; Walser German: Tseschrutol; Italian: Valle della Sesia) is a group of valleys in the north-east of Piedmont in the Province of Vercelli, Italy; the principal valley is that of the river Sesia.

The major towns located here are Varallo Sesia, Borgosesia and Serravalle Sesia; tourist villages include Alagna Valsesia, Rima San Giuseppe, Carcoforo and Scopello. While the valley mainly belongs to the province of Vercelli three of its comuni, namely Romagnano Sesia, Prato Sesia and Grignasco, are part of the province of Novara.

Sacro Monte

Varallo (VC,)

Varallo, Italy