Monday 21 Aug 2017
Pioraco

pioracoPioraco has been called the Switzerland of the Marche for its extraordinary natural beauty of great suggestion as the Path Vurgacci. For these, still intact, Isabella d'Este Gonzaga said it was "loco as pleasant as nature had been able to do." Complete the offer modern sports and recreation facilities. Rich in water, the area has inspired its inhabitants paper-making: a collection of watermarks documents the activities carried out in the mill from his master engravers, in the Bottega della Carta we are witnessing the manual production techniques and tools of 1300. As in the whole territory, churches and buildings are caskets of art. Great painters like Luca Signorelli, have left traces of their extraordinary production.

 


 

 

Museum

ARCHITECTURAL HERITAGE
Coord. WGS84
N 43 ° 10 '44.46 "
E 12 ° 59 '05.28 "
Quote: 441 mt

DESCRIPTION

Within the Franciscan complex we have been used a few rooms on the ground floor and first floor, to recreate the typical environment of a Gualchiera Prolaquense or a workshop where, since the Middle Ages, they produced the paper. The ancient tradition of the paper industry is well told in the Gualchiera, where you can watch the various different stages of processing of paper, which is manufactured by hand, using techniques and ancient machinery of the time, played specially for the exhibition. Connected to these rooms is the Museum of Paper and Watermark, established in 1984 and located on the first floor of the cloister. Inside they are exposure, as well as an impressive collection of artistic watermarks, documents and equipment that tell the origins and evolution of the techniques of paper production of Pioraco. Rounding out the trio joins the Museums, recently built, which includes the Fossil Museum and exhibition of mushrooms. The museum contains more than 1.200 artifacts including pieces of great rarity. It is a collection of plant fossils of different ages, Paleozoic to Triassic age, and fossil animals from the first forms of life to mammals. Of particular attention ammonites "red", present only in the area of ​​Pioraco. Also arouse curiosity reproductions in plaster and size of some 200 varieties of fungi exist, carefully crafted by Offerl Spitoni. In fact it is thanks to the collection and its donations that it was possible to this museum.

Read more: Museum

Venanzio Fedeli´s organ

HISTORICAL HERITAGE
ARTISTIC
Coord. WGS84
N 43 ° 10 '07.22 "
E 13 ° 01 '20.39 "

DESCRIPTION

It is one of the few surviving instruments of production Venancio Fedeli, an organ builder active in the first half of the eighteenth century. Faithful family is famous in the Marches for the vast production of organs, scattered throughout the territory, by Giovanni and Giuseppe Fedeli, children of the most famous Feliciano, author of the monumental organ of the Basilica of San Bernardino in L'Aquila (1726) and brother Venancio. The bodies that have been confirmed in the hands of Venancio, are rarer and less showy than those carried out by other architects of the family, but no less interesting and valuable. The body Seppio was the subject of a restoration, in 2001-2002, performed by Michel Barthélémy and Formentelli of Pedemonte (VR). Inside the organ they were found fragments of strips of paper with sentences written in ink, thanks to which it was possible to give a name to the craftsman of the instrument.

Read more: Venanzio Fedeli´s organ

Church Madonna of Lacrime - Seppio

HISTORICAL HERITAGE
ARTISTIC
Coord. WGS84
N 43 ° 10 '07.22 "E 13 ° 01' 20.39"

DESCRIPTION

The ancient shrine of Our Lady of Tears preserve this valuable tempera on panel, painted by Giovanni Boccati Camerino, one of the leading exponents of the school of painting of Camerino. The first news of the artist date back to 1445, when he obtained citizenship in Perugia, since it considered "in art Pictoria expertissimus" and later in Padua and Florence. Contamination learned from the cultural climate of these great cities of art can be seen in the works of his mature period, but with the return to Camerino, in the sixties, his style is linked more and more to the repertoire of the late Gothic painting. The work is part of a triptych dismembered, which remains the central panel depicting the Madonna Enthroned with Child crowned by two angels and a devoted and left cover with a San Sebastiano. He completed the work an additional panel, now deceased, who according to the description given by Ludovico Ludovici in its ancient memories Seppio, 1893, depicted a San Vincenzo. The Virgin, placed on a wooden throne inlaid, is worship of the Son, lying on his knees over a transparent veil. It is crowned by two angels singing, standing on the arms of the throne in front of a green curtain in brocade, which leans forward like a canopy. Bottom right shows a kneeling figure, traceable in Don Angelo Mirabella, rector of the parish and who commissioned the work, along with Pascuccio Paolucci, as mentioned in the inscription. Despite the discoloration suffered by time, the brightness of the flesh, the expression of delicate figures and the type of the Virgin are very reminiscent of the Tuscan Boccati period, although overall its style remains very attached to the Gothic world. Today in the choir of the Church, over the altar, it is preserved only the central panel, venerated for centuries as the "Madonna of Tears", in memory of a miracle happened in 1521. It is said that the image of the Virgin wept throughout the month of February and due to the fact that the church was dedicated to it.

Read more: Church Madonna of Lacrime - Seppio

Arcangelo of Cola´s newspaper stand

HISTORICAL HERITAGE
ARTISTIC

Coord. WGS84
N 43 ° 10 '43.97 "
E 12 ° 59 '05.35 "

DESCRIPTION

On the counter, on the left of the entrance, it is located a newsstand of considerable interest, which has been relocated a torn fresco, from the local Church of the Holy Cross. The composition has, on either side of the front, two figures very archaic, depicting the Annunciation, which demonstrate the activity of an unknown artist from Camerino, active towards the end of 1300, known under the name Maestro of Colle Altino, from the place that He has seen the greatest concentration of his most important works in fresco. Inside the niche take place the Virgin and Child Enthroned in the conch and bow two angels praying, facing each other. At the top, inside a round, it depicts the Agnus Dei, wielding the banner white crusader. Despite the poor state of preservation, the literature attributes them to the last period of Arcangelo of Cola by Camerino, very close to the ways of artist Gentile da Fabriano and how he worked in Florence and Tuscany during the third decade of the 1400s .

Read more: Arcangelo of Cola´s newspaper stand

Wooden crucifix and Madonna with Child

HISTORICAL ARTISTIC
HERITAGE

Coord. WGS84
N 43 ° 10 '45.67 "
E 12 ° 59 '01.06 "

DESCRIPTION

Inside the small church of Our Lady of the Cave houses are conserved two wooden artefacts which, although artistic expression of local culture and folk, are worthy of attention. The crucifix, almost life-size, is exposed on the left wall of the church and although the heavy restorations still retains much of the original colors. As in many contemporary sculptures and popular character, the sculptor wanted to enhance the drama of the event highlighting the pain of the body, realistically represented by copious blood coming down from his wounds.

Read more: Wooden crucifix and Madonna with Child

Jesus Crucifix - Girolamo di Giovanni

HISTORICAL HERITAGE
ARTISTIC
Coord. WGS84
N 43 ° 10 '43.30 "
E 12 ° 59 '36.18 "

DESCRIPTION

The fresco is located on the western wall of the Oratory of the Holy Cross, to the right of the current. The crucified Christ is contextual to another fresco depicting the Madonna and Child, placed on the left of the entrance, which, despite being in fragmentary condition, was also recognized by scholars as a work of Giovanni Girolamo di Camerino. On the wall are obvious other traces of frescoes, one above the other, that it is not known whether the same author and that it would be appropriate to recover. In the painting in question, there are some stylistic elements that the author learned from the school of art of Padua, where he documented his activities from 1450 to 1457. The signs of contamination are evident in the calligraphy that characterizes the strands of hair on the shoulder of Christ, in powerful chest and thong. Moreover, the figure of Christ has a pronounced vigorosità probably the artist assimilated the territory of Camerino, in which, during the last quarter of the fifteenth century, was active and prolific a sculptural workshop.

Read more: Jesus Crucifix - Girolamo di Giovanni

Bridge Marmone and Flamina street

ARCHITECTURAL HERITAGE
Coord. WGS84 N 43 ° 10 '44.46 "E 12 ° 59' 05.28"
Quote: 441 mt

Ponte Marmone and Via Flaminia
Clearly visible from the road that currently crosses Pioraco, we find the bridge over the river Marmone power, reflecting the remarkable development that this place gained in Roman times. Prolaqueum, as quoted Itinerarium Antonini, it was in fact "Statius Roman", thanks to its natural structure, which made it easy to defend. The name is due to its proximity to a lake (disappeared by 1660. Pioraco was not only a military station, but also alive and thriving town, due to the presence of Roman nobles who at the time you were exiled to severe penalties, such as highlight the findings of structures attributed to public buildings, religious and spas, but also the remains of statues and other artifacts, the first phase of which dates back to the Augustan.

Read more: Bridge Marmone and Flamina street

St. Vittorino´s Caves

CAVES AND HERMITAGES
Coord. WGS84 N 43 ° 10 '40.62 "E 12 ° 59' 01.25"
Quote: 473 mt

St. Vittorino´s caves
Climbing about one hundred meters above the town, climbing up a steep ladder, you will come to a small cave closed by a railing, which contains a small altar. This is the place where in the sixth century he retired in penance San Vittorino, patron of Pioraco and brother of San Severino, patron and bishop named town. This cave is reminiscent of similar places scattered throughout the Apennine Mountains where many hermits took refuge in the Middle Ages. Like his brother he stripped of all his possessions to donate the proceeds to the poor and to give themselves completely to God and to isolate most of the world, he took refuge in the caves of St. Eustace, from San Severino, where he will rise a Benedictine hermitage. Here fell victim to the temptations of the devil, who appeared to him under the false guise of a woman temptress. To this he was imposed a harsh and painful penance, leaving dangling from a tree with long hands clasped on the branches. Having become popular, he withdrew to the crowds by taking refuge in the cave of Pioraco, where he died in 538 after years of prayer.

Read more: St. Vittorino´s Caves

Nottolana´s cave

CAVES AND HERMITAGES
Coord. WGS84 N 43 ° 10 '07.22 "E 13 ° 01' 20.39"
Quote: 575 mt

The Cave of Nottulana
On the west side of the mountain First, about 590 meters high, is the cave of Nottulana. This fracture, parallel to the side, in the past has often been used as a refuge and hiding place, as evidenced by the many and ancient inscriptions. As evidence of this, there are also many stories and legends that speak of times when it was used as a shelter. In particular, a poem by Zeal Tamagnini, reminds us of a character named Leonidas, a young man who lived here for a long time, but then disappeared, destroyed by the pain of unrequited love. On the west side of the mountain First, about 590 meters high, is the cave of Nottulana. This fracture, parallel to the side, in the past has often been used as a refuge and hiding place, as evidenced by the many and ancient inscriptions. As evidence of this, there are also many stories and legends that speak of times when it was used as a shelter. In particular, a poem by Zeal Tamagnini, reminds us of a character named Leonidas, a young man who lived here for a long time, but then disappeared, destroyed by the pain of unrequited love.

Read more: Nottolana´s cave

Church of San Vittorino

ARCHITECTURAL HERITAGE
Coord. WGS84 N 43 ° 10 '43.56 "E 12 ° 59' 10.96"
Quote: 473 mt

Church of San Vittorino
Dedicated to Saint Vittorino, hermit V-VI century and patron of Pioraco, this church is the oldest in the country. Some historical references and scientific report will build the eleventh century. The structure seems to rise above a pagan temple, probably dedicated to Jupiter and the goddess Flora, not far from a pool limaria Roman era. It is believed that the stones of this ancient complex were reused for the construction of the Church itself. The first design changes are made in the eighteenth century (namely after 1781), when a strong earthquake damaged irreversibly. It was then rebuilt but the interior was completely changed. In 1945 the property was extended, further losing the character of the Romanesque original. Only the facade, a salient and essential lines, still retains its original appearance in the Romanesque style.

Read more: Church of San Vittorino

Church and Cloister of San Francesco

ARCHITECTURAL HERITAGE
Coord. WGS84 N 43 ° 10 '43.97 "E 12 ° 59' 05.35"
Quote: 441 mt

Church of San Francesco and Cloister Hall
The most majestic architectural complex in the country, dating from the fourteenth century, consists of the church of San Francesco and the adjacent cloister, a former Franciscan monastery and the town hall of Pioraco since 1984. Originally, the Franciscan community that gave impetus in this structure, it was stationed in places Malpasso, in the territory of Pioraco and Sefro, referring to a small convent believed donated to St. Francis of Assisi around 1216. The story has it that this area was involved in disputes between two countries, exacerbated by the lack of territorial boundaries and the wall of the dam from Pioraco specially erected at the foot of the lake formed by the river Scarsito (or Scarzito), a tributary of power, which contributed to damage the surrounding land and the monastery itself. Pending a resolution, after demolishing their refuge in Malpasso, in 1200 the brothers chose to relocate within the walls of Pioraco, based on the small church of Santa Maria.

Read more: Church and Cloister of San Francesco

Church of Our Lady´s Cave

ARCHITECTURAL HERITAGE
Coord. WGS84 N 43 ° 10 '45.67 "E 12 ° 59' 01.06"
Quote: 441 mt

Church of Our Lady of the Grotto

Behind the mountain, set into the rock, we find the small church of Our Lady of the Grotto. It turns out that it was formerly a hermitage and then hosted hermits and pilgrims who wish to retire in prayer. Previously dedicated to the "Madonna della Carcera", as shown by an engraving on the lintel of the window, where he was originally the entrance, the church has a structure with a central plan. Inside it contains an ancient natural cave which for centuries home to a wooden statue of the Madonna with Child, dating from the fifteenth century. It also contains a wooden crucifix with Christ scourged the sixteenth century.

Read more: Church of Our Lady´s Cave

Church of saint Crucifix

ARCHITECTURAL HERITAGE
Coord. WGS84 N 43 ° 10 '43.30 "E 12 ° 59' 36.18"
Quote: 383 mt

Church of Saint Crucifix
The Church of S.S. Crucifix is ​​a splendid example of Romanesque-Gothic building which lies just outside the town on the left bank of the river Potenza, where once passed the Camellaria, ancient road that ran through the whole country. Originally dedicated to the Virgin of the Annunciation, studies estimate that the building of the Church of SS Crucifix can be traced back to the fourteenth century. Over the years the structure has undergone several changes, starting from 1808 when it is well established that it was heavily renovated and divided into two distinct sections: the apse and that of the Church itself. The portion of the apse, as can be seen today, was deprived of the roof and was immediately destined to cemetery use. The cemetery was used steadily until 1884.

Read more: Church of saint Crucifix

Ceiling (Church of Saint Francis)

The elegant coffered ceiling Chiesadi of San Francesco is entirely carved with exquisite designs that suggest the hand of a skilled craftsman. Divided into 36 rectangular caisson, is bounded on four sides by a band of adjustment leaning against the walls. Each fund is a carved frame dents and ova that frames a central carved and stylized plant motif, with leaves and swirls, and the four corners, flower-shaped pinnacles that are repeated on the corners of the frame that delimits coffers. On two drawers above the ingesso are visible francecano a symbol of order and a coat of arms with three hills and the letters FM.

Read more: Ceiling (Church of Saint Francis)


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Pioraco

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