The type has been popular ever since, and was soon perfected by Giovanni Bellini, Piero della Francesca, Titian, and Raphael. Its also interesting to note the many references to the Second coming of Christ, or the book of Daniel 7:13-14 where the Son of Man comes 'with clouds.' La cosiddetta Madonna di Foligno di Raffaello non fu realizzata per essere esposta in Umbria ma vi giunse solo in un secondo momento. On the left are the kneeling St. Francis of Assisi and St. John the Baptist, who is standing and wearing a tunic of skins. Il Monastero di Sant’Anna dedica una sezione alla figura di suor Anna de’ Comitibus e alle vicende conservative del dipinto di Raffaello fino al 1797. On the left, Saint John the Baptist can be identified, typically clothed in camel skin and holding a reed crucifix. Note: Only a member of this blog may post a comment. He credited his safety to heavenly intervention. In the middle of the panel, below the Madonna, Raffaello made a little boy standing, who is raising his head towards her and holding an inscription: than whom none better or more graceful could be painted, what with the beauty of his features and the proportionate loveliness of his person. Madonna di Foligno, 1511-1512ca. There, in 1802, the painting was transferred from panel to canvas by Hacquin and restored by Roser of Heidelberg. The angel is holding a sign with nothing written on it. Questo risultato straordinario è frutto dell’impegno di quanti, a Foligno, nel corso degli anni, si sono impegnati per far sì che questa iniziativa potesse realizzarsi e rappresenta il segno tangibile che quando si lavora insieme, per il bene della comunità, si possono raggiungere obiettivi importanti. First painted on wood panel, it was later transferred to canvas. I do have a couple of comments.In the long quote from Vasari that you provide, it would appear that the tabula originally contained an inscription. Polidoro calls the UFO explanation, "reinterpreting with the eyes of twenty-first-century Europeans the product of other cultures". The Virgin is flanked by a large sun disc, a reference to the vision of the Tiburtine sybil described in the. The Madonna di Foligno was created for the Church of Santa Maria in Aracoeli. Oppure all’interno della Madonna di Foligno è rappresentato un ufo? In the pre-Copernican cosmology such an event would have taken a lot of explaining. This group includes - from left to right - St John the Baptist, St Francis, Sigismondo de' Conti and St Jerome. What Polidoro says you are actually seeing is the house of Sigismondo Conti and a fireball. 844 talking about this. "Tempera grassa" on wood transferred onto canvas, 308 x 198 cm It seems a most potent example of the transmission of ideas from the middle ages into the "renaissance" What a treasure trove of goodies you've assembled in the "references"...fabulous! I don't think there classical use as representatives of the souls of the dead was employed in the Renaissance. Painted during Raphael's Roman period, it is a testament to his artistic maturity, evidenced in the paintings composition, coloring and form. This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). La Madonna di Foligno, imitata e riprodotta in incisioni e pale d’altare, è stata un modello di riferimento dal Cinquecento ad oggi. Behind them are the towers of Foligno. In like manner, the S. Jerome has his head uplifted with his eyes on the Madonna, deep in contemplation; and in them seem to be suggested all the learning and knowledge that he showed in his writings, while with both his hands he is presenting the Chamberlain, in the act of recommending him to her; which portrait of the Chamberlain is as lifelike as any ever painted. The painting was executed for Sigismondo de' Conti in 1511-12. Then the Emperor sent for a prophetess named Sibyl, for to demand of her if there were any so great and like him in the earth, or if any should come after him. Similmente il San Girolamo ha la testa elevata con gli occhi alla Nostra Donna, tutta contemplativa, ne’ quali par che ci accenni tutta quella dottrina e sapienzia che egli scrivendo mostrò nelle sue carte, offerendo con ambe le mani il cameriero in atto di raccomandarlo: il qual cameriero nel suo ritratto è non men vivo che si sia dipinto. Il Monastero di Sant’Anna dedica una sezione alla figura di suor Anna de’ Comitibus e alle vicende conservative del dipinto di Raffaello fino al 1797. The depiction of angelic bodies infused into clouds is a recurrent motif in Raphael's Roman works. Observing modes of colour used, and the unique spatial relationships between the figures, Nagel (2012) describes a significant relationship between the, This influence reverberated in other Raphael works, including the. Piero Lai e del Dott. Conti commissioned the painting to commemorate his survival of a shell that exploded near him during the Siege of Foligno, his home town. Being able to blow up the main image was a great help. Analisi e descrizione completa dell'opera "Madonna di Foligno" realizzata da Raffaello Sanzio nel 1511 e conservata attualmente alla Pinacoteca Vaticana. Si rivolge un particolare ringraziamento alla Santa Sede e ai Musei Vaticani per la sensibilità dimostrata e all’Eni per aver contribuito in maniera determinante alla realizzazione dell’iniziativa. Madonna of Foligno, 1511-12 The fact that they are represented in clouds is quite coherent with biblical accounts. A small angel at the centre of the composition holds a 'small plaque which was originally intended to carry the dedicatory inscription. According to Polidoro this was because Sigismondo died before he could tell Raphael what "thank you" to the Virgin he wanted written on the sign. The, A more accurate name for this painting would be the. He credited his safety to heavenly intervention. Raffaello, Madonna di Foligno. The full text of the article is here →, {{$parent.$parent.validationModel['duplicate']}}, Vatican Museums, Vatican, Pinacoteca Vaticana, Vatican, 1-{{getCurrentCount()}} out of {{getTotalCount()}}, https://en.wikipedia.org/wiki/Madonna_of_Foligno, The Portrait of a Young Woman (La Fornarina). First painted on wood panel, it was later transferred to canvas. 24/09/2020 – 24/01/2021 Palazzo Trinci, Foligno (PG). Second, Oscar Fischel believed that French restorers had done a poor job on the painting, especially by making the golden disk much darker.Third, the meteor is very interesting. The Madonna of Foligno is a painting by the Italian High Renaissance painter Raphael. Between the men is an angel, linking the saints of earth to the seraph host of heaven. Nineteenth century authors described a small background object depicted with a flame trailing behind it as an aerolite, or meteorite - theorising that the painting referred to an event affecting the patron. The small angel in the centre of the composition holds a plaque without an inscription which was probably destined to recall the wish fulfilled by the Virgin. La mostra. holy conversation). As St. John points to Jesus, he clearly looks out to us, pulling us in, while St. Francis points to us and looks at the Christ Child. The painting was executed for Sigismondo de' Conti, chamberlain to Pope Julius II, in 1511. Tempera grassa su tavola trasportata su tela, 308 x 198 cm, 1511-1512, Musei Vaticani, Città del Vaticano. The pillar of cloud also moved from in front and stood behind them.' [6], The Expulsion of Heliodorus from the Temple, Portrait of Andrea Navagero and Agostino Beazzano, Portrait of Pope Leo X with Two Cardinals, https://en.wikipedia.org/w/index.php?title=Madonna_of_Foligno&oldid=980386391, Wikipedia articles with RKDID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 26 September 2020, at 07:39. [4] Rather than sitting under a canopy, of the Umbrian or Florentine style,[2] the Virgin is seated on clouds, embracing Jesus, while surrounded by angels. The Madonna and Child, borne by a cloud of angels and framed by an orange disk, dominate the group of saints below them, among whom is the donor. Behind them are the towers of Foligno. I've heard it said that Donatello was the first artist in modern times to adopt their iconography. [2] Its basic pictorial elements are consistent with a type known as a sacra conversazione (sacred conversation) - depicting a Madonna and Christ child surrounded by Saints. Fourth, do you think the plant has any significance? Al di là delle teorie di invasioni aliene, forse una spiegazione razionale c’è. Original surface has been reported as wood, although the species of this has not been identified. Vasari indeed mentions an "inscription" (see notes 17 and 19) but does not actually cite it. L’immagine così armonica e bella, rappresentata da Raffaello nella "Madonna di Foligno", ha lasciato un segno di speranza nella nostra comunità contribuendo a renderla più unita e capace di affrontare con coraggio le sfide del futuro. This drawing is not universally accepted a preparatory work for this painting, with Meyer zur Capellen noting "Although the subject is similar, positive correlations are too vague to be trusted.". info.mv@scv.va. The episode is recalled in the splendid landscape insertion in the background. Raphael's pictorial research had been enriched by his solutions regarding the use of light in the Expulsion of Heliodorus and the Liberation of St Peter. È stato emozionante vedere centinaia di persone in fila per ammirare il capolavoro di Raffaello nella chiesa del monastero di Sant’Anna ed entusiasmante sapere che Foligno è stata per giorni alla ribalta delle cronache nazionali come la città della "Madonna di Foligno", ma anche come città bella, accogliente e ricca di opportunità dopo i lavori di riqualificazione del centro storico e il completamento del circuito culturale cittadino. Revelation 10:1 'And I saw another angel coming down from heaven, clothed with a cloud...' and Exodus 14:19 'then the angel of God, who had been traveling in front of Israel's army, withdrew and went behind them. From Monday to Saturday Conti is presented by St. Jerome on the right with his lion, appealing for the Virgin's protection. Cat. L’Archivio di Stato di Foligno ospita un’esposizione documentaria dedicata alla figura di Sigismondo de’ Comitibus, committente della Madonna di Foligno. The painting was executed for Sigismondo de' Conti, chamberlain to Pope Julius II, in 1511. It was placed on a high altar of the church of Santa Maria in Aracoeli on Capitoline Hill (Italian: Campidoglio) in Rome, where Sigismondo was buried in 1512. BestStephanie S, H:Thanks for taking such a close look at this extraordinary painting. There, in 1802, the painting was transferred from panel to canvas by Hacquin and restored by Roser of Heidelberg. In 1815, after the Battle of Waterloo, it was returned to Italy, where it was placed in the room with the Transfiguration[1][2] in the Pinacoteca Vaticana of the Vatican Museum in the Vatican City. The choice of Saints, for instance, indicates as its destination the church of S. Maria in Aracoeli, owned by the Franciscans, for whom the Mother of God, but also St Francis and St John the Baptist are of special significance. I have presented a good photograph of this painting to the Astronomical Society's library. GENNAIO 2014Il ritorno a Foligno della Madonna di Raffaello, nel luogo che l’ha ospitata per due secoli, ha rappresentato la realizzazione di un sogno per la nostra città, che da tempo coltivava il desiderio di riportare "a casa" questo celebre dipinto. It was placed on a high altar of the church of Santa Maria in Aracoeli on Capitoline Hill (Italian: Campidoglio) in Rome, where Sigismondo was buried in 1512. Sigismondo de' Conti, a distinguished humanist of Foligno, is shown kneeling in prayer on the right: St Jerome, in the vestments of a cardinal, presents him to the Virgin, who is seated in glory with the Child Jesus. The painting was ordered by Sigismondo de' Conti out of thanksgiving to the Virgin for having saved his house in Foligno, that had been struck by lightning. Q uest’opera fu commissionata a Raffaello nel 1511 da Sigismondo de’ Conti, dignitario di Papa Giulio II, per essere collocata nella chiesa di S. Maria in Aracoeli a Roma. The origin of this mode of depiction has been difficult to verify, and is attributed by some authors to Raphael's awareness of the, The highly innovative idea of a cloudscape made up of condensing angels, or rather a host of angels condensing into vaporizing cloud, was one that Raphael had seen in Fra Bartolommeo's. No trace of an inscription seems to exist either in the paint layers or at an under-surface level. The Madonna of Foligno 1511-12 Oil on canvas, 320 x 194 cm Pinacoteca, Vatican: The painting was executed for Sigismondo de' Conti in 1511-12. [...] It is if Raphael had turned the composition ninety degrees and placed the viewer in Bernard's position. McClellan provides a summary of the 1800 restoration and subsequent interventions by conservators. And in addition there is a landscape, which is singularly beautiful in its absolute perfection. Tutta la comunità ha partecipato con entusiasmo alla mostra, che ha raccolto quasi 50mila visitatori, in appena nove giorni. It was placed on a high altar of the church of Santa Maria in Aracoeli on Capitoline Hill (Italian: Campidoglio) in Rome,[1][2] where Sigismondo was buried in 1512. Poi, stimolato da’ prieghi d’un cameriere di papa Giulio, dipinse la tavola dello altar maggiore di Araceli, nella quale fece una Nostra Donna in aria con un paese bellissimo, un San Giovanni et un San Francesco, e San Girolamo ritratto da cardinale; nella qual Nostra Donna è una umiltà e modestia veramente da madre di Cristo, et oltre che il Putto con bella attitudine scherza col manto della Madre, si conosce nella figura del San Giovanni quella penitenza che suole fare il digiuno, e nella testa si scorge una sincerità d’animo et una prontezza di sicurtà, come in coloro che lontani dal mondo lo sbeffano, e nel praticare il publico odiano la bugia e dicono la verità. On the left St John the Baptist, dressed in animal skins, indicates the heavenly vision. 40329, The philanthropists of the Vatican Museums >. [2][3][4][5] According to historian Massimo Polidoro this painting has been used by UFO websites as evidence of a flying saucer crash. [1][2], In 1799 it was carried to Paris, France by Napoleon. È testimoniato infatti che il 4 settembre 1511, alle due di notte, una meteora esplose sopra i cieli di Crema, poco a sud-est da Milano, proprio nel periodo in cui l’artista lavorò al dipinto. On the left are the kneeling St. Francis of Assisi and St. John the Baptist, who is standing and wearing a tunic of skins. First painted on wood panel, it was later transferred to canvas. It is little suprise then, to find Raphael still thinking about this painting [the Vision of Saint Bernard] in his Roman altarpieces. ALL THE EXTRAORDINARY OPENINGS OF THE LAST SUNDAY OF THE MONTH ARE SUSPENDED The image of a Madonna seated on clouds can be seen in earlier works including those by Perugino. They look down upon Sigismonde de' Conti, kneeling in a red, fur lined cape. I would recommend McClellan's fascinating summary of the restoration history of the work.There is of course a large body of literature on putti and "spiritelli" (with Professor Charles Dempsey's book being among the most often cited) - including a most wonderful essay by Marc Bormand in the current Strozzi "Springtime of the Renaissance" exhibition catalogue.Kind RegardsH. Great idea having the primary sources there with the additional links. One of the most popular forms of Madonna and Child with Saints. He then painted the panel for the high altar in Aracoeli, wherein he made [a representation of] Our Lady up in the air with a beautiful landscape and some saints, [a work] which cannot be sufficiently praised. It represents the Madonna in Glory but it is usually called the Madonna of Foligno. A cursory glance, or even a lengthy stare directed towards a painting sometimes does not seem enough. I diari e i taccuini di artisti e viaggiatori che poterono ammirarla a Foligno, Roma e Parigi ne sono una testimonianza viva. 08.30 a.m. – 06.30 p.m. (final entry 04.30 p.m.) [3]. They look down upon Sigismonde de' Conti, kneeling in a red, fur lined cape. During my visit to Rome in late 2012, I was enchanted by the three major Raphael panels on display in the Pinacoteca Vaticana. Do any of your sources identify it?Finally, I'm not an expert on putto but I wonder if they represent the souls of the just?Frank, Cheers Frank. Sacra Conversazione (Ital. [1][2][3][4][5], Painted during Raphael's Roman period, it is a testament to his artistic maturity, evidenced in the paintings composition, coloring and form. A note was made by the restorer: "Rapporto dei cittadini Guijon Vincent Tannay e Berthollet sul ristauro dei quadri di Raffaello conosciuto sotto il nome di Madonna di Foligno." A note was made by the restorer: "Rapporto dei cittadini Guijon Vincent Tannay e Berthollet sul ristauro dei quadri di Raffaello conosciuto sotto il nome di Madonna di Foligno." Romano Carloni, Sportello Unico Attività Produttive ed Edilizia, Piazza della Repubblica 10 - 06034 Foligno PG - Tel 0742.330001 - P.IVA 00166560540 -, Richieste patrocini e utilizzi spazi comunali, Sportello Unico Integrato (ex Ufficio Relazioni con il Pubblico), "Foligno cult" - storie e notizie dal settore Cultura, Accesso ai registri storici atti Urbanistica - Edilizia, Bandi di gara - Sportello dei contratti pubblici, ELEZIONE SUPPLETIVA DEL SENATO DELLA REPUBBLICA NEL COLLEGIO UNINOMINALE 02 DELLA REGIONE UMBRIA, REFERENDUM COSTITUZIONALE - 20 E 21 SETTEMBRE 2020, ACCESSO AGLI UFFICI COMUNALI SU PRENOTAZIONE, ACCESSO AI REGISTRI STORICI ATTI URBANISTICA - EDILIZIA, CORONAVIRUS INFORMAZIONI E AGGIORNAMENTI, SISTEMA ALLERTA TELEFONICA PER INFORMAZIONI DI PROTEZIONE CIVILE. SECRERTARIO PRIMO DI GIVLIO SECONDO ET  E DIPINTA, PER MANO DI RAPHAELE DE VRBINO ET SORA ANNA CONTI, DA ROME ET FACTA METTER A QVESTO ALTARE NEL 1565. ENTRY TO THE MUSEUMS IS BY OBLIGATORY ONLINE BOOKING, +39 06 69884676 Foligno ha vissuto questo momento con emozione e orgoglio, come un evento di grande rilevanza culturale e spirituale, destinato a segnare in maniera indelebile la storia della città. They might appear earlier though (??). As St. John points to Jesus, he clearly looks out to us, pulling us in, while St. Francis points to us and looks at the Christ Child. The basic notion of a Sacra Conversazione is a single space, a room or a landscape, in which several saints, donors, or angels, are grouped together around the Madonna and Child—some talking, some gesturing, but usually all aware of the presence of Christ and of each other, though in some of Bellini's large altarpieces the figures are more meditative and detached. "Madonna di Foligno" di Raffaello GENNAIO 2014 Il ritorno a Foligno della Madonna di Raffaello, nel luogo che l’ha ospitata per due secoli, ha rappresentato la realizzazione di un sogno per la nostra città, che da tempo coltivava il desiderio di riportare "a casa" questo celebre dipinto. Simile è nel San Girolamo, che ha una testa elevata con gli occhi alla Nostra Donna, tutta contemplativa, ne’ quali par che ci accenni tutta quella dottrina e sapienzia che egli scrivendo mostrò ne le sue carte, offerendo con ambe le mani il cameriero e par che egli lo raccomandi: il quale nel suo ritratto è non men vivo che si sia dipinto. It was moved by Anna Conti, a descendant of Sigismondi Conti, to the monastery of St. Anne in Foligno in 1565 and remained there for more than two centuries, hence the name. The painting can be dated to between 1511 and 1512, in the period when Raphael was working in the Room of Heliodorus in the Vatican (Julius II's apartment). Conti is presented by St. Jerome on the right with his lion, appealing for the Virgin's protection. The painting is a sacra conversazione, where holy figures seem to be in conversation and draw the audience into their discussion. The painting is a sacra conversazione, where holy figures seem to be in conversation and draw the audience into their discussion. Raffaello Sanzio, Madonna di Foligno La tavola fu commissionata nel 1511 da Sigismondo de' Conti per l'altar maggiore della chiesa di S. Maria in Aracoeli a Roma. Fecevi Rafaello un putto ritto in mezzo della tavola, sotto la Nostra Donna, che alza la testa verso lei e tiene uno epitaffio, che di bellezza di volto e di corrispondenza della persona non si può fare né più grazioso né meglio, oltre che v’è un paese che in tutta perfezzione è singulare e bellissimo. The work was commissioned in 1511 by Sigismondo de' Conti for the high altar of the church of S. Maria in Aracoeli in Rome. In earlier polyptychs the individual saints occupied separate panels, usually with gold backgrounds. L’Archivio di Stato di Foligno ospita un’esposizione documentaria dedicata alla figura di Sigismondo de’ Comitibus, committente della Madonna di Foligno. Poi, stimolato da’ prieghi d’un cameriere di papa Giulio, dipinse la tavola dello altar maggiore di Araceli, nella quale fece una Nostra Donna in aria con un paese bellissimo, un San Giovanni et un San Francesco, e San Girolamo ritratto da cardinale; nella qual Nostra Donna è una umiltà e modestia veramente da madre di Cristo, et il Putto è con bella attitudine scherzando col manto della Madonna. "Madonna di Foligno" di Raffaello GENNAIO 2014 Il ritorno a Foligno della Madonna di Raffaello, nel luogo che l’ha ospitata per due secoli, ha rappresentato la realizzazione di un sogno per la nostra città, che da tempo coltivava il desiderio di riportare "a casa" questo celebre dipinto. Né mancò Rafaello fare il medesimo nella figura di San Francesco, il quale ginoc[c]hioni in terra, con un braccio steso e con la testa elevata, guarda in alto la Nostra Donna, ardendo di carità nello affetto della pittura, la quale nel lineamento e nel colorito mostra che e’ si strugga di affezzione, pigliando conforto e vita dal mansuetissimo guardo della bellezza di lei e da la vivezza e bellezza del Figliuolo. In Santa Maria Araceli v'è la tavola dell'altare maggiore di Raffaelo da Urbino, cosa bella e molto ben fatta. The Madonna of Foligno is a painting by the Italian High Renaissance painter Raphael. The stormy atmosphere of the landscape background and the flash of lightning (or explosion) which strikes the Chigi Palace (visible at left) illustrate the legend. The painting was commissioned to commemorate a miracle in which the donor's house in Foligno was struck by lightning or - according to another version - was struck by a projectile during the siege of Foligno, although it was not damaged. In 1815, after the Battle of Waterloo, it was returned to Italy, where it was placed in the room with the Transfiguration in the Pinacoteca Vaticana of the Vatican Museum in the Vatican City. La Madonna di Foligno è un dipinto a olio su tavola trasportata su tela (320 × 194 cm) di Raffaello, databile al 1511-1512 e conservato nella Pinacoteca Vaticana nella Città del Vaticano. Nor did Raffaello fail to do as well in the figure of S. Francis, who, kneeling on the ground, with one arm outstretched, and with his head upraised, is gazing up at the Madonna, glowing with a love in tone with the feeling of the picture, which, both by the lineaments and by the colouring, shows him melting with affection, and taking comfort and life from the gracious sight of her beauty and of the vivacity and beauty of her Son. In an 1890 publication of the Astronomical Society of the Pacific, Edward S. Holden notes: The following dates, established by documentary sources, are relevant to this painting, tracing its history back to its initial placement in the Church of Santa Maria in Aracoeli: In Santa Maria in Aracoeli, there is the panel on the high altar by Raffaelo, This panel was painted at the behest of Messer, First Secretary to Julius II and it was painted, by the hand of Raffaello from Urbino, and Sister Anna Conti, Granddaughter of the said Messer Gismondo, from Rome and had it placed on this altar in 1565. Thus at the hour of mid-day she beheld the heaven, and saw a circle of gold about the sun, and in the middle of the circle a maid holding a child in her arms. It was moved by Anna Conti, a descendant of Sigismondi Conti, to the monastery of St. Anne in Foligno in 1565 and remained there for more than two centuries, hence the name. Raffaello Sanzio, (Urbino 1483 - Rome 1520) The Madonna di Foligno is named after its later home, the monastery of St. Anna delle Contesse in Foligno, the native town of the donor, Sigismondo de' Conti (1432-1512). 16 th cent. I think putti or amorini originated on the relief of children's tombs in late antiquity. In 1799 it was carried to Paris, France by Napoleon. The strong characterization of the figures, the volumetric fullness of the putti and the refined chiaroscuro distinguish the panel (which was taken as loot by Napoleon's army in 1799 and returned in 1815) as a work of the mature artist. Conoscesi nella figura di San Giovanni quella penitenza che [650] suole fare il digiuno, e nella testa si scorge una sincerità d’animo et una prontezza di sicurtà, come in coloro che lontani dal mondo lo sbeffano, e nel praticare il publico odiano la bugia e dicono la verità. Rassegna stampa a cura dell'ENI - Parte I, Rassegna stampa a cura dell'ENI - Parte II, Rassegna stampa a cura dell'ENI - Parte III, Rassegna stampa a cura dell'ENI - Parte IV, Rassegna stampa a cura dell'ENI - Parte V, Rassegna stampa a cura dell'ENI - Parte VI, Articoli sulla stampa locale a cura del Dott. Remarkable! So the apocryphal prophecy of his Incarnation might be alluding to the familiar narrative and imagery of his return. the fact that biblical angels - sort of like zephyrs in antiquity - are associated with natural forces like the wind, clouds, fire and earthquakes, ie eg the angel who rolls back the stone at the resurrection, probably also helped establish this iconography in Renaissance art.Fantastic post, I'll have to reread it a few times.

madonna di foligno

Museo Della Città Rimini Eventi, Quiz Animali Strani, Pizzeria Caruso, Bologna - Menù, Scontro Tra Titani 2, Calendario Giugno Con Santi, Piazza Crocelle Barra, Week-end Capri Economico, Webcam Roma Fontana Di Trevi, Anello Nodo Savoia Trollbeads,