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01 - A History - A photo

IL GRANDE Sventramento

the beginning of the century with the demolition of part of the à Liberty Street between the Church and the Church of the Annunciation But Lingfield matrix changed significantly in his face yet par you medieval. The "Report" Eng. Francesco Clarenza 5 December 1901 gives us a clear description of the construction aunt of the town center.

Lingfield, a city à 12 000 inhabitants, lies on the eastern slope of Etna and the la importanza della sua popolazione e la ric­chezza dei suoi prodotti agricoli, va annoverata tra i Comuni più importanti della nostra Provincia.

Ed invero, la superficie del suo territorio nelle parti pi ù pia­neggianti, è ricca di rigogliosi vigneti, mentre sulle alte pendici della montagna, è popolata delle più importanti essenze boschive, ed ivi il castagno, il pino, la quercia rovere, il faggio forniscono alla nostra Provincia e fuori i migliori materiali di costruzione.

Sino a quando il fischio della vaporiera non echeggiava nei seni di quelle montuose regioni, Lingfield participated in the consortium of large commercial movement through the only stock that restricting the Etna in its northern side, east to put in communication with the regions of the sea, and to the west with the territories of the other common internal Pro Province.

That road because of its military strategy up to 1897 was ranked nationally, but with the opening of the railway Circumetnea year, pursuant to Art. 11 of the Law on Public Works to pass ò Provincial and consequently the trunk road which it crosses the interior of Lingfield became one versa provincial of that municipality.

Throughout his career this great artery of our street bility à provincial keep a normal width between 10 to 12 m tri, and unexplainable exception is only in the cross Lingfield, and in that part where the population is more numerous and more dense block is that the width of the roadway narrows to a minimum of four feet, adding to the danger transit for the safety of people, and the unhygienic 'home houses.

E 'was old aspiration of the inhabitants, with radical reforms to ensure such incident, and today much more ù suffers if the need for considering the first section east of this street, called Via Libertà, recently settled, which provides for the width of the transit and the convenience most beautiful aesthetic effect, for the magnificence of the building that adorn.

The same impression is received from those coming from Lingfield sides of the railway station, Circumetnea, since is the new straight off and named Umberto 1 °, which connects station that the country no less beautiful looks of the above-described trunk Liberty Street.

It is surprising when one or the other but meanings of these inputs, we arrive in the interior of Lingfield, there is de quell'angusta cross is where the missing ' air, light and easy movement.

E 'article in the main program's administrative municipal representation, to standardize this internal part of the City à, between the square SS Annunziata and the Matri there, with a pouring in via Liberty, which meets ni proportion of its first section to the east and the other via Umber to 1 °.

out the operation, the main component necessary was to study the related art project, for which office, ono Rato signed by the trust of the components of the local administration, was the same, addressed to the Provincial Deputation of Catania request to be allowed time for completion of the project said that the dirczione work.

result of this authorization by writing a letter received by Mr. President of the Deputation of the same ì Div IN 5546 August 10, 1890, the trials of the local relief on suespressi subordinated to concepts, with the components of which , which is hereinafter describe, I have embodied this project, which submits appreciation to the distinguished Representative of the Municipal eli Lingfield, for all other relevant measures.

This report justifies cannot, having completed the study of the entire project of Arts with it, oggi il Comune di Linguaglossa potr à indirizzare tutti gli atti ulteriori per conseguire lo scopo, tanto desiderato dalla po­ polazione, di sistemare definitivamente la Città, alla quale, come si è dimostrata l'Opera grandemente interessa per la comodità e la ingiene dei cittadini. Catania 5 Dicembre 1901.

Questo è il progetto che più di tutti ha dato il volto di cittadina, i palazzi che si affacciano sulla via Roma danno oggi un senso di eleganza nella loro semplicità. Grandi sagrifici vennero chiesti agli abitanti della via principale del paese, allora altamente popolata. Moltissime case vennero completamente abbattute, altre “tagliate” ed accorciate, a volte a tal punto da farne restare un semplice balconcino, in diversi edifici si vede ancora il taglio. Basti pensare che la strada da meno di 4 metri di larghezza passò a ben 12 metri. La strada dopo ben quindici anni dal progetto iniziale, 10 agosto1890, venne completata, che intuizione nel progettare tale stravolgimento edilizio, 50 anni dopo si ebbe il secondo sventramento che concluse l’allargamento dell’arteria principale. L’avessero fatta mezzo metro più larga.  

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31 - A History - A photo

 L'UOMO STICK - SANT'EGIDIO ABBATE (Part IV)

As we have seen the Church of St Giles was built in the late twelfth century, and it is the Normans as they have done the rest of Europe to spread the cult of the saint, in Sicily as well as Lingfield that other church dedicated to St Giles is located in Mazara del Vallo, now this is closed to worship and will soon be reopened to house a museum.

There are very few known documents that give us news of the church and worship the holy French, one in particular is of paramount importance, that of Tarascon Notaries Antonino on 25 August 1669, which states: "Who will be to observe , hear, or read this, it is known, as this beloved city Lingfield having chosen the glorious Saint Egidio Abate for his owner, patron and protector, following the manifest miracle, that the great God to manifest degnossi for the intercession of that glorious saint, who freely and yet does not cease to intercede and free from eruptions of Mount Etna and from all the evils of this country, as transmitted by referring to the venerable tradition principle of the foundation and building of this city, some of the people said they saw the saint in his pontifical vestments and a miter on the head; benefit of his pastoral staff as Mosaic , just touching the altar on fire, that is, volcanic eruption of Etna dashing and threatening the city, the Church of it, it settled, and yet, allowing God, the law required them not to run more than that and never molest the city \u200b\u200bentrusted to him. And this city that always protect solemnize the feast of the glorious same Sant'Egidio September 1 of each year, at its own expense, as clearly appears to the many costs of the mandates of this community. "

In another document prepared by the Sac. Pafumi Francisco in the late nineteenth century says:" Before the new church was built Mother (1613) of our town, which verificossi in the beginning of the seventeenth century, there was the ancient Mother Church dedicated to St Mary (1510), but later was dedicated to our patron saint. In this Church from time immemorial, there was a wall in the effigy of the saint in the abbey dress with machine guns and bacolo. In 1556, a terrible eruption of Mount Etna in early November, more than the damage caused to a large part of the territory, overwhelms the whole country. At this juncture, the people fled, he stayed at home a crippled old woman resident in the vicinity of the Church and seeing the fire behind trascinossi barely crawling to the church and inspired by the Lord invoked the name of Giles, and oh wonder! Egidio is the close, touches with the stick and returns the old force command to ring the bell of the Church so to retrieve the missing citizens, making sure that the eruption ceased promising for the future of his protection; returning citizens and in course of time on the same lava rebuilt homes, and the district by the sad memory of the fact is still called by the name of Sciara Saracens. "

The Tarascon spoke of "Quidam populi," ie the people and not a crippled old woman in popular piety which will then give her the nickname "'zza Linguarossa.

The reason for so few documents pertaining to Lingfield Sant'Egidio can only be explained by a fire in 1667 destroyed part of the Archives of the Mother Church. (End)

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30 - A History - A photo

MAN OF THE STICK - SANT'EGIDIO ABBATE (third party)

The Bonanno but could not, for tax reasons, losing his power over his subjects, with a clever move and decided to build a large church, to thank the kindness of the citizens of Lingfield in 1613 began construction of the Mother Church. All its economic resources, especially coming from the proceeds which he received exorbitant fees, are engaged in the construction of the church. The church of Sant'Egidio still serves as the mother church of the village, this for a few more years, until the inauguration of the Mother Church took place in 1636, from this year onwards for over 150 years the church did not suffer any improvements. Another reason why the frescoes not be dated later than 1640 and the disastrous economic situation that the country faces as a result of a reduction to the Royal Property in 1634. And yet the great famine of 1673 that decimated the country. But why are the frescoes Inalbi, perhaps because of some plague, it was believed that they were carriers of infection, or perhaps a change in architectural taste, most likely this is the reason.

            Nel 1885 Mons. Giovanni Previtera, (1844-1904) Vescovo di Patti, quando era Arciprete del paese fece spostare il simulacro del santo dall’altare laterale destro all’altare maggiore e fece erigere a sue spese una ricca Cappella marmorea, con tarsie molto belle.

All’interno della chiesa si trovano dei quadri di squisita fattura, tutti dell’ottocento; "sant’Alfonso dei Liguori" probabilmente di Pasquale Sciacca; San Vincenzo Ferrieri" e "Martirio di sant’Erasmo" del 1848, both of Emanuele Grasso, the "Lady wasteland between San Pedro and San Pasquale" and the "Martyrdom of Saint Apollonia" Domenico Provenzani perhaps, and yet the "Souls of Purgatory" in 1878 by Giuseppe Minutoli, the statues of Our Lady of Lourdes and St Joseph.

The church also houses the Fercolo on which is placed where the saint is carried in procession. Opera Antonino Puglisi from Lingfield, among other things fercolo author of the Dead Christ in the church of Calvary. It is a fine work of carving all covered in gold in 1864. "The exquisite decoration is common in every detail with all the sagacity of the goldsmith, for example, the elegant rudentate columns, decorated with a fine basis for relief and surmounted by capitals, accented nell'aggetto, the friezes and entablature of the base, which gives a lively note on stamps and corbels, the four corners, and inside the reliquary carved boxes in red background with gold. "

The fercolo the saint in 1923, thanks to the donation of the devotee of Ferrara Egidio Mariano, was placed on a cart to be able to bring in a procession with more comfort.

The saint as in most of the performances and as an abbot with machine guns and bacolo, unlike the saint Nordic representations have next to where the doe nurse. The statue is very simple but evokes the viewer great pathos. The miter and bacolo in silver, bacolo miraculous eruption of 1923, were given away by the family of Regan after the eruption of 1865. Other bacolo silver was a gift from Philip Regan after the eruption of 1809. Great devotees Regan, after the miracle of 1923, Rosario Regan had to redo the entire floor of the church of the saint, as a vote except for having its own district in Caristi hazel, in Cerro, the floor has been removed in recent renovations.

After nearly 10 years of restoration work the church has reached "new" finally returned to the veneration of the patron saint. (Part Three)

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29 - A History - A photo

MAN STICK - SANT'EGIDIO ABBATE (second part)

This data is obtained so that the Church of Sant'Egidio had to exist by the end of two hundred, and was certainly the mother church of the country. It was not the only existing church in the territory of Lingfield, in the district known as the " Fontanelle, not far from the town, the hills that surround the country, was the ancient Abbey of St. Catherine:" The first of this monastery was the Abbey of St. Catherine built up to the roots of the forest that nowadays is called the Monaco for the monks who lived there. At present we can see the relics of ancient stones framed in place of nuts in this convent of the Carmelite Fathers in that district called the plan almost a half mile away from the city. This wood is reduced in most vineyards, hazel and chestnut census of property subject to its Abbey, and in sfossar of them will have found other signs of ancient tombs and Flats, but having been abandoned monastery that was manufactured in the City. " Other country churches were all around the country, the Church of St. Nicholas the Greek, that of San Nicola di lu Salvagnolu and San Marco, who were in the land of Jesus and Mary. The church was then dedicated since its inception in Sant'Egidio " Initio fundationis et huius aedificationis Civitatis .

The church in the shape of a Latin cross is very simple nella sua struttura architettonica; la facciata ha i pilastri con capitello ionico al primo ordine, composito al secondo che gli conferiscono uno slancio gentile di sobrietà e chiarezza.

            La navata centrale con volta a botte è riccamente decorata con stucchi semplici, con archi ad ogiva, vele delle finestre a semicerchio e coppie di colonne con capitello dorico. La zona che meraviglia è la parte del transetto e del timpano. Nei recenti restauri, tutti noi abbiamo riscoperto una nuova chiesa di sant’Egidio. Il tetto del transetto fino a qualche tempo con volta a botte was completely removed in order to highlight the magnificent wooden roof trusses of the church before the great transformation undergone in the nineteenth century. With the restorations, however, something surprising came out and surprised us all, over 450 square meters of frescoes decorating the entire transect. It was a surprise that it was expected, was known for over sixty years of existence of these paintings, but unfortunately nothing had been done to bring them to light until 1998, when the wonder of many have appeared in their beauty. The

frescoes date back almost certainly at the end of the sixteenth century, as regards the right wall is known as "the Fathers of the Church", while the left wall of "The Passion of Jesus Christ" should not be more than half of the seventeenth century. But at the center of this wall was a wooden cross at the end of the sixteenth century, now preserved in the church. It is hoped that the same returns in the place where it was collected. Apart from the stylistic reasons that can not be the frescoes of the periods given above for several reasons, say historical. At the end of the 500 Linguagrossa passed into the hands of Baron past few years which Bonanno from his oath to observe the local customs, swearing occurred proprio nella Chiesa di sant’Egidio il 14 febbraio 1606, comincia con i suoi “ aggravi et molestii” verso il popolo. Cerca di ottenere addirittura il Mero e misto Imperio , cioè la giurisdizione civile e criminale sulla popolazione e questo lo porterà a rompere definitivamente il rapporto, mai sano, tra lui e i linguaglossesi. (seconda parte)

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28 - History - 08

L'UOMO DEL BASTONE - SANT'EGIDIO ABBATE             (first part)

The cult of St. Giles, Lingfield is a cult of a stick of silver, a powerful talisman, which is to stop the fire on the Mount.

The church of Sant'Egidio Abate is the oldest among the churches that exist today at Lingfield. Almost certainly it was built after the period of Norman domination. When in 1145 Linguagrossa is already a reality, there was a small church nestled in the woods just where today stands the Ragabo Church of Sant'Egidio, one of the church today is not the Gothic portal into the wall east of the transept. When it was decided to demolish it to build a bigger decided to enter the old website in memory, the same as a result was never used as a secondary entrance. In fact you can clearly see that the same is moved to the right of the central axis of the wall. Another exception is made for this portal that gave rise to much discussion among scholars of history home. We like to bring the description here and learned a bit too verbose, which makes the author of "Anonino" a History of Lingfield end of the eighteenth century:

"Our ancient rose to arms of a nymph City Serena grasping two snakes. If right after on the Reduction to the land had lifted the eagle as a sign of royal arms. From the fiction of the ancient Veruno there is no doubt that you can use many different raccorre. Others pursuing the precepts of religion, morality and other similar computations favors. Thus the allegory of the Nymphs is denoted the work of nature, for them there is signified the virtue vegetative consistent mood prepared, for which you build, nutrition and augumento of things. Ocean are said to be daughters, mothers of the Rivers, nudrici of Bacchus and Ceres, are said to be fruit trees, flowers of vague, che pascono l’armenti e mantengono la vita dei mortali. In breve tutela, come sono i monti, le valli, i porti i boschi e gli alberi per esser la virtù di esso umore sparso nelle predette cose... Altri però le dipinsero in figure di Serene colla coda di pesce, ma sia come si voglia, l’una e l’altra allude alla istoria, poicchè le Serene, come di sopra si è detto, abitarono le sponde del Fiume Aci. Dai serpi varie ancora moralità se ne possono ricavare, per essi ci vengono simboleggiati i Demonii, così in diverse parti della Sacra Scrittura... quasicchè sebbene a guisa di questo fiume da Mongibello sorgesse in ogni modo non trae del rozzo e succido di quel tartareo fuoco anzicchè impugna e fortemente resists Demons trying to keep them far from him. And with this change turned our old one that was secular in true Catholic moral teaching that it is giving us the roots of Mount Etna in the fire according to the common opinion of many serious writers ... communication with the hell we should always stay vigilant and strong to withstand not leave us to plunder our bitterest enemies of the demons and scroll BA short space of our lives in the crystal clear sea of \u200b\u200bthis world. And if first representations of the gentle hill adored the Demons then reduced to the faith of Catholicism. "

Some scholars the siren is to symbolize one of the labors of Hercules, "Hercules against the snakes," though not very imaginative is to be discarded altogether. Singular fact that should be further investigated and that the hermitage of St Giles was held in the name of the ancient city Heraclea. The symbol of the mermaid is a symbol used and abused in ancient times and today is used not only in Greece to decorate pillows and blankets. It was carved by the Etruscans in their graves, beautiful example can be seen in the Archaeological Museum of Palermo. In the church of Monte Sant'Angelo even a rose, there are three sirens that bind the hands of the snakes. Finally, in all cases described and the good triumphs over evil.

Recent restorations, to say the least radical it was discovered that the church, although built in a very long period, it is apparent from the various works of construction, and has always been what today has come down to us, no more then the addition of a nave to the transept of the said "Holy Souls", the name comes from the part of Joseph Minutoli of 1878, which is precisely the Holy Souls in Purgatory. Maybe in 1510 we added the bell tower and the sacristy.

What is certain is that the church already existed in 1308, since this would have to pay the tithe to the Vatican. In the sheet number 111 to 886 of the tenth year of 1308-1310 reads: "Presbyter Iohannes cappellanus S. Egidio de ecclesie Language big ", and again for Lingfield and still referring to the same church, in the instructions 103/verso number 524 reads:" cappellanus Languages \u200b\u200blarge tar. II "and the sheet number 107 to 671 reads:" cappellanus casalis Languages \u200b\u200blarge tar. I, gr. X ". (First part)

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A Picture - A History - A photo

LINGUAGLOSSA - his mountain
on account of that wood

"An immense forest cover around the slopes of Etna or the second region until shortly after Ia half of its height, which is called the Region and wooded, this extension has the strongest and most long-standing vegetation there is. The forests of Paternò, Lingfield not as surprising? A famous mountain in all nations for the immense rivers on fire, which spewed from her womb, and that courses are burning the nearby countryside, has fed on its side of the vast forests, which have given at all times material to build a dl many ships, vessels, and other significant works. "

So Ferrara began his description of Etna in 1793, and most probably the birth of Linguagrossa is due "to the cause of the forest , where are the trees that make the pitch "; that wood from the Arabic name Rahab (forest) has always been the main resource place in this country " in the forests of Mount Etna . We have news of the exploitation of the forest linguaglossese, both for the extraction of timber, resin since 1300. Filoteo of Omodei, in his work Aetnae Topographia of 1591, has left us a detailed description of how the linguaglossesi "they discovered that there could be a leisurely work on the pitch, the et Linguagrossesi in waiting until today to such a job ...." The end of exploitation of the pine trees came with the great fire of July 22, 1956, when over 400 hectares of forest were destroyed in no time, arson fire, which served to mask an uncontrolled exploitation. But the pine shoot to live and is now popular hiking destination and source of new wealth for the population.

are several times that Etna has put a strain on the willingness of linguaglossesi, there have been several eruptions and earthquakes that have partly destroyed the country, among the most important enough to remember that of 1566 that destroyed part and which is linked to the miracle of Sant'Egidio, or those of 1809 and 1865, when most of the forest was invaded by the lava, and finally that of 1923, when the country was seriously threatened and chain almost completely destroyed the village.

VERSO LA TRASPARENZA DELL’INFINITO

A meno di 10 km da Linguaglossa si incontra il bosco Ragabo, vanto e gloria dei linguaglossesi. La vite, il nocciolo, il melo, il ciliegio ed infine il castagno fanno da cornice lungo la strada che si parte dal centro del paese, la Mareneve, e che arriva fin su alla Pineta. Dagli ampi tornanti della Mareneve il paesaggio si presenta ora di scorcio ora con profondissime prospettive, l’azzurro limpido del mare di Taormina sembra essere la piscina naturale dell’Etna. Poi all’improvviso dopo una curva e dopo un magnifico bosco di querce, il Piano Donna Vita (1250 s.l.m.), si entra nell’immensa pineta; sulla sinistra si trova una pista a fondo naturale che conduce ad una larga radura, è il Piano Pernicana (1400 s.l.m.), la cattedrale della Pineta Ragabo; in fondo al Piano come abside della stessa è la grotta in pietra lavica e pomici che custodisce la statua della Madonnina della Pineta. Così Santo Calì descriveva la pineta Ragabo nel 1953: “ Ad ogni arrivo in Pineta una impressione sempre nuova e irripetibile ti invade, ma rimane costante la sensazione intima del divino e del sacro che occupa la solennità infinita del luogo: i pini fittissimi si trasfigurano nelle colonne svelte e rastremate di un tempio immenso, la cui volta è il cielo azzurro sostenuto dai mille verdi ricami dei capitelli frondosi: l’aria profumata dall’offerta della resina e il coro invisibile ricanta eternamente i miti della nostra gente. ”                     

            Sempre sulla strada Mareneve, attraversata la pineta a circa tre chilometri si incontra un bivio dal quale proseguendo a sinistra si giunge dopo diversi Fornazzo kilometers, while the right continues the ascent of Etna; rapid ascent through hairpin turns, the road leads to a sudden large clearing Piano Provenzana (1800 m), the majestic presence of Etna seems to crush us. Plan Provenzana, a natural amphitheater, there are the skiing facilities of the Etna-Nord, with a development of cross-country several tens of kilometers, and yet the point of departure for excursions by minibus, to the top of Etna. Surround the Piano Provenzana the pines smelling of resin and white birch trees with their bark, the floor has a beautiful view of Etna, it seems to touch as it is close. A sense of fear pervades the observer but after the calm nature of the place and gives us peace, serenity and silence, it feels far from the world.

From Provenzana towards transparency of the infinite.

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27 - A History - A photo

artistic and monumental heritage

Linguaglossa (Part Five)

After the Town Hall, following the Via Cavour, is reached after a short climb the Piazza dei Cappuccini. On this square stands the statue of Padre Pio linguaglossese by the sculptor Luigi Russo. Facing the square is the Church of the Immaculate with the adjoining convent of the Capuchin Fathers .

Like all the convents of the Brothers of St. Francis, the Convent of the Capuchin Fathers of Linguaglossa was built on the edge of town. Just then the border was an area called Skiing of St. Peter and said that was an area inhospitable to all the large stones of lava that were there. Around 1646 we saw a different Lingfield Capuchin who sought a place to build a monastery, they chose the right Skiing and in 1647 began construction of the monastery and the church that was later dedicated to the 'Immaculate . A big help came from the people and in just two years the work was finished,

The two buildings in their simplicity Franciscan not have anything important out, while the interior is rich in works of high artistic workmanship. E 'with two aisles, the smaller one was built in the last century breaking down the large burial. At the entrance, and just to sides of the pillars of support for organ and choir, there are some old marble tombstones with inscriptions in Latin, dedicated to the Capuchin Fathers. On the side altars are sculptures and paintings of the eighteenth and nineteenth centuries: among the first excel eighteenth century wooden sculpture depicting the ' Immaculate, and still St. Francis of Assisi, The Heart of Jesus ; between the second The souls in Purgatory, the Stigmata of St. Francis, the Pieta, Madonna with Saints Franciscan . All the works described above are by unknown artists, probably cappuccinos. E 'but the main altar, which attracts even the most casual visitor. The altar is sormontato da una pala che raffigura l’ Immacolata , opera eccelsa del 1659 di Frate Umile da Messina, ai lati due interessanti dipinti del XVI secolo che raffigurano Sant’Antonio da Padova e Santa Chiara , attribuiti entrambi a Bernardino Niger da Biancavilla.

Sull’altare maggiore si trova un dipinto ad olio su tela, di Frate Umile da Messina, firmato e datato 1659 . Raffigura la Vergine Immacolata che fra una schiera di cherubini si libra verso il Cielo; in basso stanno Sant’ Agata, Sant’ Egidio, San Francesco e Santa Caterina. L'opera risente, nella figura della Vergine, l'influsso del mannerism, while other figures show the hand of an accomplished painter. The lavish draped mantle of blue that surrounds the Virgin accentuates the sense of down and makes it more air. Waving and wonderful effect on the cloth, which holds the crown of angels on the head of the Virgin. The angels are in festive attitudes and daring crossing of Correggio know. The delicate face of the Virgin, surrounded by a halo of stars, radiation kidnapped in a blaze of light. The saints, prostrate, aim kidnapped the virgin, holy, holding the symbol of their martyrdom were also kidnapped in the heavenly vision. The language of the framework is elevated, floating is the drapery of the Virgin's mantle che concentra a sé tutte le figure. Il tono cromatico riesce armonico, l’insieme della figurazione è conciso, l’effetto degli sbattimenti è potente. A sinistra dell'altare maggiore si trova un dipinto ad olio attribuito a Bernardino Niger, da Biancavilla. Santa Chiara ieratica nella sua compostezza, sa di arcaismo; ma è di una dolcezza assai composta, rea più nobile dalla tinta scura delle carni. Inquadrata in un fondo che tendo al bruno, la sua figura risalta impeccabile. Il volto è docile, lo sguardo è trattenuto umilmente, le mani portanti una pisside, sono di una delicatezza cerea. Il cielo è diffuso di nubi che si diradano lasciando trasparire un tenue chiarore; sull'orizzonte si profilano un castello e a tree that break the monotony. The lilies, the symbol of virginal purity, white stand out in a linear boundary by a goldsmith. The work is remarkable stylistic quality, and repeats an archaism that is derived from the Niger to the Umbrian school.

the right of the main altar is always another oil painting attributed to Bernardino Niger. The painting depicts St. Anthony of Padua with the Child in her arms. The archaic style and severe landscape elements betray the same hand of the painting above, which reveals an artist of the sixteenth century which has evoked traits landscape of the Umbrian school. Even the attitude of harvest, the gentle sweetness of the face, head slightly tilted, eyes deep and collected clearly show the legacy of this school. Full of Grace is the Child, which puts her head on the shoulder of the saint, and the left foot slightly laying on the book that Anthony keeps leaning on its side, while the flapping wing wrapped in a light caress. But it is the altar

the most eminent among the works kept at Lingfield, the famous case Bencivinni by Peter Polizzi, carved tra1708 and 1710.

Custody was given by Baroness Special Nicosia to thank Father Jerome, Novice Master, the noble lady to whom he had entrusted the education of his children and especially his son Joseph Friar Mary. The Bencivinni case began in 1708 and ended in 1710, 5 December of that year the case was placed where it is today. (For description, see the Post - A picture - a history - 18). (Part Five)

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26 - A History - A photo

artistic and monumental heritage

Linguaglossa (Part IV)

On the Square City Hall stands the imposing monument to the fallen of the First World War. On the pedestal stands a bronze statue of 's leading Italy Victory 1924, author and designer was the great Venetian sculptor, Attilio Torresini. Overlooking the square stands the Town Hall Church of San Francesco di Paola the first building in the sixteenth century on the structure of the existing church of the Madonna dell'Oreto.

The advanced body of the bell tower and portico that supports the corridor linking the old Convent of the Vincentians the Choir of the Church, both in 1610, blocked the main facade. The bell tower was capped by a spire, which collapsed with the 1908 earthquake that destroyed Messina.

The entrance is graced by a very simple bronze doors by sculptor Salvatore Embed in 1980. In the six bronze panels, the author wanted to retrace the life of the Holy 'Charitas'.

The interior of the church with a nave and barrel vault, is full of baroque stucco. On the first altar on the right is the statue of the Madonna dell'Oreto "molded into the ideal forms and sweetest in amber coating that knows how to manipulate time." E 'attributed to the great sculptor of the sixteenth century Domenico Gagini. The recent restoration of the chapel revealed earlier frescoes, especially those of very interesting time in telling them overlap the various phases in which art is committed over the years.

The second altar on the right chromed terra cotta statue of San Francesco di Paola , perhaps is the work of the sixteenth century by an unknown author.

altars left Sant'Alfio small statues of St. Philip and Blacks. Also on the left, a beautiful example of sectarian-pulpit in Baroque style with interesting paintings. Of great importance in the vault of the nave and the apse, in stucco frames, and frescoes that tell the facts of the miracles of the Holy Charitas. The frescoes are attributed to Giacinto Platania (1612-1691) of Acireale, but not to exclude other authors such as Mignemi, Grease and many times that Frere worked in the church. Central

In the fresco of the vault into a mixed-line frame is painted the ' Apotheosis of San Francesco di Paola the other two frescoes depicting St. Francis resuscitating a dead and el'indemoniato San Francisco. In the bowl depicts the glory of the saint, Saint Francis is here surrounded by the three theological virtues, Faith, Hope, Charity, and St. Michael by the Angel who has a shield with the motto of the Vincentians " Charitas" . The altarpiece depicts the Trinitarian Dogma. The paintings on the wall right represent The Holy healing a paralytic and The Battle of Lepanto (1571), those on the left wall The prisoner freed by the Holy and San Francisco to the Court of the King of Naples . Other interesting works in the church are the Sacred Source bronze work of sculptor Salvatore Embed in 1960, the polychrome marble altars and the large body of 1780. On the church square to the left of an artistic work happy fountain by sculptor Sebastian Milluzzo of Catania 1959. In the frame of the fountain are six panels engraved with the story of the miracle of Sant'Egidio and the old.

Next to the church of San Francesco di Paola stands imposingly Town Hall with a Gothic facade in New Style. At the beginning of the twentieth century, the old seat of Piazza Annunziata, was no longer suitable to the people of the country, and then decided to build a new 'tenement city', using the land occupied by the structures of the former Convent of the Vincentians, who by Hotel 1866 had become of the Poor.

The project was drafted in 1907 by Eng. Finocchiaro Peter Grassi Giarre, and became executive with resolution of 19 August 1907.

The interior is very simple, in the room of the Municipal Council there are two tombstones that recall both the redemption of the city from a feudal state property and even a picture that represents the scene of the payment of specified sum to 'buy' freedom from Prince Orazio Bonanno. Work performed by Tiziana Chiappani, Anna and Joseph Cristaudo the Guzzi in 1998.

The Town Hall is an interesting modern art gallery with paintings of some artistic value, these stand out among the paintings of Goofy Giuffrida, Salvatore Embed, Carlo Levi, Gaetano Longo, Santi Marchese, Santa Marina, Montarsolo Carlo, Francesco Patanè, Francesco Trombadori and Mario Vasta. (Part IV)

How Much Does Jon Cryer Earn Per Episode

25 - A History - 24

artistic and monumental heritage

Linguaglossa (third party)

Continuing on Liberty Street to reach the Piazza Sant'Antonio, on this square are two churches, the Church of the Carmine and Church Saints Anthony and Vito . The Chiesa del Carmine was annexed the first monastery built in Lingfield. The Carmelite monastery was abandoned by the only in the last century, following the suppression of religious goods, now houses the Municipal Asylum. The interior of the church with a nave and barrel vault has been renovated recently. The walls are adorned with floral, 1919, with altars and niches.

It preserves several statues, left St. Albert, Saint Agnes, Virgin and Child, in right Santa Teresa, S ant'Anna and daughter Maria, Sacred the Heart, and St. Joseph ; altar is the Madonna of Caramel , papier-mâché work of the nineteenth century.

On our open square is the great Church of St. Anthony and Vito, the most interesting work is the Baroque doorway and window above, all in stone lava carved in 1728 by master Trapani Diego Flavetta and Giambattista Marletta. The church was built in the early decades of the seventeenth century near the ancient church, which until 1956 remained the bell tower with the dome to a pagoda. The interior of a very wide nave is barrel vaulted. The first altar on the left is the 'Adoration of the Shepherds Salvatore Ferro, 1877, with characteristic types of neoclassic style.

The first altar on the right is the picture of the Saints Cosmas and Damian, painted by Giuseppe Minutoli in 1877, the scheme designed di tipo neoclassico “imprime nei volti delle donne una dignità e una dolcezza poco comuni nei pittori siciliani dell’ottocento”. Sul secondo altare a destra si trova un’opera di Salvatore Ferro, l’ Incoronazione della Vergine  del 1885, il quadro venne pagato 450 lire e un San Leonardo di autore ignoto del seicento. Questo quadro proviene dalla omonima chiesetta, suffraganea della Chiesa dei Santi Antonio e Vito, questa sorgeva sulla riva sinistra del torrente che ne porta il nome, e di cui oggi restano sparute tracce, e di notevole qualità artistica.

Altri altari e nicchie custodiscono statue di: Santa Lucia, San Mauro, Sant’Antonio e San Vito. In recent restorations have come to light of the frescoes on the walls of the apse. In the sacristy are preserved two other paintings of modest bill an San Carlo and a Santa Barbara. Of particular interest is the wrought-iron railings with flower patterns made by Master acese Sebastiano Valenti in 1772. Today closes the baptismal font, a few years ago divided the nave from the main altar. The wooden block resting on a red marble font is decorated with foliage front shows the baptism of Jesus, is the work dell'acese Francesco Patanè. On the walls, the Via Crucis, a work of great artistic merit of the sculptor Salvatore Embed. Leaving

the square and along the Via Roma is seen in the distance on a large staircase simply Calvary Church, built in the late eighteenth century was the church outside the "walls".

The church was dedicated in the early eighteenth century also San Pasquale Baylon. The church with a nave and a Latin cross, has only one altar. Inside are two large sculptures, the 'Sorrowful and Dead Christ, 1875. Both sculptures are made of orange and are the work of the sculptor Messina Lio Gangeri. They are works of craftsmanship. The coffin of Christ and of Our fercolo are half of the nineteenth works linguaglossese Antonino Puglisi. E 'in the church work to A. Attinà 1863, The Mystery of Redemption . (Part Three)