NoeFlandre/osm-polygon-wikidata-only huggingface dataset:
San Domenico, San Severino Marche

San Domenico or St Dominic is a 13th-century, Roman Catholic church, dedicated to a Marian devotion, located on Via E Rosa in San Severino Marche, region of Marche, Italy. History This Dominican church and adjacent convent were built in the first half of the 13th century, with a number of subsequent refurbishments, including a major one in 1664 to which it owes to its present layout. Legend holds that the site was once on land donated to St Dominic by the town. The 17th-century renovations were designed by the Dominican friar, frate Giuseppe da Palermo. The church has a Romanesque-Gothic bell-tower. The main altarpiece (1512) is a canvas by Bernardino di Mariotto. In the sacristy are remnants of frescoes by Lorenzo and Jacopo Salimbeni. In the cloister of the convent are frescoed lunettes, attributed to Sebastiano Ghezzi and Ludovico Lazzarelli. In the second altar on the right is a St Dominic sustained by Angels attributed to Carlo Cignani. From the presbytery one can access the base of the bell-tower with a cycle of 15th-century frescoes depicting the Life of St Catherine by unknown Emilian painters. In the transept are gilded and carved wood altars: one has a 17th-century altarpiece of the Pentecost by an unknown Bolognese painter. A St Lucy in the altar is attributed to Ippolito Scarsella. Another chapel with baroque decor, has a canvas by Biagio Puccini depicting the Incredulity of St Thomas. References
Oratorio di San Carlo, Bologna

The Oratorio di San Carlo is a Baroque-style prayer hall located inside the church of San Carlo al Porto located on #5 Via del Porto (Strada Porto Naviglio) in Bologna, region of Emilia-Romagna, Italy. History In 1466, the confraternity of Santa Maria del Paradiso, was founded around the cult of an image at the site. In 1612 the confraternity changed its name to the Confraternity of San Carlo Borromeo. The Oratory chapel was built in 1667. They engaged the painter Giacomo Friani, a pupil of Agostino Mitelli, to fresco the ceilings. The center fresco depicts the Ecstasy of San Carlo and the Madonna. A series of medallions with the life of San Carlo were completed by Giovanni Battista Bolognini. After the Napoleonic invasions, the oratory was closed, only to reopen in 1833. In 1896, the property was given to the Salesian order. it underwent restoration in 1906. The oratory was one of the few buildings left intact in the neighborhood after the Allied bombings of January 29, 1944. It is now used for cultural activities. The church of San Carlo, for example, was leveled and the tall modern brick facade has a sculpted frieze and a portal made from marble. Another similar baroque oratory in Bologna is the Oratorio di San Filippo Neri. References
Monument to Dante

The Statue of Dante Alighieri (Italian: Monumento a Dante Alighieri) is a monument to Dante Alighieri in Piazza Santa Croce, outside the Basilica of Santa Croce, in Florence, Italy. Erected in 1865, it is the work of the sculptor Enrico Pazzi. History In the early 1850s, a project for a statue of Dante in a piazza in Ravenna was declined. Pazzi subsisted on small private projects for tomb monuments and house decorations. He completed for Giovanni Dupré a commission for a nativity scene, destined for the Signora Bianchi of Siena; however, he had difficulty in getting paid. In 1857–1859, a move was made to complete the Dante statue, but now for Florence. The patriotic Pazzi recalls an unfortunate episode when Prince Leopold, Count of Syracuse (brother of the King of Naples) visited the studio accompanied by the interior minister of Leopold II, Grand Duke of Tuscany. The visiting Prince inquired why Dante was surrounded by beasts. Pazzi indicated that the lions were the Marzocchi, long a symbol of Medici Florence. However, when asked why the eagle did not have a double head, the symbol of the Habsburg dynasty, Pazzi impertinently replied that this was a Roman eagle, arising from the ashes of the fallen Roman Empire. With this, the retinue left. It would be nearly half a decade before Pazzi's statue was erected in the piazza. The statue was erected in 1865 to celebrate the 600th anniversary of Dante's birth. The pedestal was designed by Luigi del Sarto. The creation of a statue of a famous Florentine by a sculptor from Ravenna caused some rumblings. Florence and Ravenna had for years disputed who was to hold the remains of Dante: his native city or the city of his exile. The church of Santa Croce, which stands on the same piazza as this statue, has an elaborate but empty tomb monument to the poet. The pedestal has four Marzocco lions with shields holding the names of minor works by Dante and the symbols of various Italian cities who contributed to the cost of the sculpture. The statue, initially placed in the center of the Piazza, was moved after the flood of November 1966 to a position in front of the flank of the façade of the basilica. See also Prince Mihailo Monument Monument to Savonarola References External links The Dante statue, Florentine, Chipping away at the Italian language, Deirdre Pirro, JANUARY 27, 2011
Monument à Dante (Santa Croce)

Le Monument à Dante de Santa Croce est une statue en marbre de Carrare dédiée à Dante Alighieri ; il est situé au coin gauche du parvis de la basilique Santa Croce de Florence, en haut des marches. Histoire La statue, due à Enrico Pazzi, fut érigée sur la piazza Santa Croce pour célébrer le poète florentin pour le 6e centenaire de sa naissance et le monument fut inauguré le 14 mai 1865 par le roi Victor-Emmanuel II. En 1968 elle fut déplacée à son emplacement actuel pour laisser la place aux manifestations du calcio storico. Description Dante est représenté debout enveloppé dans sa cape, la tête couronnée de lauriers ; posté à ses pieds, un aigle (symbolique des Gibelins) lève le regard vers lui. Sur le panneau avant de marbre veiné de rose figure une dédicace : A DANTE ALIGHIERI L'ITALIA M·DCCC·LXV Le piédestal étagé comporte sur chacun de ses quatre coins torrelés, un marzocco, emblème de la cité, et le pourtour de la base porte les écussons des principales villes italiennes. Usage de la représentation Argentine : timbre de 8 pesos - 1965 Chine : copie de la statue à Ningbo, Jiangdong District Notes et références Notes Références Voir aussi Liens externes (en) Notice Portail de la sculpture Portail de Florence
Madonna della Scala, Rimini

The Madonna della Scala is a Baroque-style Roman Catholic church in via Madonna della Scala #2 in the neighborhood of San Giuliano in the city of Rimini, Italy. History The church was built in 1611, near the former Porta Gervasona in the medieval walls of the city. The church was built near the site of a miracle. In 1608, a young man and his horse fell into the river Marecchia near a tower at the site, with stairs (Scala) leading to the bank. He prayed for help from an icon of the virgin that had been painted on the tower. His rescue led to veneration of the icon by sailors. The icon, painted by the local painter Alessandro Codrini in 1608, became a source of veneration for sailors; it has been restored over the centuries. The church was refurbished in 1717. References
Chiesa della Madonna della Scala (Rimini)

La chiesa della Madonna della Scala è una chiesa cattolica di Rimini risalente a inizio XVII secolo. È situata nel Borgo San Giuliano. Storia La chiesa fu costruita nel 1610, nei pressi di Porta Gervasona, attorno a un'immagine della Madonna al centro di un presunto miracolo avvenuto pochi anni prima. Nel 1608 un giovane, caduto col cavallo nel Marecchia, vedendo un'immagine della Madonna sul muro vicino al fiume, avrebbe a ella chiesto aiuto, venendo poi tratto in salvo. A seguito dell'evento ritenuto miracoloso, i cittadini vollero edificare una chiesa in onore di Maria, finanziandola con le elemosine delle famiglie dei marinai. Certo è che l'immagine della Madonna, risalente al 1608 e attribuita al riminese Alessandro Codrini, era dipinta sotto alla scala del torrione delle mura civiche. Da qui il nome di Madonna della Scala. Una prima cappella fu benedetta il 10 luglio 1610, ma già nel 1611 si fece richiesta per l'ampliamento. L'8 ottobre 1610 il dipinto miracoloso fu staccato dal muro del torrione e trasferito all'interno della cappella. Nel 1718 l'edificio fu ampliato e rinforzato a causa dei frequenti straripamenti del fiume. La decorazione dell'abside, opera del riminese Francesco Brici (1870-1950), rappresentava il Sogno di Giacobbe. Nel 1927 furono aggiunti organo, campanile e balaustre marmoree. Nel 1931 Papa Pio XI elevò la chiesa a Rettoria. La chiesa fu duramente colpita dai bombardamenti alleati durante la seconda guerra mondiale. Sotto le bombe andarono perduti il campanile, l'organo, gli arredi e le decorazioni interne. Si salvò solo l'effige miracolosa, che era stata trasportata a Montetauro. La chiesa fu riedificata nel dopoguerra. Nel 1963 il pittore Luigi Arzuffi ridisegnò nell'abside il Sogno di Giacobbe. Note Altri progetti Wikimedia Commons contiene immagini o altri file su chiesa della Madonna della Scala Collegamenti esterni Chiesa della Madonna della Scala, su BeWeB, Ufficio nazionale per i beni culturali ecclesiastici della Conferenza Episcopale Italiana.
Gaetano-Donizetti-Denkmal

Das Gaetano-Donizetti-Denkmal ist eine Marmorskulptur, die den italienischen Opernkomponisten Gaetano Donizetti (1797–1848) darstellt. Es steht neben dem Teatro Donizetti in Bergamo in Italien. Geschichte Die Skulptur wurde vom italienischen Bildhauer Francesco Jerace geschaffen und am 26. September 1897 eingeweiht, dem hundertsten Geburtstag des Komponisten. Jerace arbeitete ursprünglich an einem Monument für seine sizilianische Heimatstadt Catania. Der Gemeinderat hatte ihn beauftragt, ein Denkmal für den ebenfalls aus Catania stammenden Komponisten Vincenzo Bellini zu erstellen. Als die Kosten des Projekts in die Höhe schnellten, machte die Stadtverwaltung einen Rückzieher. 1895 veröffentlichte die Stadt Bergamo eine Ausschreibung für ein Monument, das sie Gaetano Donizetti widmen wollte. Jerace tauschte den Kopf des Bellini mit dem des Donzetti aus und gewann mit seinem Projekt. Beschreibung und Symbolik Das Denkmal aus weißem Marmor steht auf einem hohen, steinernen, rechteckigen Sockel. Gaetano Donizetti ist am Ende einer geschwungenen Bank sitzend dargestellt. Er lauscht den Klängen, die Melpomene, eine in der Mitte der Bank stehenden Muse auf ihrer Kithara spielt und nimmt die Musik als Inspiration wahr. In der rechten Hand hält er eine Feder, auf seinen Knien liegen Papierblätter, so dass er Notenskizzen zu den vorgetragenen Melodien niederschreiben kann. Weblinks Einzelnachweise
Donizetti Monument

The Monument to Donizetti is located in a public garden in Piazza Cavour, adjacent to the Teatro Donizetti in Bergamo. It commemorates the opera composer Gaetano Donizetti, a native of Bergamo. It was inaugurated in 1897 to mark the centenary of the composer's birth. The monument was designed by Francesco Jerace as a result of a competition. The statuary group is atop a plain plinth engraved only with the composers name. The monument is surrounded by a Basin. Atop, Donizetti sits, realistically depicted, and bound to present world, in the corner of a curved bench. A short distance away stands the lyrical muse, Melpomene, strumming her lyre. The artist, with eyes closed, listens to his inspiration. The statue mixes both realism and the allegory to classical mythology; also expressing the sense that the artists communicates with a superior realm. Donizetti's funereal monument in Bergamo, erected in 1856, also features a mournful lyrical muse. References
Santa Margherita, Chieri

Santa Margherita is a Baroque-style, Roman Catholic church and convent located on Vittorio Emanuele #80 in the town of Chieri, Province of Turin, region of Piedmont, Italy. History The church was rebuilt in 1671 by the Dominican friars living in the monastery that was once adjacent. The ceiling is frescoed with a Glory of the Corpus Domini with Saints and Bishops. The stucco decoration was completed by Giovanni Battista Barberini (1666). The statues in the pilasters depict David, Solomon, Judith, and Esther. The wooden altar includes a canvas depicting Coronation of the Virgin by the Holy Trinity with Saints Dominic and Margaret of Cortona painted by Guglielmo Caccia. The wooden choir stalls were transferred here from the former church of San Bernardino of Siena in town. The St Margaret church is now ministered by the Salesian Order, who run an oratory and school. The church also has paintings by Mario Caffaro Rore. The Chapel of the Immacolata to the left of the entrance has a statue by Ignazio Perucca. References
Villa Piovene

Die Villa Piovene entstand in unmittelbarer Nachbarschaft zur Villa Godi in Lugo di Vicenza in der Provinz Vicenza, Venetien. Sie liegt in der Ebene des Flusses Astico. Die Urheberschaft von Andrea Palladio ist nicht völlig gesichert, jedoch wahrscheinlich (Entwurf ca. 1539). Vor allem der vorspringende Pronaos mit sechs ionischen Säulen, die das Tympanon tragen, deuten laut Ulmer darauf hin. Geschichte Trevisan beschreibt drei Bauphasen: Der grundlegende Bau, im Vergleich zum heute existierenden eine wesentlich bescheidenere Villa, war 1541 fertiggestellt; hierfür nimmt man eine mögliche Beteiligung Palladios an. In einer zweiten Bauphase wurde die Villa erweitert und erhielt eine kulissenhafte Tempelvorhalle, die das Datum 1587 trägt. Die dritte Bauphase fiel in die erste Hälfte des 18. Jahrhunderts (Tor, große Freitreppe, Treppenanlage, seitlich anschließende Wirtschaftsflügel). Der Entwurf stammt von Francesco Muttoni. Vollendet wurde die Villa erst 1740. Im 19. Jahrhundert erfolgte auch eine Neugestaltung des Gartens. Das Gebäude wurde 1996 von der UNESCO mit anderen Villen von Palladio zum Weltkulturerbe erklärt. Architektur Der Grundriss zeigt einen rechteckigen Hauptbau mit einem vorgesetzten Pronaos, der über eine später hinzugefügte zweiläufige Treppenanlage begehbar ist. Die Räume sind um eine Mittelachse symmetrisch angeordnet. Die Fassade wird von einer mittig vorgezogenen Loggia dominiert, die aus sechs ionischen Säulen und einem Dreiecksgiebel besteht. Das Interkolumnium der dritten und vierten Säule ist weiter, sodass der Eingang besonders betont wird. Im Gegensatz zur reichen Gartengestaltung und der mit Skulpturen geschmückten Treppenanlage aus der Werkstatt Orazio Marinalis, präsentiert sich die Villa schlicht und eher nüchtern. Bis auf die rechteckigen Fenster sind die Wandflächen glatt und schmucklos. Während bei der Villa Godi der Mittelteil eingezogen ist und die Eckrisalite dominieren, verlieren die Außenflügel der Villa Piovene an Dominanz zugunsten einer Betonung der Mittelachse. Weblinks Villa Piovene Einzelnachweise
Villa Piovene

Villa Piovene is a Palladian villa built in Lugo di Vicenza, province of Vicenza, northern Italy. The building was commissioned in the 16th century for the aristocratic Venetian Piovene family, their architect believed to have been Andrea Palladio. It is part of the World Heritage Site "City of Vicenza and the Palladian Villas of the Veneto" since 1996. History Villa Piovene was built circa 1539–1540 in competition to and within the immediate vicinity of Villa Godi, which rises only a few hundred metres away. Rivalries have been proven to exist between the Piovene and Godi noble families. The villa was the ambition of Battista Piovene and his son Tommaso Piovene; the latter was probably responsible for commissioning the structure. The Piovene family seemed less interested in matching the size of Villa Godi as they were in the choice of the artisan workshop carrying out the work, that of Giovanni di Giacomo da Porlezza, who also was responsible for the execution of Villa Godi, of the Pedemuro workshop, where Andrea Palladio was employed. More doubts than certainties surround Palladio's involvement in the execution of the Villa. The building was not included in the Quattro libri dell'architettura (published 1570), although other certainly autograph villas were also excluded (such as the Villa Gazzotti or the Villa Valmarana at Vigardolo). The characteristics of the building itself are most perplexing: the plan is hardly sophisticated, the windows pierce the façade without any particular order, and the pronaos is awkwardly joined to the building block. Architecture The villa is the product of three campaigns of work: documents demonstrate the existence of a manorial house, smaller than the present one and constructed before 1541, which was enlarged at a later stage by the addition of the pronaos bearing the inscribed date 1587: so the loggia that projects in the center—six Ionic columns supporting a triangular gable—may have begun by Palladio circa 1570 and completed after his death. The extension of the mansion and the vertical window rhythms can also be assumed to have taken place within the 1570s in accordance with Palladio's wishes, though not carried out by him. In the first half of the 18th century, the architect Francesco Muttoni constructed the lateral barchesse (side farm wings), laid out the garden and probably executed the double-ramp stairs which lead to the loggia. The scenographic stair by which one accedes to the villa, however, was realised some years prior together with the handsome gate of 1703. Today, the villa is seen against a picturesque backdrop of a garden, which was laid out in the 19th century, situated in the plain of the Astico River. In 1996, UNESCO included the building within the World Heritage Site "City of Vicenza and the Palladian Villas of the Veneto". See also Palladian Villas of the Veneto Palladian architecture References (in English and Italian) Villa Piovene in the CISA (Centro internazionale di studi di architettura Andrea Palladio) website Wundram, Manfred (1993). Andrea Palladio 1508-1580, Architect between the Renaissance and Baroque. Cologne: Taschen. pp. 20–21. ISBN 3-8228-0271-9.
Villa Piovene

La Villa Piovene es una villa del siglo XVI relacionada con el arquitecto Andrea Palladio. Se encuentra en la localidad de Lonedo, en el municipio italiano de Lugo di Vicenza. Forma parte del Patrimonio de la Humanidad declarado por la Unesco.​ Historia El edificio fue un encargo de la aristocrática familia Piovene y de la familia Cuesta, su arquitecto fue Andrea Palladio. La Villa Piovene se construyó alrededor de 1539-40 en competencia con y cerca de la Villa Godi. Existieron rivalidades entre las familias Godi y Piovene. La villa fue la ambición de Battista Piovene y su hijo Tommaso Piovene, siendo este último, posiblemente, el responsable de este encargo. La familia Piovene parece menos interesada en igualar el tamaño de la Villa Godi que en la elección del taller artesano que llevaría a cabo la obra, el de Giovanni di Giacomo da Polezza de Pedemuro, quien también era responsable de la ejecución de la Villa Godi. Pocas son las dudas respecto a la implicación de Palladio en la realización de esta obra, que se alza a unos centenares de metros de la villa Godi. Ciertamente, luego este edificio no resulta incluido en Los cuatro libros de arquitectura que publicó Palladio en 1570, aunque tal exclusión también se dio respecto a otras villas acreditadamente obra de Palladio, como la villa Gazzotti o la villa Valmarana de Vigardolo. Son sobre todo las características del edificio las que despiertan la mayor perplejidad: la planimetría es poco significativa, las ventanas rompen la perspectiva sin un orden en particular, el pronaos se inserta con dureza en el cuerpo del edificio. Arquitectura De los documentos existentes se deduce que la villa era originalmente más pequeña de lo que hoy aparece. Seguramente, la villa es fruto de al menos tres campañas de trabajo: los documentos certifican la presencia de una casa señorial más pequeña que la actual ciertamente realizada hacia 1541, la cual fue agrandada en un segundo momento con la inserción del pronaos, que muestra grabada la fecha 1587. La logia que proyecta en el centro - seis columnas jónicas sosteniendo un gablete triangular - fue comenzado por Palladio alrededor de 1570 y completada después de su muerte en 1587. Luego, en la primera mitad del siglo XVIII, el arquitecto Francesco Muttoni construye las actuales barchesse (almacenes agrícolas) laterales, arregla el jardín y probablemente realiza la escalera con doble rampa que conduce a la logia. La escenográfica escalinata que da acceso a la villa fue, no obstante, realizada algunos años antes, con la bella verja del 1703. Actualmente, la villa se contempla contra el fondo pintoresco de un jardín, que se creó en el siglo XIX, situado en la llanura del río Astico. En 1996 la Unesco incluyó el edificio dentro del lugar Patrimonio de la Humanidad «La ciudad de Vicenza y las villas palladianas del Véneto».​ Referencias Bibliografía Wundram, Manfred; "Andrea Palladio 1508-1580, Architect between the Renaissance and Baroque" Taschen, Colonia 1993; ISBN 3-8228-0271-9; pp. 20-21
Villa Piovene

Villa Piovene – willa wybudowana według projektu Andrei Palladia na zamówienie rodziny Piovene. Znajduje się w miejscowości Lonedo di Lugo koło Vicenzy. Historia Villa Piovene powstawała po roku 1539, a mocodawcy Palladia Battista i Tommaso Piovene chcieli, by jej piękno przewyższyło wygląd położonej w sąsiedztwie willi rodziny Godi. Andrea Palladio nie nadzorował całości prac budowlanych, jednak jego projekt został zrealizowany wiernie przez Francesco Muttoniego. W XIX wieku obok willi pojawił się ogród. W 1996 willa została wpisana na listę Światowego Dziedzictwa UNESCO razem z innymi tego typu obiektami w regionie weneckim. Do dzisiaj stanowi własność prywatną. Architektura Centralnym punktem fasady obiektu jest loggia z sześcioma jońskimi kolumnami podtrzymującymi tympanon. Okna obiektu, rozmieszczone w równych rzędach, są kwadratowe, bez obramowań. Na tympanonie wyrzeźbiony został herb rodziny Piovene oraz trzy postacie mitologiczne. Do głównej bryły budynku przylegają zabudowania gospodarcze. Po urządzeniu w XIX wieku ogrodu, główna aleja wjazdowa do willi została obsadzona drzewami. Bibliografia M. Wundram, Andrea Palladio 1508-1580, Taschen, Kolonia 1993.