[2] In September Cerasi contracted Caravaggio to paint two panels for the side walls. Frescos of Innocenzo Tacconi on the vault. The Cerasi Chapel (Italian: Cappella Cerasi) is one of side chapels in the transept of the Church of Santa Maria del Popolo in Rome. [11] On the other hand, Varriano claims that the "source" of the light seems to be the clerestory window across the transept. Il vano d'ingresso mostra la volta a vela decorata con gli affreschi di Giovanni Battista Ricci, raffiguranti i quattro Evangelisti, lo Spirito Santo e, nelle due lunette laterali, i Dottori della Chiesa. Da ciò conseguirebbe in ogni caso che l'Assunta sarebbe stata eseguita quando il tesoriere del papa era ancora in vita proprio per fargliene dono. Juli 1609 in Rom) war ein italienischer Maler und Kupferstecher. La cappella presenta un ambiente stretto e profondo, suddiviso in due vani[13]. Das Schloss Racconigi... Genua ist ein riesiger Platz am Mittelmeer und trägt Spuren aus 5 Jahrhunderten an Geschichte zwischen denen von Entdeckern, Eroberern und Händlern.... Sie sind in Home / Reisetipps / Kunst und Geschichte / Reiseroute: Caravaggios Werke in Rom. Im Frühling bekommt man Lust auf Schlösser und Burgen. The frescos in the anteroom of the chapel depict the Holy Spirit in the central oval medaillon and the Evangelists with their usual symbols and helpful putti on a golden background. As Giovanni Battista Ricci was a dependable but rather mediocre artist compared to Carracci and Caravaggio, Tiberio Cerasi's heirs probably chose him to complete the unfinished chapel in a quick and economical way. The thematic and compositional connections prove that the altarpiece was designed to be looked at as part of a larger ensemble and not as a standalone object. The bronze gisant is attributed to a Sienese sculptor, Giovanni di Stefano, a follower of Vecchietta, who was commissioned by the heirs of Cardinal Pietro Foscari and used a funerary mask for the modelling of the face. In effetti, Caravaggio consegnò al committente queste due prime versioni su tavole di cipresso, che, tuttavia, non sono evidentemente i dipinti presenti oggi nella cappella Cerasi, dato che questi sono realizzati invece su tela. The monuments have painted backgrounds with rich draperies and flaming urns. The Cerasi Chapel or Chapel of the Assumption (Italian: Cappella Cerasi, Cappella dell'Assunta) is one of the side chapels in the left transept of the Basilica of Santa Maria del Popolo in Rome. The precedent already existed for this juxtaposition in the Cappella Paolina at the Apostolic Palace by Michelangelo. For indicated formal measures may be included, inter alia: the. The architect skillfully maximized the very small space left between the presbytery (on the right) and the 16th-century Theodoli Chapel (on the left), and created the impression of "a miniature Latin-cross church, complete with transept, domed crossing, and choir. The paintings were finally installed in the chapel by a woodworker Bartolomeo in May 1604, and the chapel was consecrated on 11 November 1606. ovale centrale: Incoronazione della Vergine; riquadro sinistro: apparizione di Cristo a san Pietro in fuga da Roma lungo la, riquadro destro: questa scena è indicata dal Baglione. On the other hand, Varriano claims that the "source" of the light seems to be the clerestory window across the transept. The Cerasi coat-of-arms is depicted in the center of the stained glass lunette window. The Doctors of the Church (Saint Augustine and Jerome; Saint Ambrose and Gregory the Great) are in the two lunettes. Prima della costruzione attuale preesisteva nello stesso luogo una cappella dedicata alla Vergine, commissionata dal cardinale di Venezia Pietro Foscari (1417-1485). 19 Uhr Samstag: 12:30 Uhr Sonntag: 10:30 Uhr, Via Santa Giovanna d'Arco, 500186 RomTel. In ogni caso, l'ipotesi che Caravaggio abbia eseguito i suoi dipinti in relazione all'opera di Annibale presuppone che l'Assunta dell'altare fosse stata già completata prima della conclusione dei nuovi laterali[10]. Heather Nolin: "Non piacquero al Padrone: A Reexamination of Caravaggio's Cerasi Crucifixion of St. Peter, in: This page was last edited on 2 September 2020, at 19:23. [1] The artwork is somewhat overshadowed by the two more famous paintings of Caravaggio on the side walls of the chapel: The Conversion of Saint Paul on the Road to Damascus and The Crucifixion of Saint Peter. The other surfaces are decorated with dense white-gold floral motifs. Christopher L. C. E. Witcombe: Two "Avvisi", Caravaggio, and Giulio Mancini, in: Source: L. Spezzaferro, "La cappella Cerasi e il Caravaggio," in: William Breazeale: «Un gran soggetto ma non ideale»: Caravaggio and Bellori's legacy, Kunsttexte.de. [4] Saint Peter and Paul were also the patrons of Rome and they had a strong connection with the papacy. Jan., 25. Der Junge ist nur durch seine Symbole (der Stock, das Kamelfell usw.) (That Caravaggio received 50 scudi as advance payment from Giustiniani, when he signed the contract to the two paintings, may be a hint to his role.). Ein weiterer Johannes der Täufer befindet sich im Palazzo Corsini. The episodes from the life of Peter are on the left (from the top to bottom): Peter delivered from prison (Acts 12:6-11); The Fall of Simon Magus (Acts of Peter XXXII) and Peter and John healing the cripple (Acts 3:1-10). I CAPOLAVORI DI CARAVAGGIO NELLA CAPPELLA CERASI A SANTA MARIA DEL POPOLO La Cappella Cerasi, o dell'Assunta o dei Santi Pietro e Paolo, si trova a sinistra dell'altare maggiore nella basilica di Santa Maria del Popolo in Piazza del Popolo. To ensure population survival and reproduction at habitats with ecological heterogeneity, R. cerasi has evolved a sophisticated diapause strategy based on a combination of local adaptation and diversified bet-hedging strategies. Tiberio Cerasi nell’estate del 1600 aveva acquistato una cappella in Santa Maria del Popolo dedicata alla Vergine ed ai Santi Pietro e Paolo. Juli 1609 in Rom) war ein italienischer Maler und Kupferstecher.Er gilt als Begründer der italienischen Barockmalerei, neben dem Tenebristen Michelangelo Merisi da Caravaggio In den Kapitolinischen Museen kann man einen weiteren Johannes der Täufer sehen, noch eine der acht Darstellungen des Heiligen, die der Künstler im Laufe seiner Karriere gefertigt hat. This is also confirmed by the fact that there are no recordings of payments in favor of Carracci in the documents concerning the management of the assets of Tiberio Cerasi drawn up after his death. Diapause duration is determined both by (i) the adaptive response to local host fruit phenology patterns (annual diapause) and (ii) the plastic responses to unpredictable inter-annual (temporal) climatic variability that drives a proportion of the populations to extend dormancy by entering a second, successive, facultative cycle of prolonged diapause as part of a bet-hedging strategy. Per i rapporti tra la cappella Cornaro e la cappella Cerasi si vedano Martin Kemp, Annibale Carracci: A Study in the reform of Italian Painting around 1590, Il punto di vista del cavallo: Caravaggio, Annibale Carracci a Roma: gli affreschi di Palazzo Farnese, Tiberio Cerasi, Dizionario biografico degli italiani Treccani, Assunzione della Vergine (Annibale Carracci), https://it.wikipedia.org/w/index.php?title=Cappella_Cerasi&oldid=115473973, licenza Creative Commons Attribuzione-Condividi allo stesso modo. Heather Nolin, "Non piacquero al Padrone: A Reexamination of Caravaggio's Cerasi Crucifixion of St. Peter, in:Rutgers Art Review 24 (2008), pag. "The visual effects ensured that the spectators in the chapel space experienced for themselves the onrush of divine energy as the Virgin soared from the tomb, outward and over their heads into the painted vault of the crossing, where the actual Coronation was painted", says Rosemary Muir Wright. A supporto di tale deduzione, è attestato che il Caravaggio fu pagato, in effetti, vari mesi dopo la morte del Cerasi[11]: ne consegue che l'Assunta risalirebbe al 1600 o, al massimo, ai primi mesi del 1601, data accettata dalla critica maggioritaria. ResearchGate has not been able to resolve any citations for this publication. 12, No. Entdecke Kunst von unabhängigen Künstlern bei ARTFLAKES.com. La cappella Cerasi, detta anche dell'Assunta o dei Santi Pietro e Paolo, è la prima cappella a sinistra dell'altare maggiore nella basilica di Santa Maria del Popolo a Roma. Kate Ganz: Annibale's Rome: Art and Life in the Eternal City, in The Drawings of Annibale Carracci, National Gallery of Art, Washington, 1999, p. 203. Mary seems to be projecting forward rather than upwards. Die erste Version ist Teil der Privatsammlung der Familie Odescalchi Balbi, die von Zeit zu Zeit dem Publikum geöffnet ist. [14], Iconographically the side panels "relate to the Caravaggio paintings in that they manifest the divine cause of what passes below" them. According to Steinberg the light on the Caravaggio paintings comes from the painted heaven on the vault of the anteroom, inhabited by the dove of the Holy Spirit. Similarly the Coronation scene is placed above Carracci's Assumption as a direct continuation. This sepulchral monument is the only remaining vestige of the demolished chapel. Hier sehen wir außerdem die Buenaventura, ein Gemälde, das stark bewundert wurde und von vielen Caravaggisten wie Vouet, Manfredi und Finson kopiert wurde. Parte da qui una vicenda che ha un esito chiaro ma diverse versioni. Due to its particular placement and visibility the sarcophagus was decorated on all four sides. The arched entrance is closed by a balustrade of colourful marble. bis So. The other surfaces are decorated with dense white-gold floral motifs. [11] The Assumption of the Virgin by Titian was another great Renaissance painting that may have influenced Carracci while working on the same subject, especially regarding the heads of some of the apostles in deep shadow and in profil perdu. Via delle Quattro Fontane 1300184 RomTel. All'ingresso della cappella -all'esterno- sul pilastro del lato destro, è visibile il bel dipinto della sepoltura di Olimpia Mangoni (morta ventinovenne, nel 1582), sopra la rispettiva lapide dedicatale dal vedovo Giorgio Ferrari. Christopher L. C. E. Witcombe, cit., pag. In his will he named the Fathers of the Hospital of the Madonna della Consolazione as his heir with the responsibility to complete the unfinished chapel. 8.30 bis 19.30 UhrGeschlossen: Montags, 1. [8], The chapel was acquired by a descendant of the family, Antonio Cerasi, count of Monterado in 1853 who subsequently restored it. Sul punto si veda Donald Posner, Bernardini, Maria Grazia, et al. The stucco decoration on the pillars is similar but the figurative panels are gilded. To cope with temporal and spatial heterogeneity of habitats, herbivorous insects in the temperate zone usually enter diapause that facilitates synchronization of their life cycle with specific stages of host plants, such as fruit ripening. The stucco decoration on the pillars is similar but the figurative panels are gilded. Eines der drei Werke wurde ursprünglich abgewiesen und Caravaggio wurde gezwungen ein neues zu fertigen:  das Original des Matthäus und der Engel stellte den Heiligen als einen kahlen Mann mit verschmutzten Beinen dar, der mit großer Schwierigkeit schrieb und dem der Engel sogar die Hand hielt um ihm dabei zu helfen. [5] Annibale's altarpiece was probably already complete as deduced from an avviso written perhaps by Giulio Mancini and dated to 2 June: "The principal painting in the chapel [is] by the said Carracci, those three paintings being, on the whole, of great excellence and beauty.". [9], The oblong shaped chapel consists of a sail-vaulted anteroom and a narrower, barrel-vaulted chancel with the altar. Probably it was modelled after the tomb of Pope Sixtus IV by Pollaiolo or even more after other 15th century sculptural works in the city of Siena. The Cerasi Chapel or Chapel of the Assumption (Italian: Cappella Cerasi, Cappella dell'Assunta) is one of the side chapels in the left transept of the Basilica of Santa Maria del Popolo in Rome. The focal point of the architecture is the altar. Weiter auf unsere Kirchentour kommen wir zur Kirche Sant'Agostino, in der man die Loreto-Madonna und die Pilger-Madonna bewundern kann, die 1604 im Auftrag von Ermete Cavalletti zur Schmückung der Familienkapelle in der Basilika gefertigt wurde. This arrangement was markedly different than the Florentine type wall tombs of the basilica. Zwei weitere Gemälde finden wir im Palazzo Barberini: Judith und Holofernes, das aufgrund seiner realistischen Darstellung, zu der Zeit, für Empörung und Ekel bei den Besuchern gesorgt hatte. Dieses Glück hatte jedoch nicht die Originalversion der Kreuzigung Petri, die verloren ging. Quando le tre tele per la cappella Contarelli non erano ancora terminate, Caravaggio ricevette l’incarico di dipingere due tele per la cappella Cerasi nella chiesa di Santa Maria del Popolo dal tesoriere generale apostolico di Clemente VIII, monsignor Tiberio Cerasi. L'assenza di documenti del genere ha fatto pensare anche che la tavola d’altare possa essere stato un regalo al Cerasi da parte di Odoardo Farnese, anch'egli cardinale e patrono di Annibale Carracci che operava stabilmente al suo servizio. Nel XIX secolo, la cappella fu restaurata due volte, nel 1851 e nel 1899, su incarico di Antonio Cerasi (1814-1899). In the paper it was emphasized that exactly the same objectives should be guided in the creation of multimedia presentations, extracted from unnecessary embellishments that irrupt to the fore dispersing attention. Now it is placed in the Costa Chapel in the right aisle. The paintings were executed by Innocenzo Tacconi, an able assistant of Annibale Carracci, and at least the coronation scene was designed by Carracci himself. Le due tele laterali del Caravaggio (a sinistra, la crocifissione di san Pietro e, a destra, la conversione di san Paolo) sono in continuità narrativa con i due riquadri laterali della volta, anch'essi dedicati a fatti della vita di Pietro e Paolo. The lower zone of the walls, up to a height of 2.2 m from the floor, is covered with fake painted marble, interspersed with real white and black marble slabs. The edifice was reconfigured by Carlo Maderno. In ogni caso, il compenso per le due nuove tele fu saldato al Merisi nel novembre del 1601. [17] The Latin inscription on their grave says: Post tenebras spero lucem (After Darkness I Hope Light). [3] He bought the chapel from the Augustinian friars with the option to rebuild and adorn it "in the manner and form" he wanted to. "His body was then transferred to the city, and given over for burial in a chapel of the Church of Santa Maria del Popolo, which he had built for himself", states Burchard. The commissions went to the leading artists in Rome at the time. Diese wurde also erneut in der heutigen Version angefertigt und in die Cappella Cerasi aufgenommen. Bardi, 1976, p. 99, Leo Steinberg: Observations in the Cerasi Chapel, in: The Art Bulletin, Vol. There is a strong thematic connection with the scene of the Coronation of the Virgin in the central medaillon of the barrel-vault that shows the final episode in the Life of the Virgin after the Assumption. John Rupert Martin, The Farnese Gallery, 1965, pp. [12], The chapel is decorated in exuberant Baroque style. als der Täufer zu erkennen, ÖffnungszeitenTäglich: 10 -12.30 und 15-19 Uhr außer Donnerstag NachmittagMessenMo. The intrados of the arch between the chancel and the anteroom is decorated with white-gold stucco panels with two putti holding a wreath (top) and angels playing the harp and the flute (above the cornice). File:Annibale Cararcci e Caravaggio, Cappella Cerasi.jpg (file redirect) File:Annibale Carracci e Caravaggio, Cappella Cerasi.jpg; File:Caravaggio-The Conversion on the Way to Damascus.jpg; File:Crocefissione di San Pietro (particolare).jpg; File:Crucifixión de San Pedro por Francisco Ribalda.jpeg; File:Michelangelo Caravaggio 039.jpg In September Cerasi contracted Caravaggio to paint two panels for the side walls; the contract with Annibale Caracci for the altarpiece has not been preserved. This idealization provided the necessary reminder of the supernatural nature of the event, despite the obvious visual conviction of natural form and three-dimensional space. The large panel painting was created in 1600–1601. The space is lit dimly by light coming through a lunette window on the back wall. Still neither ancient reliefs nor Raphael crowded their pictorial fields in this way", says Ann Sutherland Harris.[7]. The tombs have a painted background with draperies and flaming urns. [10], Caravaggio's dramatically lit and foreshortened paintings are intended to be viewed from the side rather than straight-on, and draw the eye to Carracci's frontally presented Assumption, so that the chapel is aesthetically united despite the very different styles of the two artists. La prima versione della crocifissione di san Pietro invece non è mai stata individuata e l'ultima notizia che se ne possiede è che essa - insieme al suo. The benefactor of the public hospital of San Giacomo degli Incurabili, Paolo M. Martinez (†1833) was buried under the pavement,[18] but his monument was placed on the external left pillar. Download Citation | On Jan 1, 2003, B Treffers published Caravaggio: The Cappella Cerasi | Find, read and cite all the research you need on ResearchGate Dieses Glück hatte jedoch nicht die Originalversion der Kreuzigung Petri, die verloren ging. Manche Wissenschaftler haben ein Gemälde in der Eremitage in Sankt Petersburg als das vermisste Gemälde identifiziert, seine Echtheit ist jedoch nicht bestätigt. "His body was then transferred to the city, and given over for burial in a chapel of the Church of Santa Maria del Popolo, which he had built for himself", states Burchard. Johann Burchard notes in his diary that the cardinal died on 11 August 1485. It seems probable that each artist "subtly altered his style of painting as a result of this direct confrontation with the other", and "Annibale's monumental saints, whose From the outside the chapel is invisible because it is hemmed in by the neighbouring parts of the basilica and a narrow, walled courtyard. Die Originalversion des ersten (die Bekehrung Pauli) war eine komplexe Komposition, die den Heiligen in einer zweiten Ebene präsentierte, im Gegensatz zur zentralen Rolle des Pferdes. 142-144. Malvasia's Life of the Carracci: Commentary and Translation, trans. 22–29, pag. The Cerasi Chapel (Italian: Cappella Cerasi) is one of side chapels in the transept of the Church of Santa Maria del Popolo in Rome.It contains significant paintings by Michelangelo Merisi da Caravaggio and Annibale Carracci, two of the most important masters of Baroque art, dating from 1600-1601. : + 39 06 69884676, Eintrittspreis: 15 €Eintrittspreis ermäßigt: 8 €Schüler: 4 €PALAZZO BARBERINI. È uno dei luoghi cardine per la conoscenza dei capolavori degli anni iniziali del Seicento Romano. The focus of the architecture is the altar shaped as an aedicule of black and white marble with two Corinthian columns and a broken pediment. Besides the dormant periods, post-diapause development (which varies among populations) exerts ‘fine tune’ adjustments that assure synchronization and may correct possible errors. Questi tre dipinti sono dedicati, rispettivamente, alla Vergine Maria, cui è consacrata la basilica di Santa Maria del Popolo, e agli apostoli Pietro e Paolo. [11] These relationships indicate that the artists worked in a compositional framework conceived by the patron or even more his friend and artistic adviser, Marchese Vincenzo Giustiniani. 9 bis 20 Uhr 24. und 31. Neben Michelangelo Merisi da Caravaggio gilt er als Begründer der italienischen Barockmalerei. Infine, sul pilastro d'ingresso sinistro, è visibile il monumento a Paolo M. Martinez (morto nel 1833), nobile patrizio romano di origine spagnola, benefattore di un ospedale cittadino per la somma di 12.000 scudi, la cui sepoltura vera e propria è tuttavia all'interno della cappella, scorgibile nel pavimento del vano d'ingresso[31]. È anche possibile sospettare l'intenzione della committenza di mettere apertamente in competizione i due artisti. The first versions of the Caravaggio paintings were rejected by the patron and then Caravaggio painted two paintings in oil instead of cypress panels as it had been formerly stipulated. The bronze gisant is attributed to a Sienese sculptor, Giovanni di Stefano, a follower of Vecchietta, who was commissioned by the heirs of Cardinal Pietro Foscari and used a funerary mask for the modelling of the face.[2]. Von hier beginnen wir nun einen Spaziergang auf die Entdeckung Caravaggios in verschiedenen Museen und Sammlungen der ewigen Stadt. Da u… In the present study, we address those factors regulating dormancy responses as part of a ‘longer strategy’ to persist and thrive in temperate environments. Tiberio Cerasi died on 3 May 1601 and was buried in the chapel. Four golden putti seem to support the vault in the spandrels. Catherine E. Kopp: “The Carracci and Venice: Annibale Carracci's stylistic response to Venetian art, and the intermediate roles of Ludovico and Agostino Carracci, thesis, Queen's University, 2014, p.237. To read the full-text of this research, you can request a copy directly from the author. 1/2001, p. 1, Enzo Bentivoglio, Simonetta Valtieri: Santa Maria del Popolo a Roma. Die erste Version ist Teil der Privatsammlung der Familie Odescalchi Balbi, die von Zeit zu Zeit dem Publikum geöffnet ist. Several theories related to the psychology of color had been also presented, and also sought to answer the question of why we should not trust psychologists boundlessly. This is proved by a detailed preparatory drawing of the figure of Christ in almost the same position as in the executed fresco which was preserved in the Louvre. Jan., 25. The painting was not regarded among Carracci's best works by his two 17th-century biographers. Christopher L. C. E. Witcombe, Two "Avvisi", Caravaggio, and Giulio Mancini, in: Source: Notes in the History of Art, Vol. Inoltre, il confronto di Annibale e Caravaggio di questa cappella influenzerà durevolmente l'arte del Seicento dando il via a due filoni: quello "caravaggesco" e quello più propriamente barocco. Due to its particular placement and visibility the sarcophagus was decorated on all four sides. Join ResearchGate to find the people and research you need to help your work. Cerasi's choice of the Assumption for the altar seems straightforward enough, while the Saint Paul and Saint Peter honoured the two Apostles central to the Catholic Church, patrons of Rome as well as the popular Counter-Reformation themes of conversion and martydom. These are typical Baroque funeral wall monuments with the carved busts of the deceased in ovals, curved broken pediments and long epitaphs. Now it is placed in the Costa Chapel in the right aisle. According to Steinberg the light on the Caravaggio paintings comes from the painted heaven on the vault of the anteroom, inhabited by the dove of the Holy Spirit. The intrados of the arch between the chancel and the anteroom is decorated with white-gold stucco panels with two putti holding a wreath in the central one. Presumably another contract was signed at an early stage in the proceedings with Carracci for the altarpiece but this document has not been preserved. Egli, inoltre, collocò i suoi personaggi in primo piano all'interno delle scene di grande profondità prospettica, per accentuare l'illusione delle figure di uscire dai dipinti nello spazio reale[22]. Tiberio Cerasi died on 5 May 1601 and was buried in the chapel. Teresa Pelzer is portrayed sleeping on her bed, and she is holding her dead child on her breast. Overall, it appears that R. cerasi populations are adapted to ecological conditions of local habitats and respond plastically to unpredictable environmental (climatic) conditions. La ristrettezza dello spazio della cappella ha influenzato la realizzazione dei dipinti, sia nel caso dell'Assunzione, che dei laterali: Caravaggio, in particolare, dispose le figure delle sue tele lungo una linea diagonale fortemente inclinata, al fine di esaltarne la resa scenografica[22]. : +39 06 0608, Offizielle Internetseite des Italienischen Fremdenverkehrs, Update COVID-19: nützliche Informationen für Reisende, Richtlinien für die Wiedereröffnung von Wirtschafts- und Produktionsbetrieben, “Immuni”, die Contact-Tracing-App für Ihre sichere Auslandsreise nach Italien. [13] Modern art history showed more appreciation. The oblong shaped chapel consists of a sail-vaulted anteroom and a narrower, barrel-vaulted chancel with the altar which is lit by a lunette window on the back wall. Giovanni Pietro Bellori only mentions it shortly when listing the late works of the artist while Carlo Cesare Malvasia is even more dismissive. Michelangelo Merisi da Caravaggio: fonti e documenti 1532-1724. The arched entrance is screened by a colourful marble balustrade. The Magdalene made up a part of a series of decorations destined to the rooms of the first patron, Cardinal Francesco del Monte (mentioned above). Caravaggio's dramatically lit and foreshortened paintings are intended to be viewed from the side rather than straight-on, and draw the eye to Carracci's frontally presented Assumption, so that the chapel is aesthetically united despite the very different styles of the two artists. She died in 1852 at the age of 27 in childbirth and her baby died with her. Infatti, Caravaggio realizza una prima versione delle due opere entro il 1601 ma il Cerasi è già venuto a mancare nel maggio di quell’anno.

cappella cerasi caravaggio

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