NoeFlandre/osm-polygon-wikidata-only huggingface dataset:
Sant'Andrea, Spello

Sant’Andrea is a 14th-century church located in Spello, province of Perugia, region of Umbria, Italy. History A church at this site is documented since 1025, as belonging to Camaldolese monks from the former monastery of San Silvestro, once located in the frazione of Collepino on the slopes of Monte Subasio. In the 13th century, the church came under the rule of the bishop of Spoleto, who then granted it and surrounding farms, to monks of the Franciscan order. In 1254, Pope Innocent IV, and again in 1256 Pope Alexander IV, confirmed these grants. In 1258, the latter pope granted indulgences to be offered over ten years to help pay for the erection of the monastery. The monastery was aided by its affiliation with the blessed Andrea Caccioli (1194-1254), who had been one of the original novices under St Francis, and had been the earliest leader of this monastery. In 1360, the blessed monk was proclaimed a "co-patron" of the town, although he did not get cultus confirmation by the Vatican until 1738, and has never been beatified. The church and convent have undergone many refurbishments over the centuries. The latter was twice secularized: once by the French occupation in 1810, and again in 1860 and 1866, when it became an orphanage for girls. The Franciscan order returned in 1982 to restore the monastery. Interior Artworks St Francis in 16th century marble aedicule (wooden icon on right entry wall) Madonna and Child with Saints Anne, Roch and Nicola of Bari (1532, right wall) by Tommaso Corbo Meeting of Saints Joachim and Anne (1565, right wall) attributed to Dono Doni Madonna and Child (first half of 14th century, nich on right wall. Madonna and Child, Saints Lawrence, Francis, Ludovico, Sant'Andrea Apostle, and a young John the Baptist (1507-1508) by Pinturicchio with the help of Eusebio da San Giorgio and Giovanni di Francesco Ciambella Ecstasy of St Anthony (17th century, Chapel of St Anthony of Padua) Blessed Franciscan (1662, Chapel of St Anthony of Padua) by follower of Giovanni Battista Pacetti Wooden intaglio choir (17th century, apse) Twelve apostles (1913, apse) by Benvenuto Crispoldi Crucifixion (circa 1400, apse) by follower of Giotto Funeral Urn of Blessed Andrea Caccioli (17th century, Chapel of St Francis) Miracle of the Blessed Andrea Caccioli in Reggio Emilia (1610, Chapel of St Francis) by Cesare Sermei Blessed Beata Veronica Giuliani (17th century, Fresco in chapel of St Anthony) Other frescoes in the Chapel of St Anthony include a Madonna and child with Angels (14th century) by the school of Cola Petruccioli and an Enthroned Madonna and Child with St Anthony abbot and St James the Pilgrim and Donors (14th century) by the Master of Santa Giuliana In the chapel of the Holy Sacrament are 20th century paintings by Benvenuto Crispoldi and a fresco of the Madonna and Child with Saints Catherine and Lucy (16th century) by followers of Ascensidonio Spacca and frescoes by followers of Mazzaforte The Convent is under restoration. It has had some frescoes (late 17th century) attributed to Carlo Lamparelli and a canvas depicting St Ursula attributed to Sebastiano Conca. References
San Bernardino in Pignolo, Bergamo

San Bernardino in Pignolo is a Roman Catholic church located on Via Pignolo #59, in Bergamo, region of Lombardy, Italy. History The Franciscan friar San Bernardino of Siena had travelled to Bergamo in 1411 and founded the monastery of Santa Maria delle Grazie, Bergamo. On occasion of his canonization in 1450, this church was commissioned, and it is documented since the 1460s, affiliated with a confraternity of Flagellants, but the structure was not completed till 1561. It was assigned to the order of Dominicans but only till 1571. The church underwent extensive restorations in 1876. It has a posterior bell-tower. The facade has the IHS within sun monogram of San Bernardino. The church is most noted for the altarpiece depicting the Madonna and Child with Saints Anthony Abbas, Joseph, John the Baptist, and Bernard (1521) by Lorenzo Lotto. On the counterfacade were paintings by Giovanni Paolo Cavagna. In the first altar on the right is a canvas depicting an Enthroned Madonna and Child (1523) by Andrea Previtali. In the second altar on the right is a 15th century canvas depicting Saints Defendente, Apollonia, and Lawrence. The church also had at a time paintings by Giovanni Battista Moroni (Sant'Alessandro della Croce), Giacomo Locati, and Francesco Cavagna. Bergamo Arte Design cites the 2nd chapel on the right having an Enthroned Madonna with Saint Onofrius and Antony of Padua, and the 3rd chapel as once housing (now stolen) Madonna with Sts Peter and Paul by Jacopino Scipioni. The 3rd chapel on left has 19th-century frescoes depicting Life of St Antony of Padua by Giovanni Maironi da Ponte, and the 2nd chapel on the left, had the GP Cavagna altarpiece. References
Bacino Orseolo

Il bacino Orseolo (AFI: /baˈʧino orˈsɛolo/) è uno slargo d'acqua situato a Venezia nel sestiere di San Marco, alle spalle dell'omonima piazza. Questa piccola sacca lagunare a forma di mezzaluna, posizionata esattamente dietro la fabbrica rettangolare delle Procuratie Vecchie, venne aperta nel 1863 durante una serie di ristrutturazioni urbanistiche che interessarono la città, con il preciso scopo di creare un approdo per gondole nelle vicinanze del cuore storico cittadino. Per raggiungere tale obiettivo, si procedette allo sventramento della zona e alla demolizione di molte delle costruzioni preesistenti. Scomparvero, oltre a diversi edifici non particolarmente pregevoli, lo storico albergo Cavalletto, riedificato in posizione e forme adattate al nuovo assetto, e il palazzo entro il quale era spirato lo scultore Antonio Canova. L'amministrazione comunale lo volle intitolare al doge Pietro I Orseolo che aveva fondato un ospizio in piazza San Marco, qui trasferito nel 1581 e più tardi soppresso. L'apertura del bacino rientrava in un più generale riassetto urbano della città lagunare, che nell'Ottocento, anche se in misure nettamente inferiori rispetto ad altre città, venne adattata alle nuove esigenze sociali di collegamento a servizi come, in questo caso, la nuova stazione di Venezia Santa Lucia secondo il principio urbanistico dell'epoca che prediligeva vie di circolazione ampie. Il bacino era dunque il punto conclusivo di un nuovo percorso pedonale diretto, che si spingeva da Campo San Luca a Rialto ed alla Strada Nova sostituendosi ai più tortuosi percorsi preesistenti lungo la Frezzaria o la Calle dei Fabbri. Il bacino, per la sua posizione immediatamente a ridosso di piazza San Marco, rappresenta tutt'oggi uno dei luoghi più caratteristici della città ed uno dei più sfruttati imbarcaderi per le gite turistiche in gondola. Note Altri progetti Wikimedia Commons contiene immagini o altri file su Bacino Orseolo
Palazzo Ducezio

Palazzo Ducezio is the town hall of the town of Noto, in Sicily. History Construction works of the building were started by architect Vincenzo Sinatra in 1746, drawing inspiration from some French palaces of the 17th century. The Palazzo Ducezio, seat of the Town Hall, was built around 1760. The oval Hall known as the Hall of Mirrors was enriched with stucco and gold in Louis XV style and with sumptuous mirrors at the end of the nineteenth century. At the beginning of the 1930s, on the occasion of the official visit of Umberto and Marie-José, Princes of Piedmont, the hall was restored by the painter Gregorietti. The furnishings were made by the master Dugo, craftsman of the Franza Company. The central painting on the vault, attributed to Antonimo Mazza, was made in 1826, and depicts an allegory of Ducezio, king of the Siculi, to whom an officer of the Engineers shows the site of Neas on Mount Alveria. Site on which in the pre-Hellenic age the fortified city of Noto Antica was rebuilt, to defend against the attack of the Greeks. In the side panels there are inscriptions that relate to the glories of the city of Noto; and expressions taken from Diodorus Siculus, Littara and Randazzo. On the left side there is also a telegram from Garibaldi to the patriots of Noto from 1860. The Hall of Mirrors is the city's reception room, and continues to host illustrious delegations and prestigious events, such as the signing of the memorandum of understanding between the Eight UNESCO Municipalities for the creation of the cultural district. The hall has been used to receive many Heads of State. After being closed in the 1990s, it was reopened after restoration on 14 July 2001, on the occasion of the visit of the delegation of the Hungarian Government, for the twinning between the city and Hungary, for the two poets Sador Petofi and Giuseppe Cassone, the latter being the Italian translator of the Hungarian poet. On that occasion, the Hungarian Government donated a marble bust placed at the entrance of the Town Hall. Description The façade, convex in shape, was originally built as a single-storey structure. A second level with thirteen rectangular windows was added between 1949 and 1951 to a design by architect Francesco La Grassa, who adapted the addition to the rhythm and proportions of Sinatra’s Baroque composition. The completed façade is characterized by twenty arches supported by Ionic order columns on the lower floor and thirteen rectangular windows on the upper floor. Inside, the Hall of Mirrors is noteworthy. This is an oval-shaped hall furnished with Louis XV-style furniture and large mirrors carved by Avoli artist Sebastiano Dugo. Adorning the ceiling of the hall is The Foundation of Neas, a neocl Gallery References External links Palazzo Ducezio on Catalogo generale dei Beni Culturali—(in Italian)
Palazzo Ducezio

Palazzo Ducezio si trova a Noto ed è sede del municipio, la denominazione è in onore di Ducezio, fondatore della città. Storia I lavori di costruzione del palazzo vennero iniziati dal netino Vincenzo Sinatra nel 1746 ispirandosi ad alcuni palazzi francesi del XVII secolo. Il salone denominato Sala degli Specchi, a pianta ovale, fu arricchito di stucchi ed ori di stile Luigi XV e di sontuose specchiere alla fine del XIX secolo. All'inizio degli Anni Trenta, in occasione della visita ufficiale di Umberto e Maria Josè di Savoia, Principi di Piemonte, il salone venne restaurato dal pittore Gregorietti. I mobili vennero realizzati dal maestro Dugo, artigiano della Ditta Franza. La pittura centrale sulla volta, attribuita ad Antonimo Mazza, è stata realizzata nel 1826, e raffigura una allegoria di Ducezio, re dei siculi, al quale un ufficiale del genio mostra il sito di Neas sul monte Alveria. Sito sul quale in età pre-ellenica, sarà riedificata la città fortificata di Noto Antica, per difendersi dall'attacco dei Greci. Nei riquadri laterali vi sono invece iscrizioni che riguardano i fasti della città di Noto; ed espressioni tratte da Diodoro Siculo, Littara e Randazzo. Sul lato sinistro v'è anche un telegramma di Garibaldi ai patrioti di Noto del 1860. Descrizione La facciata, convessa, è caratterizzata da venti arcate sorrette da colonne di ordine ionico nella sezione inferiore, e da tredici finestroni rettangolari nella sezione superiore. All'interno è degna di nota la sala degli Specchi, salone ovoidale arredato con mobili in stile Luigi XV e grandi specchi scolpiti dall'avolese Sebastiano Dugo. Nella volta della sala campeggia La Fondazione di Neas, affresco neoclassico del pittore Antonio Mazza che raffigura la fondazione di Noto da parte del condottiero siculo Ducezio. Galleria d'immagini Altri progetti Wikimedia Commons contiene immagini o altri file su Palazzo Ducezio Collegamenti esterni Sito ufficiale del turismo della provincia di Siracusa, su siracusaturismo.net. La sala degli Specchi sul sito ufficiale del Comune, su comune.noto.sr.it. URL consultato il 27 gennaio 2015 (archiviato dall'url originale il 6 novembre 2014).
Palazzo Ducezio

Het Palazzo Ducezio is het stadhuis van Noto, een stad op het Italiaanse eiland Sicilië. Het in oorsprong stadspaleis van adellijke families is vernoemd naar Ducetius (Latijn) of Duketios (Oudgrieks). Ducetius was een Siceel en heerste in Centraal-Sicilië in de 5e eeuw v.Chr. Het gelijkvloers is 18e-eeuws. De bouwstijl is laatbarok tot rococo. Het paleis is geïnspireerd door de Lodewijk XV-stijl in Frankrijk. De eerste verdieping is evenwel 20e-eeuws. Historiek Na de zware aardbeving van 1693 op Sicilië dienden grote delen van het eiland heropgebouwd te worden. Dit was ook zo in Noto. Edellieden vonden dat ze dichter bij de kathedraal moesten wonen, dus dichter bij het centrum van de macht der geestelijken. De kathedraal werd heropgebouwd en zo bouwden edellieden hun Palazzo Ducezio tegenover de kathedraal. De architect was Vincenzo Sinatra. Van 1740 tot 1760 werd er gebouwd aan het Palazzo Ducezio. Het gelijkvloers gebouw werd helemaal afgewerkt in de 19e eeuw. De spiegelzaal dateert van die tijd (1830), alsook de allegorische schildering van Ducetius (1826). Na de eenmaking van Italië werd het Palazzo Ducezio stadhuis. De spiegelzaal werd gebruikt als ontvangstzaal door het stadsbestuur. Tijdens de jaren 1949-1951 verrees de eerste verdieping in neobarokstijl; de architect was Francesco La Grassa. Vele stadsdiensten zijn sindsdien evenwel ondergebracht in andere panden. Het Palazzo Ducezio is deel van het UNESCO werelderfgoed dat alle barokgebouwen van Val di Noto omvat.
Santo Spirito, Bergamo

Santo Spirito is a Roman Catholic church located on Piazzetta Santo Spirito in Bergamo, in the region of Lombardy, Italy. History The church was founded in the 1300s by Cardinal Guglielmo Longo, along with an adjacent hospital and a convent of the Celestine order of Benedictines. In 1475, it was allocated to the Canons Regular of the Lateran. In the early 1500s it was refurbished; in the 1530 to 1535, the nave was rebuilt with five chapels on each side. Pietro Isabello participated in the 16th-century reconstruction; in 1720, the next refurbishment was led by Giovanni Battista Caniana. Interior decoration In the first chapel on the right are two canvases: the Deposition by Giulio Carpioni and a Miracle of Saint Antony of Padua by Domenico Viani. In the second chapel on the right was built in 1512 using designs by Pietro Isabello, and originally had the altarpiece of Andrea Previtali, now found in the first chapel on the left. In the fourth chapel is a prominent painting by Lorenzo Lotto of the Madonna and Child with Saints Catherine of Alexandria, Augustine, Sebastian, and Antony Abbot (1521). It is flanked by two canvases: Daniel in the Lions' Den and Saint Francis Receiving the Stigma by Gian Paolo Cavagna. On the main altar of the presbytery are sculptures that once formed part of the funeral monument of Agostino and Caterina Tasso. The wooden choir, only 17 of the original 50 stalls, was carved in the 16th century. In the first chapel on the left is the funeral monument of Agostino and Caterina Tasso and a painting of the Madonna and Child with Saints Peter and Paul and an Angel by Scipione Piazza. There is also a canvas depicting Saint John the Baptist and other Saints by Andrea Previtali. In the second chapel on the left is a polyptych depicting the Descent of the Holy Spirit upon the Madonna and Apostles (1507) by Ambrogio Bergognone. In the third chapel on the left is a 14th-century altarpiece depicting the Madonna del Buon Consiglio and Child. In the fourth chapel on the left are paintings depicting the Passion of Christ attributed to Pietro Rotari. References
Santa Maria Etiopissa, Vicenza

Santa Maria Etiopissa is a Romanesque-style, Roman Catholic church located on Strada Marosticana in the neighborhood of Polegge of Vicenza, region of Veneto, Italy. The church was once part of a Lombard abbey. History A church at the site is documented since 1154 as belonging to the Abbey of Pomposa. The church underwent reconstruction around 1490. The simple stone and brick structure has a single, rectangular nave, with a square apse. The bell-tower arises awkwardly from a corner of the facade. A stone bas-relief in the church dates possibly to the 6th or 7th century. A more recent reconstruction took place in 1933. References
Augustusbogen (Aosta)

Der Augustusbogen in Aosta, dem antiken Augusta Praetoria, ist ein eintoriger Ehrenbogen, der im Jahr 25 v. Chr. zu Ehren von Kaiser Augustus anlässlich des Sieges über die Salasser errichtet wurde. Geschichte Der Ehrenbogen wurde im Jahr 25 v. Chr. errichtet, nachdem der römische Feldherr Aulus Terentius Varro Murena den keltischen Stamm der Salasser während der Eroberungszuges in die Westalpen besiegt und weitgehend ausgerottet hatte. An der Stelle seines Lagers wurde die Colonia Augusta Praetoria angelegt. Der Bogen befand sich außerhalb der Porta Prætoria, dem Haupttor der Stadt. Die dorthin führende Straße führte unter ihm hindurch. Im 12. Jahrhundert bewohnte eine adlige Familie den Bogen. 1318 wurde er zu einer Festung ausgebaut, in der Bogenschützen stationiert waren. 1449 wurde das Kreuz im Inneren des Bogens angebracht, eine Votivgabe zur Vorbeugung von Überschwemmungen des Flusses Buthier. Nach diesem Kreuz trug der Boden den Namen Saint-Voût, heiliger Bogen. Das heutige Kreuz ist eine Kopie des Originals, das sich im Domschatzmuseum Aosta befindet. Im Jahre 1716 wurde die ursprüngliche Attika des Triumphbogens durch ein flaches Schieferdach ersetzt. Von 1912 bis 1913 wurde der Augustusbogen renoviert. Damals wurden bei Ausgrabungen in der Nähe des Bogens zwei vergoldete Bronzebuchstaben gefunden, die vermutlich ursprünglich zu einer Inschrift auf der Attika gehörten. Siehe auch Augustusbogen für weitere Triumph- und Ehrenbögen des Augustus Literatur Sandro De Maria: Gli archi onorari di Roma e dell’Italia romana. „L'Erma“ di Bretschneider, Rom 1988, S. 229 f. Nr. 3. Jean Prieur: Les arcs monumentaux dans les Alpes occidentales: Aoste, Suse, Aix-les-Bains. In: Hildegard Temporini (Hrsg.): Aufstieg und Niedergang der römischen Welt. Reihe II, Band 12, 1. Walter de Gruyter, Berlin 1982, S. 442–475, hier: S. 445–451. Weblinks Einzelnachweise
Arch of Augustus (Aosta)

The Arch of Augustus (in French Arc d'Auguste) is a monument in the city of Aosta, northern Italy. It was erected in 25 BC on the occasion of the Roman victory over the Salassi and was the work of Aulus Terentius Varro Murena. It is located at the end of the decumanus maximus, a little distance from the Bourg Saint-Ours (quarter of the Collegiate Church of Saint Ursus) and from the eastern entrance of the city wall (the Porta Prætoria). Description Constructed from conglomerate, the arch has a single vault, with a height to the keystone of 11.4 metres (37 ft). Its span is a barrel vault, constituting an extension in width of a round arch. In the monument, various styles can be recognised: The ten engaged columns which decorate its facade and its sides culminate in Corinthian capitals, while the entablature, adorned with metopes and triglyphs, is of the Doric order. In the Medieval period, it came to be called the Saint-Voût (French for "Holy Arch") from an image of Jesus which was located in the same place. During the 12th century, the arch contained the home of a local noble family and in 1318 a small fortification was built inside it, designed for a corps of crossbowmen. In 1716, because of the numerous leaks that were compromising the integrity of the monument, the attic that previously crowned the arch was replaced with a slate roof. The arch's modern appearance is the result of a final intervention for restoration and consolidation which occurred in 1912 under the direction of Ernesto Schiaparelli. The wooden crucifix displayed below the vault is a copy of the one which was placed there in 1449 as a votive offering against the flooding of the river Buthier, which flows a little to the east. The original crucifix is now housed in the Museum of Aosta Cathedral's Treasures. Quotation I was so happy in contemplating these beautiful landscapes and the triumphal arch of Aosta that I had but one wish to make, that this life would last forever. J'étais si heureux en contemplant ces beaux paysages et l'arc de triomphe d'Aoste que je n'avais qu'un vœu à former c'était que cette vie durât toujours. See also Arch of Augustus (disambiguation) for other such monuments List of Roman triumphal arches References External links (in French) The Arch of Augustus on the website of the Autonomous Region Aosta Valley
Arco de Augusto de Aosta

El Arco de Augusto (en francés: Arc d'Auguste, en italiano: Arco d'Augusto) es un arco de triunfo de origen romano, situado en Aosta (Valle de Aosta, Italia). Se levantó en el año 25 a. C. con ocasión de la derrota del pueblo salaso, que ocupaba el valle del río Dora Baltea. Descripción Está hecho en piedra conglomerada, a eje con el decúmano de la ciudad, cerca de la Puerta Prætoria. Posee una sola cara de 11,40 metros de altura. Aunque el orden que rige es el dórico, tiene capiteles corintios, incluidos las metopas y los triglifos. Bajo la bóveda muestra un crucifijo, copia contemporánea del que le fue colocado en 1449. El original se halla en el museo de la catedral de Aosta. En el siglo XII perteneció a una familia nobiliar, y que se aprovechó para construir una pequeña fortaleza en 1318 para albergar un cuerpo de ballesteros. En el año 1716, dañado por filtraciones, se sustituyó su remate superior por un tejado de pizarra. La última gran restauración se efectuó en 1912. Véase también Aosta Bibliografía Enlaces externos Wikimedia Commons alberga una categoría multimedia sobre Arco de Augusto de Aosta. Arco de Augusto de Aosta - (en italiano y francés)
Arc d'Auguste (Aoste)

L’Arc de triomphe d’Auguste est l’un des plus célèbres monuments romains d’Aoste. Citations « J'étais si heureux en contemplant ces beaux paysages et l'arc de triomphe d'Aoste que je n'avais qu'un vœu à former c'était que cette vie durât toujours. (Stendhal) » Histoire Il fut érigé en 25 av. J.-C. pour célébrer la victoire des Romains sur les Salasses, par Aulus Térence Varron. Il est situé à la fin du Decumanus maximus, à l'est du Bourg Saint-Ours (le quartier de la Collégiale de Saint-Ours, près de l’entrée orientale de la cité romaine. Description Il présente un arc unique, mesurant 11,40 mètres de haut. Les dix demi-colonnes sont surmontées par des chapiteaux corinthiens, tandis que l’entablement, avec ses métopes et ses triglyphes sont d’ordre dorique. Au Moyen Âge l'arc fut dénommé Saint-Voût par une image du Saint-Sauveur qu'il accueillait ; ce même nom pourrait signifier également « Saint vœu », référé aux nombreuses processions en remerciement après des catastrophes évitées, telles que les inondations fréquentes du Buthier. Au XIIe siècle, une famille noble aostoise aménagea dans l'arc, et en 1318, à l’intérieur, fut créée une fortification pour les arbalétriers. L’attique qui le surmontait a été remplacé en 1716 par un toit en lauzes, à cause d’infiltrations. Les derniers travaux de restauration ont été faits en 1912. Le crucifix en bois est une copie de celui qui fut placé en 1449 comme ex-voto contre les inondations du Buthier. Le crucifix original est conservé aujourd’hui au Musée du trésor de la cathédrale d'Aoste. Notes et références Voir aussi Articles connexes Aoste Histoire de la Vallée d'Aoste Augusta Praetoria Salassorum Liens externes L'Arc sur le site de la région Vallée d’Aoste Les sites archéologiques d'époque romaine en Vallée d'Aoste L'arc d'Auguste sur le site de la ville d'Aoste Portail de l’architecture et de l’urbanisme Portail de la Rome antique • section Empire romain Portail de la Vallée d'Aoste