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RSS feed: Luca Candela, »тали€, панорамные фотографии Ђ360Citiesї
Fri, 25 Jan 2019 13:44:46 GMT
Photography by Luca Candela on 360Cities
I'm an Italian Photographer living between Italy , Philippines and the Baltic States specialized in digital images needed for the production of a 360-degree virtual tour. Google trusted Photographer, IVRPA member and Tau Visual member. I'm used to work everywhere, at anytime, in any situation. https://lucacandela.com [ + ]
Fri, 25 Jan 2019 13:50:44 GMT
Lombardia: Palazzo Ducale of Sabbioneta (MN) Italy
360° panorama by Luca Candela.
Click the image to open the interactive version.

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Fri, 25 Jan 2019 13:37:36 GMT
Lombardia: Palazzo Ducale of Sabbioneta (MN) Italy - 2
360° panorama by Luca Candela.
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Fri, 25 Jan 2019 13:23:04 GMT
Parma: Cathedral of Parma, Italy
360° panorama by Luca Candela.
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The Cathedral of Parma is from 900 years a place of art, history and sacredness. Here are preserved the bas-reliefs by Benedetto Antelami, the romanesque art heritage and the grand frescoes by Antonio Allegri, known as Correggio. Entering into this place means living the faith, opening up to art and discovering one of the most precious treasures of the city. ¬† ¬† ¬† Construction Building of the Cathedral began in 1074 under Bishop-Count Guibodo, following the terrible fire that destroyed the previous early Christian basilica. Since then it has always been a symbol of the lively religious tradition of the city, but also a monumental work of art, which through the centuries has been enriched with priceless treasures. Here the essential nature of Romanesque sculpture coexists with the sumptuousness of Renaissance painting, creating one of the most fascinating places of worship in the Emilia region. ¬† ¬† Cupola of Correggio The Assumption of the Virgin by Correggio is a grandiose work of prospective, where light, composition and movement blend in a masterpiece of visual illusionism. Somewhere between the Renaissance pictorial language and the audacity of Baroque art, this cupola was soon pronounced to be вАЬscandalousвАЭ by some contemporary critics. What particularly strikes the observer is the Assumption of Mary to heaven: a whirling tangle of figures that accompany the Virgin towards the circle of the blessed. At the centre of the cupola is Christ, who descends from the light in a pose whose plasticity was incredibly innovative at the time. ¬† ¬† The cycle of frescoes by Lattanzio Gambara An imposing cycle of frescoes that accompanies worshippers along the entire central nave: they tell the story of the Life of Christ and also depict episodes from the Old Testament. Both the right and left wall are entirely covered by frescoes, which follow a precise thematic organization. The frescoes between the arches and the womenвАЩs gallery depict scenes of the Old Testament, those between the womenвАЩs gallery and the lunettes images from the Gospel, while allegorical figures appear in the lunettes. This imposing work bears witness to Lattanzio GambaraвАШs apprenticeship with Giulio Campi, but also to the influence of the painter Giulio Romano. ¬† ¬† Christ in Glory in the apse The images of this fresco by Gerolamo Mazzola Bedoli, which dominates the entire cathedral from the apse, convey the intensity of the Eucharistic mystery. At the centre of the fresco is Christ who, still bearing the signs of his sacrifice, ascends to heaven among the jubilation of angels and saints. The scene is dominated by an intense blue light and gathers in a single composition the symbols of passion, leading the faithful on a spiritual journey that goes from earthly suffering to divine glory. ¬† ¬† The Deposition by Antelami This is the first great known work by Benedetto Antelami and a masterpiece of Gothic art. ¬†It originally was part of the ambo, from which the Word of God used to be proclaimed. Looking at the composition carefully one becomes aware of the modernity and humanity that the artist sculpted into the marble. The scene has a strong dramatic impact: Christ is at the centre, his lifeless body supported by John. At the left of the Cross are the gambling centurions, casting dice for the robes of the son of God. AntelamiвАШs style is very personal, and although he created this work in 1178 he anticipates with remarkable foresight elements of Gothic sculpture. ¬† ¬† The ancient bishopвАЩs throne The throne is adorned with a symbolically rich marble group in which scenes from the Scriptures are intertwined with anthropomorphic figures and episodes drawn from hagiographic stories. From a symbolic point of view, the bishopвАЩs throne represents the Bishop presiding over liturgical assemblies within the Cathedral, which takes its name from this seat (вАЬcathedraвАЭ). The arms are symmetrical and consist of two human figures crushed by lions that embody the victory of Christ over death. Other episodes are depicted on its sides, such as the battle between Saint George and the dragon and the conversion of Paul. ¬† ¬† The entrance portal and the two Lions Two great marble lions guard the entrance to the Cathedral: they were sculpted by Giambono da Bissono in 1281 and are among the symbols of the Cathedral. The door is by Luchino Bianchino, who carved it in 1494. A closer look at the lions reveals that they are not perfectly symmetrical. On the contrary. One is red and the other is white. It seems that this difference may be interpreted as the dual human and divine nature of Christ. ¬†The two lions represent the Lord and embody his strength, his ability to support his own Church and victory over death. ¬† ¬† Valeri Chapel This chapel, decorated in the 15th-century, is located on the left aisle. Two different painters created the frescoes depicting the life stories of the Saints Catherine, Christopher and Andrew, drawn from the Golden Legend. The chapel is named after its patron, an important member of the local community who, following a period in exile, commissioned the frescoes to rehabilitate his image. The chapel is characterized by its unusual hexagonal shape and by the elegance of its decoration. The work by Bertolino deвАЩ Grossi, a prominent painter in 15th-century Parma, is the one most easily recognized. ¬† ¬† Chapel of the Commune It is accessed from the right aisle and it depicts the history of Saint Sebastian, an airy cycle of paintings attributed to the workshop of Bertolino deвАЩ Grossi and commissioned by the Commune during a plague epidemic. The chapel was dedicated to the story of Saint Sebastian because this was the saint people were turning to for help in the midst of the deadly epidemic. The frescoes are characterized by a slow narrative rhythm, by the distinctive gestures of the figures and by a lighter painting style than the one found in the Valeri Chapel. ¬† ¬† The medieval capitals An encyclopedia of images engraved in stone: this is how one can describe the countless medieval capitals that can be discovered while walking along the aisles of the cathedral. Most of the capitals in the Cathedral are of the Corinthian-type, with vegetal decoration. But there are also capitals with different decorations, such as hunting scenes, mythological tales, Bible stories and scenes drawn from daily life. The capitals used to be polychromatic, but today bare stone and 16th-century gilding prevail. ¬† ¬† The crypt A dense interweaving of columns and groin vaults that can be compared to a вАЬstone gardenвАЭ. Here are preserved the relics of San Bernardo degli Uberti, patron saint of the Diocese. It is thought that the columns used in this crypt were taken from the ancient Roman town, thus establishing an ideal continuity between the ancient town and the Cathedral. Of particular interest is the statue of Saint Bernard at the centre of the chapel dedicated to him and altered over the centuries. From the crypt one gains access to two precious Renaissance chapels: the Rusconi chapel and the Ravacaldi chapel. ¬† ¬† Rusconi Chapel This side chapel located at the right of the crypt contains elegant frescoes commissioned by Bishop Giovanni Rusconi in 1398. A magnificent votive fresco dominates the chapel. This fresco shows the Bishop kneeling by the throne of the Virgin and absorbed in prayer. The rest of the chapel shows depictions of the prophets, attributed to Padua workshops, and images of the Evangelists enclosed in elegant frames. Of particular interests is the depiction of the Trinity through the superimposition of the three divine faces, which at the time was considered an unorthodox choice. ¬† ¬† Ravacaldi Chapel This is the other side-chapel in the crypt. Here one can see the fresco of the Annunciation and a cycle of paintings about the life of the Virgin, evidence of the fine narrative taste of the workshop of Bertolino deвАЩ Grossi. This chapel is also named after its patron, a canon whose figure seems to be included in the Annunciation fresco. The particular attention given to details and faces makes of these frescos an interesting example of 15th-century painting. Source:¬†http://www.piazzaduomoparma.com/en/cattedrale/ [ + ]
Wed, 23 Jan 2019 15:49:10 GMT
Bologna: Piazza Maggiore, Bologna, Italy
360° panorama by Luca Candela.
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Tue, 22 Jan 2019 22:04:53 GMT
Tuscany: Piazza del Campo, Siena, Italy
360° panorama by Luca Candela.
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A universal symbol of the city, the distinct formation of the Piazza del Campo is just one of the reasons why UNESCO recognizes Siena as the ideal embodiment of a medieval city. Built in the exact place where the three antique hilltop towns sloped together, before eventually combining to create the community of Siena. The main square, commonly called вАЬil CampoвАЭ was built on the intersection of the three main roads that lead to and from Siena, destined to be a neutral ground where political and civic holidays could be celebrated. The homogenous architectural form of the square and the buildings facing it was not an accidental happening; the government created guidelines in 1297, before the actual building of the square and civic buildings. If any structure didnвАЩt adhere, then they were torn down - as was the antique church for St. Peter and Paul. This signifies that it was always the city leader's intention to create a harmonious structure between the buildings and the square. The Distinct Shape The square, with a circumference of 333 meters, is paved with a fishtail design of red brick divided by 10 lines of white travertine stone creating a shell like appearance with 9 sections pointing directly to Palazzo Pubblico, the civic headquarters. Each section representing one of the ruling 9 governors in the вАЬgoverno dei noveвАЭ and long considered to be one of the most stable and peaceful governments in Italy. Artistically speaking, the sections were to resemble the folds in the Virgin MaryвАЩs cloak, who was not only the patron saint, but considered the вАЬultimate rulerвАЭ of Siena. Though some have suggested that the harmonic construction of the square is an artistic representation of the valley of Montone. Siena at one time was equal in size to Paris, though after the ravages of the plague the population dropped dramatically and never truly returned to those glorious heights, not even today. Piazza del Campo was intended as an area where the entire population could meet for activities, games and political events - thus it was built to hold the entire town. There are no documents to support that all roads were eventually to lead to the square (thus the Palazzo Pubblico) however, when you walk through the four of the seven openings your eye is led directly to the civic building - whereas the remaining three invite you to admire the Tower. Everything is Happening Here Today the square still hosts major events, namely the Palio, activities around Carnival in February and in the summer the local government organizes many initiatives outside in the evening, under the stars. However during the day, it is a unique area where tourists come to sit, after walking the romantic streets of Siena, touring the Duomo and its many museums. Depending on the time of the day, they either sit in the warm sun or in the cool shadow of the Palazzo and the tower, admiring the tranquil and enduring beauty. More to see in Piazza del Campo Palazzo Pubblico The home of the famous Government of Nine. The Palazzo Pubblico faces Piazzo del Campo - where the entire medieval population would meet for civic and cultural affairs and Piazza del Mercato is in the the back, one of the more important and oldest squares of Siena, built long before Piazza del Campo. The Palazzo Pubblico houses the Civic Museum with its many famous masterpieces of Sienese art. Torre del Mangia Looming over the square, the Torre del Mangia is 102 meters tall to the tip of the lightning rod. Constructed between 1325 to 1348, it is built of the typical terracotta colored brick and topped with in white travertine. The picturesque name is said to come from Giovanni di Balduccio, called 'il mangiaguadagni', who would often squander his earnings at the table. Cappella di Piazza At the base of the Torre del Mangia, is the Piazza Chapel built between 1352 to 1376 in honor of the Virgin Mary (La Madonna) thanking her for the escape from the effects of the вАЬBlack PlagueвАЭ of 1348. The vaulted ceiling is supported by 4 pilasters which are decorated with images of saints by local artists of the time. During the Palio games, the mass for the jockeys is held at its altar. Fonte Gaia Directly opposite of the Palazzo Pubblico and the Torre del Mangia, the Fonte Gaia was the pride and joy of Siena built in 1346. The evocative marble carvings that you see today are copies rendered by Tito Sarrocchi of the original commissioned in 1409 by Jacopo della Quercia. The original sculptures and bas reliefs are visitable at the museum of Spedale di Santa Maria della Scala. Fed by underground tunnels that extend over 30 km, bring necessary water into the city center. After the Square If we can consider the Piazza del Campo the stage for the civic and political life in Siena, then its counterpart would be the Duomo, the center stage for the religious activities. Follow the signs as you exit the square and make your way over to the cathedral, another must see in Siena. Not only did the main square benefited from the forsight of the laws and regulations for construction, but so did the entire city; note the uniform facades, the detailed urban construction (precise and decisive) and the elegant lines that characterize the roads that lead towards the Duomo of Siena. [ + ]
Mon, 21 Jan 2019 10:44:28 GMT
Lombardia: Piazza Ducale, Sabbioneta (MN) Italy
360° panorama by Luca Candela.
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Sun, 20 Jan 2019 10:34:14 GMT
Bologna: Fountain of Neptune, Bologna (Italy)
360° panorama by Luca Candela.
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Piazza del Nettuno was given this name because it was built to give prominence to Statua del Nettuno, the statue that may be seen at its centre. In 1565 the area was totally altered and enlarged to make it suitable for the new square and the new statue. Piazza del Nettuno gave a new look to the whole area: it served as a connection with Piazza Maggiore, thus unifying an area once divided. The statue was built between 1563 and 1567 by the Flemish scupturer Jean de Boulogne, also known as вАЬGiambolognaвАЭ, and Tommaso Laureti, вАЬIl SicilianoвАЭ. On one side of ther square there are the municipal building, whose wall preserves the monument in honour of the partisans dead during WWII, and Sala Borsa. Along the centuries, Sala Borsa has served many purposes and in 2001 it has been adapted to host a municipal library. On the other side of the square there is Palazzo Re Enzo. Palazzo Re Enzo was originally known as вАЬthe new palaceвАЭ to distinguish it from the older Palazzo del Podest√†. From 1249 it became a prison for King Enzo. King Enzo was the son of the Emperor Federico II, he was taken prisoner during the battle of Fossalta and lived in this palace until his death in 1272. At present, Palazzo Re Enzo, still known with this name, hosts exhibitions and other events. Source: "Le Piazze di Bologna" [ + ]
Sun, 31 Jan 2016 18:38:37 GMT
Lombardia: Galleria degli Antichi, Sabbioneta
360° panorama by Luca Candela.
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Il вАЬCorridor grandeвАЭ fu edificato tra il 1584 ed il 1586 per essere il contenitore delle collezioni del duca. La raccolta, che comprendeva marmi antichi e anche trofei di caccia provenienti dalle raccolte imperiali di Praga, rimase allвАЩinterno dellвАЩedificio fino al 1773, quando furono trasferite nel palazzo dellвАЩAccademia di Mantova. Oggi i marmi restaurati sono esposti nella galleria di Palazzo Ducale e in Palazzo San Sebastiano, entrambi nel capoluogo.¬†La decorazione ad affresco delle pareti fu realizzata nel 1587 da Giovanni e Alessandro Alberti, aretini, i quali dipinsero le prospettive dei lati corti e le figure allegoriche delle pareti lunghe. Le panoplie, i festoni, i vasi e gli stemmi sono da riferire invece a loro collaboratori. Il soffitto ligneo, un tempo dipinto dвАЩazzurro, presenta nei cassettoni piccole rosette dorate. Il pavimento era in origine lastricato con mattonelle quadrate in cotto. [ + ]
Sun, 31 Jan 2016 18:36:29 GMT
Sardinia: The Bastions of Alghero (12)
360° panorama by Luca Candela.
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Sardinia: The Bastions of Alghero (11)
360° panorama by Luca Candela.
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