アッピニャーノデルトロントでののおすすめウォーキング＆ハイキングルート

Beautiful Art Nouveau interior. In mid-September, we're the only guests inside, enjoying the ambiance, friendly service, and special ice cream flavors. The toilet, integrated into the vanity, offers glimpses of old foundations.

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In the center of Piazza Roma, on a podium formed by two steps, stands the base of overlapping stone ashlars. The central band of the main front of the base bears the dedicatory inscription. Symmetrically, on the opposite side, the coat of arms of the municipality is sculpted, in the center of a garland. Above, on a travertine pedestal decorated with dentils, stands the bronze statue, personification of the Fatherland, dressed in a tunic and armed. The gaze is slightly turned to the right, the right leg in front of the left. The arms stretched along the body hold a club and embrace the shield. The head is uncovered and adorned with a band that holds the hair (c) https://catalogo.beniculturali.it/detail/HistoricOrArtisticProperty/1100264225

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The Sanctuary of Santa Maria della Carità is commonly called by the citizens of Ascoli with the name of Church of the Scopa, from the name of the Confraternity of the Disciplinati, faithful who during the processions used to beat each other with broom-shaped whips which were also used to collect the grain sold in the square from the ground. The original building dated back to the 14th century, then in 1532 it underwent important works and modifications by Cola dell’Amatrice and the Ascoli Count Conti and these renovations continued for about a century when a more exuberant style had established itself, the imprint of which is evident inside with paintings and stuccoes of considerable interest. One of the best works of Cola is considered to be the facade of this sanctuary with its four elegant fluted Corinthian pilasters, concluded by capitals worked with olive leaves that rest on solid pedestals, with a continuous trabeation. The design of the attic is attributed to the Ascoli native Conte Conti, while that of the three doors on the façade is the work of Antonio Giosafatti. The unique onion-shaped bell tower dates back to the end of the 17th century. The interior of the church has a single nave, adorned with elegant 17th-century decorations with flying figures and cherubs in Baroque style. On the high altar we find a precious Nativity, the work of Girolamo Buratti. In the side chapels there were works by Simone De Magistris, the Annunciation by Guido Reni which is now located in the Pinacoteca Comunale, a canvas by the Venetian Pier Gaya depicting Sant’Emidio consecrated bishop by Pope San Marcello. Attached to the church we find the Oratory of the Misericordia whose members had the task of spiritually assisting the condemned of the place until their death. (c) https://eventi.turismo.marche.it/Cosa-vedere/Attrazioni/Chiesa-di-S-Maria-della-Carita-o-Chiesa-della-Scopa/496

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short but steep path

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Emidio was born in Trier, Germany, in 273 to a noble pagan family. His conversion to Christianity occurred thanks to the preaching of the saints Nazario and Celso: he became a catechumen, was baptized and devoted himself to the study of the Holy Scriptures. Having come into conflict with his family who tried in every way to bring him back to paganism, he left for Italy together with his three friends Euplo, Germano and Valentino. Upon arriving in Milan he was ordained a priest. Following the persecution of Diocletian he had to flee to Rome where he found refuge with a certain Graziano. Here many miraculous healings were attributed to him. The fame of the priest soon aroused the interest of Pope Marcellinus who ordained Emidio bishop of Ascoli and Euplo deacon, and entrusted them with the difficult mission of spreading Christianity in the important Piceno center (still almost completely pagan). In Ascoli, the prefect was Polimio, the author of harsh repressions against Christians, who immediately ordered Emidio not to preach the good news, an order that was completely ignored. Emidio also worked hard in Ascoli to heal the sick, which allowed him to convert a large number of Ascoli people. Polimio believed him to be the reincarnation of the god Aesculapius, and asked him to offer sacrifices to the gods, promising him his daughter Polisia in marriage. The Saint not only refused, but even converted Polisia to the Christian faith and baptized her in the waters of the Tronto river. Polimio, warned of this, ordered the arrest of Emidio and sentenced him to capital punishment. The bishop did not hide and was beheaded while Polisia, sought out by her father, fled to Mount Ascensione and disappeared into a crevasse. The feast of Sant’Emidio, patron saint of Ascoli Piceno, is August 5. His remains are preserved in the underground crypt of the Cathedral of Ascoli Piceno.

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The building, dedicated to St. John the Baptist, shows three structures: an internal one from the Roman Augustan period, presumably a pagan temple dedicated to Hercules; an internal basin used as a baptismal font for immersion by the early Christians (400-500 AD), of which only the part of the hollow on the floor remains, and an external structure inspired by the canons of Romanesque architecture of the 10th-11th centuries. The external structure of the building is characterized by a lower square part (with two simple portals) and an octagonal upper part; the eight upper faces are adorned with three blind arches, except the face facing east, which has two groups of twin arches. A small lantern dominates the whole, while under the eastern facade you can see remains of Roman buildings. (c) https://letsmarche.it/-/battistero-di-s.-giovanni-2

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The church was begun in 1280 by the Dominican order, in memory of the visit of friar Pietro da Verona to Ascoli in 1250. Construction continued until the 16th century. The facade of travertine blocks has three rounded oculi and a single portal with two flanking columns extending from a rounded pediment. The facade portal was designed by Giuseppe Giosafatti (1643–1731). The lateral portal faces the piazzetta and has Doric columns (1523), designed by Cola dell'Amatrice. Apse of the church On the side walls is an inscription with the tax and customs laws of the city. The interior with three naves has a number of travertine altars. The main altar was designed in 1724 by Giuseppe and Lazzaro Giosafatti, it is decorated with a Madonna del Rosario by Luigi Devò flanked by marble statues or the allegories of purity and humility. The church also has paintings by Lodovico Trasi, Giuseppe Angelini, Giovanni Battista Buonocore of Campli and Tommaso Nardini. The side walls have frescoes from the 13th and 14th centuries. The relic of the Sacred Spine is sheltered in a 15th-century gilded silver reliquary by Nicola da Campli. (c) Wikipedia

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Palazzo Bazzani, also known as the Cassa di Risparmio building, was designed by Cesare Bazzani, an architect who designed many public works in central Italy. It was built between 1912 and 1915, after the demolition of the Benedictine monastery complex of Sant'Onofrio. On the rear façade, three Gothic lancet windows have been preserved. The imposing building is characterized on the outside by architectural and decorative elements that reinterpret traditional Renaissance forms, with travertine and reinforced concrete as materials that mark out the spaces and enliven the lines. The interior includes a monumental meeting room with a columned atrium and a wooden coffered ceiling, built between 1560 and 1567 by the Flemish cabinetmaker Antonio Moys from Antwerp, who had found the noble Alvitreti family in the pre-existing monastery building. (c) https://it.wikipedia.org/wiki/Palazzo_Bazzani

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