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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