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In this video I'm in San Giovanni Teatino, an Italian town in the province of Chieti in Abruzzo. It extends in a scattered way in the hilly locality of the same name crossed by gullies and in the hamlet of Sambuceto where the municipality is located. The theme of the video is the church of San Giovanni Evangelista with its bell tower. Until 1894 the municipality was called "Forcabobolina" and since 1172 the presence of a church dedicated to S. Giovanni has been ascertained; in it the archbishop Niccolò Sanchez de Luna erected the baptismal font in 1758, to avoid having to take the children to the parish church of S. Maria "de Cryptis" of which the church was a branch. A "steward" coming from the mother church was rewarded by the "tithe hearth" and by the offerings of the faithful. Today's church, built at the beginning of the century. XIX was erected as a parish with the title of St. John the Baptist in 1914. From 1954 the denomination was changed to St. John the Evangelist. The plastered facade has an architectural order of giant pilasters with a curvilinear tympanum above and convex corners that join up with the side walls. The portal has an architrave with a mixtilinear tympanum frame in gray stone. The single room interior is made up of the rectangular choir, the loggia for the choir loft and the side altars. The ceiling with flat slab of exposed concrete beams is covered by a gable roof. The bell tower is on the left side of the church in correspondence with the presbytery and has a square plan with a pyramidal ending. The belfry, opened by 4 windows, initially housed 3 bells. In February 2023 it was enriched by the presence of 2 other momentum bells cast 20 years earlier by the Pontifical Marinelli Foundry in Agnone and donated by the Giammaria family, so as to complete the Bb major scale. The splendid assembly works were carried out by the will and interest of Mons. Massimo D'Angelo by the De Santis Corinaldi Group who also took care of the restoration of the tower clock and the replacement of the programmer. In the video we see some plays performed in manual electric before the addition of the new bells and some plays programmed by the undersigned.
Census of the bells carried out by the undersigned:
I - Bb3 - Marinelli di Agnone 1962 - Inscriptions: "I CONVOCO SIGNO NOTO COMPELLO CONCINO PLORO ARMA DES HORAS FULGURA FESTIVAL ROGOS - O CHRISTE PRINCEPS PACIFER MENTES REBELLER SUBI CE TUOQUE AMORE DEVIOS OVILE IN UNUM CONGREGA" - Depictions: Iconographies of the Crucifix and the Sacred Heart of Jesus.
II - C4 waning - most likely merged together with the fourth in 2003, does not report the year of merger. Work of the MARINELLI AGNONE PONTIFICAL FOUNDRY - Inscriptions: "VOX TUA AC MEA SEMPER SIT (IUDEX G. GIAMMARIA) - MARINELLI AGNONE PONTIFICAL FOUNDRY - Depictions: Iconography of the Virgin Mary on a crescent moon crushing the head of the snake and of the Jubilee 2000.
III - D4 - Marinelli di Agnone 1962 - Inscriptions: "VOX MEA VOX VITAE VOCO VOS AD SACRA VENITE - IN HONOREM B. MARIAE V. IMMACULATAE - Depictions: Iconographies of the Crucifix and the immaculate Virgin Mary.
IV - E4 waning - merged into the A.D. 2003 from the PONTIFICAL FOUNDRY MARINELLI AGNONE - Inscriptions: "OMNIS TINNITUS TIBI LAUDES CANEAT QUOTIDIE VORGO MARIA - (IUDEX G. GIAMMARIA) - TOTUS TUUS - JUBILAEUM MM" - Depictions: Iconographies of the Madonna of Loreto, the Jubilee 2000 and the papal coat of arms.
V - F4 - Marinelli di Agnone 1962 - Inscriptions: "FILIOLI DILIGITE ALTERUTRUM - IN HONOREM S. IOANNIS EVANGELISTAE - Depictions: Iconography of the Crucifix and of St. John the Evangelist.
Video summary:
0:00 Introduction with panoramic views of the place and the church
0:19 Ave Maria of Lourdes (I-III-V)
1:20 Baudetta (I-III-V)
2:00 Descending plenum (I-III-V)
8:20 I'll go see her one day
8:58 Christus Vincit
9:45 Descending plenum
12:58 Angelus 3 4 5 1 and Ave Maria of Lourdes
14:40 Solemn plenum
20:15 Hail Mary of Fatima
Good vision!
The use of headphones is recommended for more accurate listening.
I would like to thank Sauro and my colleagues Daniele and Marcello of the De Santis Corinaldi Group in a special way for their friendship, hospitality and great kindness in letting me assist in all the work. I thank Archbishop Massimo for trusting in accepting my advice and for the possibility of programming the bells and preparing the new melodies. I thank my friends Matteo Liberatore and Simone De Flaviis for the tips on melodies and last but not least the Lord who has given me all these beautiful things and to be able to do a good service for him and for his people.
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