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Mirabilia Urbis
II Consiglio delle Chiese Cristiane di Milano
Jewish Community of Venice
Curia Generalizia Frati Minori Cappuccini
Parrocchia San Pietro Apostolo
Santa Maria Maddalena dei Pazzi
Seminario Diocesano di Imola
Reviews
A secret gem in Florence. Highly recommended.
A nice neighbourhood in Venice
Bonito bonito bonito
Benissimo
Another beautiful place I visited
Built in the 13th century, but most of the interior is 17th century Baroque.
Ospitali come sempre
La Comunidad Hebraica se concentra en una zona del barrio de Cannaregio, es la zona donde vivía segregada la población judía. Hay lugares que aun conservan símbolos en sus fachadas, en este barrio aun alberga sinagogas, colegio, un museo y el famoso Banco Roso. El barrio tiene su encanto y aun podemos ver pasear a sus moradores con las vestimentas y pelo característico.
The conventual complex, dedicated to the Florentine Carmelite St Maria Maddalena de' Pazzi, who had such an influence on 17th-century spirituali ty, was originally founded in 1257 and dedicated to St Mary Magdalen delle Convertite', in a place where there was already a house for 'penitent' (or 'converted') women who followed the Rule of St Benedict. The convent in Borgo Pinti was rebuilt between 1481 and 1500; paid for by Bartolomeo Scala, it was designed by Giuliano da Sangallo, who devised the innovatory Ionic porti coed quadrangle (1) in front of the church.
The aisle-less interior has six deep chapels on each side of the nave, in white plaster with beautiful carved arches in grey pietra serena, and was harmoniously decorated between 1480 and 1530 with altarpieces by artists such as Botticelli, Perugino, Lorenzo di Credi, Domenico and Ridolfo del Ghirlandaio, and Raffaellino del Garbo, which unfortunately were moved elsewhere during the rearrangements of the 17th and 18th century. They were replaced by new ones, by minor masters such as Carlo Portelli, Alfonso Boschi, Domenico Puligo, Giovanni Bizzelli, Santi di Tito, and Francesco Curradi.
The magnificent Crucifixion frescoed by Perugino (2) in the Chapter Room of the convent, finished 1493-96 for the Pucci family, is still one of the most important artistic witnesses to a particular historical moment: on a wall divided by three arches, but unified by a single landscape, the artist has portrayed with sobriety and mystical feeling Christ on the Cross adored by the Magdalene, between (on the left) the Madonna and St Bernard and (on the right) St. John the Evangelist and St. Benedict.
The aisle-less interior has six deep chapels on each side of the nave, in white plaster with beautiful carved arches in grey pietra serena, and was harmoniously decorated between 1480 and 1530 with altarpieces by artists such as Botticelli, Perugino, Lorenzo di Credi, Domenico and Ridolfo del Ghirlandaio, and Raffaellino del Garbo, which unfortunately were moved elsewhere during the rearrangements of the 17th and 18th century. They were replaced by new ones, by minor masters such as Carlo Portelli, Alfonso Boschi, Domenico Puligo, Giovanni Bizzelli, Santi di Tito, and Francesco Curradi.
The magnificent Crucifixion frescoed by Perugino (2) in the Chapter Room of the convent, finished 1493-96 for the Pucci family, is still one of the most important artistic witnesses to a particular historical moment: on a wall divided by three arches, but unified by a single landscape, the artist has portrayed with sobriety and mystical feeling Christ on the Cross adored by the Magdalene, between (on the left) the Madonna and St Bernard and (on the right) St. John the Evangelist and St. Benedict.
Santa Maria Maddalena dei Pazzi is a Renaissance-style Roman Catholic church and a former convent located in Borgo Pinti in central Florence.
The Pazzi name was added after the Carmelite order nun Maria Maddalena de' Pazzi, canonized in 1669, whose family patronized the church. The original convent had been dedicated to St. Mary Magdalen delle Convertite, the patron of once-fallen, now converted women. The Cistercian order from Badia a Settimo took control of the site in 1332 and moved to it in 1442, while the convent was transferred to San Donato in Polverosa. However, the church and chapter house were rebuilt between 1481 and 1500, with initial designs in 1492 by Giuliano da Sangallo.
The 13th-century interiors were redecorated in the 17th and early 18th centuries, which removed the altarpieces by masters such as Botticelli, Perugino, Lorenzo di Credi, Domenico Ghirlandaio, and Raffaellino del Garbo. They were replaced by new ones from minor masters such as Carlo Portelli, Alfonso Boschi, Domenico Puligo, Santi di Tito, and Francesco Curradi. In the chapter house is a fresco divided into three lunettes of the Crucifixion and Saints (1493–96) by Pietro Perugino, commissioned by Dionisio and Giovanna Pucci.
The first chapel to the right of the entrance is the Cappella del Giglio (Chapel of St. Mary of the Lily) frescoed with depictions of Saints Filippo Neri, Bernard, Nereo, and Achilleo by the studio of Bernardino Poccetti, with an altarpiece by Domenico Passignano. The fourth chapel on the right has a stained glass window by Isabella, the daughter of Georges Henri Rouault. The choir chapel originally contained a fresco by Domenico Ghirlandaio but was rebuilt from 1685 to 1701 by Ciro Ferri and Pier Francesco Silvani. Ferri painted the altarpiece and Luca Giordano the flanking pieces. The statues of Penitence and Faith on the right were sculpted by Innocenzo Spinazzi, while Innocence and Religion on the left by Giovanni Monatauti. The bronze reliefs on the altar were made by Massimiliano Soldani-Benzi.
The interior also contains works by Giovanni and Cosimo Bizzelli, Jacopo Chiavistelli, Ottavio Vannini, Cosimo Rosselli, Cosimo Gamberucci, Leonardo del Tasso, Giuseppe Servolini, and Giuseppe Piattoli.
The Pazzi name was added after the Carmelite order nun Maria Maddalena de' Pazzi, canonized in 1669, whose family patronized the church. The original convent had been dedicated to St. Mary Magdalen delle Convertite, the patron of once-fallen, now converted women. The Cistercian order from Badia a Settimo took control of the site in 1332 and moved to it in 1442, while the convent was transferred to San Donato in Polverosa. However, the church and chapter house were rebuilt between 1481 and 1500, with initial designs in 1492 by Giuliano da Sangallo.
The 13th-century interiors were redecorated in the 17th and early 18th centuries, which removed the altarpieces by masters such as Botticelli, Perugino, Lorenzo di Credi, Domenico Ghirlandaio, and Raffaellino del Garbo. They were replaced by new ones from minor masters such as Carlo Portelli, Alfonso Boschi, Domenico Puligo, Santi di Tito, and Francesco Curradi. In the chapter house is a fresco divided into three lunettes of the Crucifixion and Saints (1493–96) by Pietro Perugino, commissioned by Dionisio and Giovanna Pucci.
The first chapel to the right of the entrance is the Cappella del Giglio (Chapel of St. Mary of the Lily) frescoed with depictions of Saints Filippo Neri, Bernard, Nereo, and Achilleo by the studio of Bernardino Poccetti, with an altarpiece by Domenico Passignano. The fourth chapel on the right has a stained glass window by Isabella, the daughter of Georges Henri Rouault. The choir chapel originally contained a fresco by Domenico Ghirlandaio but was rebuilt from 1685 to 1701 by Ciro Ferri and Pier Francesco Silvani. Ferri painted the altarpiece and Luca Giordano the flanking pieces. The statues of Penitence and Faith on the right were sculpted by Innocenzo Spinazzi, while Innocence and Religion on the left by Giovanni Monatauti. The bronze reliefs on the altar were made by Massimiliano Soldani-Benzi.
The interior also contains works by Giovanni and Cosimo Bizzelli, Jacopo Chiavistelli, Ottavio Vannini, Cosimo Rosselli, Cosimo Gamberucci, Leonardo del Tasso, Giuseppe Servolini, and Giuseppe Piattoli.
A curia como qualquer casa franciscana capuchinha no mundo é simples, acolhedora e fraterna a todos os irmãos.
Stunning architecture by Giuliano da Sangallo (porch) . If you love Baroque you can't miss the sculptures inside (Soldani , Spinazzi and others sculptors from the Medici court) as well as paintings.
Luogo molto bello, curato e soprattutto molto rilassante.
Padre Antonio mi ha mostrato le reliquie di santi che la curia conserva in una stanza....che sensazione strana, sembra d esser in un angolo di paradiso, trovarmi lì tra i resti mortali di anime sante
This church has a super altar, nice frescoes and some good paintings. It's not open every day but if you can get in to see it, you'll find it's worth your time. Entrance is free!
Deloc aglomerat
Casa della vita nel passato, nel presente e nel futuro!
One of the most gorgeous churches I've seen so far in Florence. Art, ceiling, organ & architecture all together in the light from a rainy afternoon was magic.
Coinvolgente da visitare
La chiesa in cui mi sono sposato.
Piccola ma bellissima nel suo stile romanico di montagna!
Piccola ma bellissima nel suo stile romanico di montagna!
The people of this community are rude. We came a little late because we didn’t know the way and it was on shabbos. So They didn’t let us in shul so we davind out side without minyan
Interesssante
La Curia Generalizia dei Frati Minori ospita i Frati Cappuccini provenienti da diverse Nazioni. L'accoglienza è uno dei loro punti di forza, come il pranzo comunitario ed i momenti di vita e socializzazione che offre spunti di autentica condivisione di esperienze. I locali sono moderni ed arredati con sobrietà, puliti e ben termocondizionati. All'interno, un chiostro - giardino silenzioso e ben curato, predispone alla meditazione ed all'ascolto interiore. All'ingresso della Casa Generalizia è affissa una targa che ricorda la protezione data dai Frati agli ebrei perseguitati dai nazisti, durante la Seconda Guerra Mondiale. Dono della Comunità Ebraica in Italia.
Bellissimo parco nel territorio imolese. Ospita anche gli incontri di Intercultura
Festa di fine anno scolastico
Beautiful church with some impressive artworks and an extraordinary Baroque main altar and presbytery.
E 'molto importante sinagoga
Si entra nella storia
Nice place
magnifique église
One of the last community that still own their identity in a globalized city as Venice.
Ottima sala conferenze