<div>
	The city was an ancient Roman possession, known as Fanum Fortunae, a name that refers to the &quot;Temple of Fortune&quot;, probably erected to witness the battle of the Metauro: it was the year 207 BC and the Roman legions defeated the army of the Carthaginian general Hasdrubal, killing the leader who, after crossing the Alps with war elephants, intended to be reunited with his brother Hannibal.</div>
<div>
	The city of Fano experienced a remarkable development during the Roman rule due to its strategic location on the road that connected the Tiber valley to Gaul. In 49 BC Gaius Julius Caesar conquered it along with Pesaro, thus beginning the Civil War against Pompey antagonist.</div>
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	&nbsp;</div>
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	&nbsp;</div>
<div>
	Only later Emperor Augustus endows the settlement of the boundary walls (still partially visible), elevating the settlement to the status of a Roman colony under the name of Colonia Julia Fanestris.</div>
<div>
	Some centuries later, in 271 A.D., he was held near it the Battle of Fano which marked the end of the attempt of the Germans to reach Rome, defeated by the Emperor Aurelian.</div>
<div>
	During the Gothic War of the sixth century, due to its location in the connections between northern and southern Italy, he was besieged and devastated by the Ostrogoths Vitige (538) and a short time later rebuilt by the army of Byzantine Belisario and Narses.</div>
<div>
	&nbsp;</div>
<div>
	Later he became part of the maritime Pentapolis (Rimini, Pesaro, Fano, Senigallia, Ancona), of which he was head. Suffered after the occupation of the Lombards and the Franks, until Otto III not donated to Pope Sylvester II. In the thirteenth century it was established Fano common; in the following century it was briefly under the Este family, after which he was torn apart by the struggle between two families: the Cassero and the Carignano.</div>
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	&nbsp;</div>
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	&nbsp;</div>
<div>
	At the end of the twelfth century, the city came under the dominion of Malatesta Rimini, thanks to a conspiracy hatched by the latter against the two rival families. The Malatesta family remained in power in the city until 1463, when Sigismund Malatesta had to leave Fano to the Duke of Urbino Federico da Montefeltro after a long siege, during which it was damaged the Arch of Augustus, symbol of the city. The people refused to become a part of the Duchy of Urbino and therefore became vicariate church.</div>
<div>
	During the Napoleonic occupation of the Papal States he was sacked and severely bombed by the army of Bonaparte.</div>
<div>
	Actively participated in the uprisings by creating provisional governments.</div>
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	&nbsp;</div>
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	&nbsp;</div>
<div>
	During the First World War (1915-1918) suffered numerous Austrian naval bombardments and also in World War II (1940-1945) being on the Gothic Line underwent numerous Allied air raids aimed at the destruction of its rail and road bridges, as part of &#39; retreating German army, the destruction of nearly all its bell towers (except those of St Francis of Paola and San Marco), the city tower, the male of the Malatesta fortress and its fishing port, considered by the enemy as not critical infrastructures leave in the hands of the allies.</div>
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	&nbsp;</div>
<div>
	The city, famous for its carnival, the oldest in Italy, appears to be the third largest city by population in the region Marche, after Ancona and Pesaro.</div>
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	Source: Wikipedia</div>
<div class="container">
	<div class="POST_CONTENT">
		<article class="post_box" id="post-81">
		<h1>
			Roman Route <!-- h1--></h1>
		<p style="text-align: justify;">
			N.B. Click on the title to geo-localize the site <!-- p--></p>
		<p style="text-align: justify;">
			<a href="https://www.google.it/maps/place/Arco di Augusto/@43.8430457,13.0124124,17z/data=!3m1!4b1!4m5!3m4!1s0x132d10f56fb97d9b:0x36b9bce6a756e68e!8m2!3d43.8430457!4d13.0145957" target="_ blank"> <span style="color: # ff0000;"> ARCO D&#39;AUGUSTO <!-- span--></span></a> <!-- p--></p>
		<p style="text-align: justify;">
			Since the age medieval symbol of the city of Fano, was the main gateway to the city.<br />
			Built on the spot where the Via Flaminia engages in decumannus the city, the door fits harmoniously into the surrounding wall, built by the Emperor Augustus and completed in 9 d.C ..<br />
			Large and bright in the white limestone splendor, is now in a frame of buildings: the stones from the crowning attic, demolished by the Duke of Urbino Federico da Montefeltro, were reused in the construction of the adjacent church of St. Michael. <!-- p--></p>
		<p style="text-align: justify;">
			Specific information regarding the Arch of Augustus you can find them in the section &quot;The Doors&quot; <!-- p--></p>
		<p style="text-align: justify;">
			<a href="https://www.google.it/maps/place/Porta della Mandria, Via Mura Augustee, 61032 Fano PU/@43.844908,13.012438,157m/data=!3m2!1e3!4b1!4m5!3m4!1s0x132d10f52945a967:0x98252a9957b225a1!8m2!3d43.844908!4d13.0129838" target="_ blank"> <span style="color: # ff0000;"> MURA ROMANE Augustan <!-- span--></span></a> <!-- p--></p>
		<p style="text-align: justify;">
			Volute by Emperor Augustus and executed following a careful and rational design, they can still be seen today, in the simplicity of the sandstone, for about two-thirds of the original circuit.<br />
			The curtain wall, removed from demolition in the twenties and punctuated at regular spaces by cylindrical towers, in addition to the well known Porta d&#39;Augusto, it puts a delicious side door jambs consists of rugged boulders, the &quot;Gateway of the Herd&quot;, so called because in the past there were grazing their flocks. He had the function to allow the Flaminia to leave the city to head north and reach Pisaurum. <!-- P--></p>
		<p style="text-align: justify;">
			<a href="https://www.google.it/maps/place/Chiesa ed ex Convento di S. Agostino/@43.8457587,13.0155426,156m/data=!3m1!1e3!4m5!3m4!1s0x132d10f45db01353:0x76a108cbefa6ace9!8m2!3d43.8458895!4d13.0160217" target="_ blank"> <span style="color: # ff0000;"> THE REMAINS OF THE SO-CALLED BASILICA VITRUVIO <!-- span--></span></a> <!-- p--></p>
		<p style="text-align: justify;">
			In the heart of the city, the building structures found in the Church and the Convent of St. Augustine have stimulated, for centuries, the imagination and aroused the interest of scholars and enthusiasts .<br />
			Alternatively identified with the Basilica designed by the architect Vitruvius in &quot;De Architecture&quot; or that Fanum Fortunae that gave the city its name, the remains have a long wall in blocks of stone with small arches arranged in a fan, a wall with an apse, bases of columns and gutters. <!-- p--></p>
		<p style="text-align: justify;">
			To learn more about this basilica you can go in the special section &quot;Basilica of Vitruvius&quot; within the &quot;<!-- p Project Vitruvius."--></p>
		<p style="text-align: justify;">
			<a href="https://www.google.it/maps/place/Museo Civico/@43.844287,13.0163178,626m/data=!3m2!1e3!4b1!4m5!3m4!1s0x132d10f6698b0385:0xbe6527723ec3bdaa!8m2!3d43.844287!4d13.0185011" target="_ blank"> <span style="color: # ff0000;"> MOSAIC PANTHER <!-- span--></span></a> <!-- p--></p>
		<p style="text-align: justify;">
			The mosaic is just one example of several mosaic floors returned from underground city.<br />
			Made with the use of black and white tiles, probably located in the triclinium of a patrician dwelling, it is currently preserved in the museum of Fano along with other interesting finds from prehistoric and Roman times the territory of Fano. <!-- P--></p>
		<p style="text-align: justify;">
			<a href="https://www.google.it/maps/place/Piazza XX Settembre, 61032 Fano PU/@43.8437009,13.0154984,626m/data=!3m2!1e3!4b1!4m5!3m4!1s0x132d10f60a0cd267:0x5eecbb4fcb33275!8m2!3d43.8437009!4d13.0176817" target="_ blank"> <span style="color: # ff0000;"> THE DOMUS REMAINS <!-- span--></span></a> <!-- p--></p>
		<p style="text-align: justify;">
			Coming to light on the south side of Piazza XX Settembre, the site offers the viewer an example of a refined mansion from the Roman era in Fano.<br />
			Well recognizable in it the remains of a room with four columns that suggest the presence of an impluvium (the pool of rainwater harvesting). <!-- P--></p>
		<h1>
			Route Medieval Malatesta <!-- ​​h1--></h1>
		<p style="text-align: justify;">
			<strong>N.B. Click on the title to geolocalize the place <!-- strong--><!-- p--></strong></p>
		<p style="text-align: justify;">
			<strong><span style="color: # ff0000;"><a href="https://www.google.it/maps/place/Bastione di Matteo Nuti, Viale Buozzi, 61032 Fano PU/@43.8427626,13.0113611,626m/data=!3m2!1e3!4b1!4m5!3m4!1s0x132d105ff7d5630d:0xf1bdc96af04cf805!8m2!3d43.8427626!4d13.0135444" style="color: # ff0000;" target="_ blank"> BASTION NUTI </a> <!-- span--><!-- p--></span></strong></p>
		<p style="text-align: justify;">
			<strong>In 1463, during the siege of the papal troops led by the Duke Federico da Montefeltro, the port and the adjacent towers, then existing, were destroyed.<br />
			Ended the siege the architect Matteo Nuti from Fano was commissioned to rebuild the Bastion that bears his name and the nearby Porta Maggiore.<br />
			The Bastion was conceived in a modern way, by then, short, squat, and with sloping walls to better withstand the devastating power of the bombs recently introduced. <!-- P--></strong></p>
		<p style="text-align: justify;">
			<strong><span style="color: # ff0000;"><a href="https://www.google.it/maps/place/Palazzo del Podesta/@43.8437866,13.0155004,626m/data=!3m2!1e3!4b1!4m5!3m4!1s0x132d10f5c2fc4347:0x732acbe60e41f72b!8m2!3d43.8437866!4d13.0176837" style="color: # ff0000;" target="_ blank"> PALAZZO DEL PODESTA &#39;</a> <!-- span--><!-- p--></span></strong></p>
		<p style="text-align: justify;">
			<strong>Built in 1299 in the north side of Piazza XX Settembre, the Palace is the building most artistically noteworthy of Fano Middle Ages.<br />
			With its facade set on solid pillars and five round arches, embellished by the mayoral stems, the columns of the big four lights and the Triptych of the Protectors, now houses the neoclassical Teatro della Fortuna. <!-- P--></strong></p>
		<p style="text-align: justify;">
			<strong><span style="color: # ff0000;"><a href="https://www.google.it/maps/place/Palazzo Malatestiano/@43.8437866,13.0155004,626m/data=!3m1!1e3!4m8!1m2!2m1!1scorte malatestiana vicino a Fano PU!3m4!1s0x132d10f5d4fe860b:0x15c32c354d76c7b5!8m2!3d43.8444434!4d13.0182197" style="color: # ff0000;" target="_ blank"> COURT MALATESTIANA </a> <!-- span--><!-- p--></span></strong></p>
		<p style="text-align: justify;">
			<strong>Built between 1413 and 1421 by Pandolfo III and leaning on the &quot;Case of the Malatesta&quot;, built by his father and predecessor Jailbird, the Malatesta Palace was returned to its original splendor in 1930.<br />
			With the large porch and four beautiful terracotta mullioned windows, the eastern side is now home to the Civic Museum (which houses artifacts from prehistoric times to the Roman) and the Pinacoteca (which houses valuable paintings from the fourteenth century. Until today ). <!-- p--></strong></p>
		<p style="text-align: justify;">
			<strong><span style="color: # ff0000;"><a href="https://www.google.it/maps/place/Tombe Malatestiane/@43.8434765,13.0170036,626m/data=!3m2!1e3!4b1!4m5!3m4!1s0x132d10f67a193e6f:0x13b1020873fd4223!8m2!3d43.8434765!4d13.0191869" style="color: # ff0000;" target="_ blank"> GRAVES MALATESTIANE </a> <!-- span--><!-- p--></span></strong></p>
		<p style="text-align: justify;">
			<strong>Transfer in the seventeenth century. in the portico of the church of San Francesco, the Malatesta graves were placed inside the same in the fifteenth century ..<br />
			Belonging to Paola Bianca, the first wife of Pandolfo III, to Pandolfo III and to the faithful of the latter doctor, Bonetto of Castelfranco, the graves are a splendid example of the artistic fervor of the city during the Malatesta domination.<br />
			The exploration of the tomb of Pandolfo III, which took place in June 1995, he has returned the mummified body for over five centuries. <!-- P--></strong></p>
		<h1>
			<strong>Itinerary of Fano churches <!-- h1--></strong></h1>
		<p style="text-align: justify;">
			<strong><strong>N.B. Click on the title to geolocalize the place <!-- strong--><!-- p--></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><a href="https://www.google.it/maps/place/Cattedrale di Santa Maria Maggiore (Duomo di Fano)/@43.8433582,13.0131748,626m/data=!3m1!1e3!4m8!1m2!2m1!1sDUOmo fano!3m4!1s0x132d10f575880f5f:0x2ba3f700033f5a69!8m2!3d43.8435245!4d13.0155294" target="_ blank"> <span style="color: # ff0000;"> CATHEDRAL: THE CATHEDRAL OF SAINT MARY OF THE ASSUMPTION <!-- span--></span></a> <!-- p--></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong>The current cathedral was built in &amp; nbsp; the twelfth century &amp; nbsp; style &amp; nbsp; Romanesque, in place of an earlier church destroyed by fire in &amp; nbsp; 1124, which, being the main church Fano, was named &amp; nbsp; <em> Santa Maria the greatest <!-- em-->. The destruction of this early church is attested by a plaque, placed inside the church, walled under the organ in it is reported that the old building destroyed by fire, under Bishop Rainaldo (1136-1159) was built new cathedral for &amp; nbsp hand; <em> master Rainerio <!-- em-->; it is assumed that the building was consecrated around the &amp; nbsp; 1140. <!-- p--></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em>The new structure had three naves ending in three apses, with &amp; nbsp; crypt &amp; nbsp; under the &amp; nbsp; presbytery. During delXVI century &amp; nbsp; the two side apses were transformed into chapels, while the central apse was enlarged; in the same period it was destroyed the crypt and lowered the presbytery. The side chapels of the nave, built eight in number in &amp; nbsp; the fourteenth century, were reduced to six in &amp; nbsp; the twentieth century, for the opening of two side entrances. The bell tower is a recent work, because the previous laseconda was shot down by the Germans during World War II. <!-- P--></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em>The facade is one that has best preserved its original Romanesque structure, thanks to the restoration work carried out over the years the Winds &amp; nbsp; twentieth century. It is tripartite with a profile &amp; nbsp; <em> hut <!-- em-->. In the two outer parts are inserted fake loggias. In the center it is a beautiful portal &amp; nbsp; gotico.L&#39;interno has three naves divided by pillars. Of historic and artistic value it is the &amp; nbsp; <a class="links_rosso" href="http://it.wikipedia.org/wiki/Pulpito" title="Pulpito"> </a> pulpit, reassembled in the first half of the century last using the various elements, or had been walled up for subsequent reuse, or were scattered in the bishop, always used for other purposes. It is made from marble slabs with reliefs in the Romanesque style, which make up a series of episodes &amp; nbsp; &amp; nbsp evangelical; the &amp; nbsp; <em> Coming of Christ <!-- em-->; Only those columns are modern. <!-- p--></em></em></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em><em>Laterally there are six chapels, three on each side. In the right aisle, we find first the chapel dedicated to &amp; nbsp; Saint Paul; It follows the one where are the tombs of the diocesan bishops; Finally, the most sumptuous &amp; nbsp; <em> Chapel Nolfi <!-- em-->, so named because it was granted in patronage to the noble family of Fano Nolfi. Set up at the beginning delXVII century &amp; nbsp; in an exuberant decoration &amp; nbsp; baroque. There are some important paintings of the &amp; nbsp; <a class="links_rosso" href="http://it.wikipedia.org/wiki/Domenichino" title="Domenichino"> Domenichino </a>, depicting episodes from the &amp; nbsp; <em> life of the Virgin Mary <!-- em-->.In the left aisle you meet the Crucifix chapels, the Pilgrim Mother and the baptistery chapel, where he was baptized on March 4 &amp; nbsp; 1536, Ippolito Aldobrandini, future &amp; nbsp; <a class="links_rosso " href=" http://it.wikipedia.org/wiki/Papa_Clemente_VIII " title=" Pope Clement VIII "> Pope Clement VIII </a> &amp; nbsp; (1592-1605). <!-- p--></em></em></em></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em><em>In &amp; nbsp; transept &amp; nbsp; are placed two other chapels: to the right, the chapel of the patron saints, dedicated to two holy bishops Fano, Bear and Eusebius, depicted by a &amp; nbsp canvas; &lt; a class = &quot;links_rosso&quot; title = &quot;Ludovico Carracci&quot; href = &quot;http://it.wikipedia.org/wiki/Ludovico_Carracci&quot; _cke_saved_href = &quot;http://it.wikipedia.org/wiki/Ludovico_Carracci&quot;&gt; Ludovico Carracci &amp; nbsp; &amp; nbsp; 1613; left, the Blessed Sacrament Chapel in style &amp; nbsp; neo, which underwent several interventions over the centuries, due to an earthquake in the &amp; nbsp; 1672, that made you fall on the bell tower, and because of German bombing of the last war. in the presbytery it is the main altar, resting on the sarcophagus of San Fortunato; behind is the wooden choir of &amp; nbsp; the eighteenth century; the bottom is the &amp; nbsp canvas; <a class="links_rosso" href="http://it.wikipedia.org/w/index.php?title=Sebastiano_Ceccarini&amp;action=edit&amp;redlink=1" title="Sebastiano Ceccarini (page does not exist)">Sebastiano Ceccarini </a> &amp; nbsp; (1750), which depicts &amp; nbsp; <em> Mary assumed into heaven <!-- em-->. Stained-glass windows on the sides with depictions of Fano protectors holy bishops: Paterniano, Eusebio, Bear and Lucky. <!-- P--></em></em></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em><em><a href="https://www.google.it/maps/place/San Paterniano/@43.8382691,13.0180983,626m/data=!3m2!1e3!4b1!4m5!3m4!1s0x132d10596c68ce15:0x68922e8e53c0f28!8m2!3d43.8382691!4d13.0202816"><span style="color: # ff0000;"> SAN PATERNIANO <!-- span--></span></a> <!-- p--></em></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em><em>The previous building dedicated to the saint was located outside the city center, in the Abbey Street, on the site of hexagonal chapel built to commemorate the location of the ancient monastery .<br />
			According to the &quot;Vita Sancti Paterniani&quot; of Nonantola code (twelfth-century manuscript preserved in the archives of the Chapter), the saint died in this place (about 360) after having held the Fano church for forty years.<br />
			Later on his tomb built a basilica rebuilt several times and dates back to the eighth century the Benedictine abbey founded.<br />
			In 1479 the monastery passed to the Canons Regular of St. Saviour, which since the third decade of the &#39;500 started on the area of ​​St. Nicholas church and some houses the works of the convent complex, (for which the documents d&#39; archive remind Magister Stefanus Martini and Magister Petrus Antonii Como).<br />
			In 1551 his body was moved to San Paterniano from suburban church to the chapel dedicated to the saint, placed in the bottom of the right aisle, while in 1558 it celebrated the consecration of the church. The exterior of the building was never completed with stone cladding and ornament of the facade was performed only the beautiful Venetian Jacopo Bambagiani of Michelangelo&#39;s branch portal (1573).<br />
			The Canons Regular of St. Saviour held the monastery until 1860, and only in this century has passed to the Capuchin fathers.<br />
			Inside are paintings by Alessandro Tiarini, Giambattista Little Boys, Claudio Ridolfi, a work attributed to the Cavalier d&#39;Arpino, a wooden crucifix of the Neapolitan Giacomo Colombo. In the chapel of San Paterniano the paintings by Carlo Bononi cycle and Sebastiano Ceccarini tells the life of the saint, while the affesco of the inner dome is by Antonio Viviani said Sordo.<br />
			The interior has three naves with a transept not protruding. The aisles provide access to the chapels of St. Joseph (left) and the chapel of San Paterniano (right). The central nave ends with an apse compartment where stands the fresco painting of &quot;Heaven&quot; of the painter Giambattista Ravenna Boys (1556).<br />
			In the shell one another octagonal and circular domes of the aisles, the barrel vault of the nave and the great dome at the intersection of the nave and transept, also frescoed by boys with &quot;heaven.&quot;<br />
			In the first altar of the right aisle is location &quot;The Marriage of the Virgin&quot; by Giusto Cespi copy made from an original by Guercino (currently at the Cassa di Risparmio collection).<br />
			Following in the second altar &quot;St. Nicholas of Bari and St. Onofrio&quot; a painter of the Fano family of Giangolini (XVII Century).<br />
			At the end of the aisle leads to the apse chapel of San Paterniano where the saint&#39;s relics and ancient sarcophagus are preserved. <!-- P--></em></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em><em>The compartment decorated with stucco work of the seventeenth century, is divided into two spans covered by domes. The front has on the side walls two paintings by Sebastiano Ceccarini, respectively &quot;San Paterno and his monks follow the Angel&quot; and &quot;San Paterniano does break down the idols&quot;, the fresco in the dome with &quot;San Paterniano in glory&quot; by the same artist (after 1772). The back is decorated with three paintings by Carlo Ferrara Bononi representatives &quot;The Angel appearing to St. Paterniano&quot;, &quot;San Paterniano heals a blind&quot;, &quot;The recognition of the body of the saint.&quot; The fresco on the vault is the work of the painter Antonio Viviani of Urbino (1614-1618). <!-- P--></em></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em><em>Another important painting on the bottom with the choir &quot;St. Paterniano in glory&quot; is the Bolognese Alessandro Tiarini (1612) and again along the left aisle, the second altar, there is a &quot;Virgin of the redemption&quot; of the Veronese Claudio Ridolfi &quot;and a wooden crucifix from the Neapolitan sculptor Giacomo Colombo (1706). At the end of the left aisle in the apse chapel of St. Joseph is a painting of the &quot;Transit of St. Joseph&quot; attributed to Cavalier d&#39;Arpino. <!-- P--></em></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em><em><a href="https://www.google.it/maps/place/Chiesa di San Pietro in Valle/@43.8438971,13.0176705,626m/data=!3m2!1e3!4b1!4m5!3m4!1s0x132d10f6678b6727:0x2fb191185cd6c014!8m2!3d43.8438971!4d13.0198538" target="_ blank"> <span style="color: # ff0000;"> SAN PIETRO IN VALLE <!-- span--></span></a> <!-- p--></em></em></em></strong></strong></p>
		<p style="text-align: justify;">
			<strong><strong><em><em><em>The Oratorians of St. Philip Blacks were introduced early in Fano Fano dall&#39;ecclesiastico Girolamo Gabrielli, but the &quot;conformation&quot; official came in 1607 with Pope Paul V Borghese bubble. &lt; br&gt; First seat of the community was the parish house of St. Peter medieval church in the Valley, so named because the source at the ancient Roman city of vallum. Within a few years the Oratorians Fano, demolished the old church of St. Peter, were engaged in the building of a new temple adhering to the decorative and architectural dictates of the Congregation: single nave, side chapels, stern sobriety of the exterior can be contrasted proliferation rich decorative interior. <!-- p--></em></em></em></strong></strong></p>
		<p align="center" style="text-align: justify;">
			<strong><strong><em><em><em>The Church, he held the primitive naming, it was designed by the Neapolitan Giovanni Battista Cavagna, then engaged in some work in Loreto, consecrated in 1617 and completed by Giovanni Maria Pazzaia. While the exterior has remained to this day unfinished without the expected stone cladding, the interior is rich in gold, stucco, marble and paintings which make it one of the most splendid examples of Baroque decoration in the Marche. The interventions take place throughout the whole of the century and culminate with the creation in 1710 of the splendid choir stalls of the transept adorned with white angelic musicians. <!-- P--></em></em></em></strong></strong></p>
		<p align="center" style="text-align: justify;">
			<strong><strong><em><em><em>Of the six existing chapels, the first left, which belongs to the Gabrielli family and dedicated to the Virgin, welcomed an Annunciation by Guido Reni dating back to 1621, with intense lighting effects. <!-- p--></em></em></em></strong></strong></p>
		<p align="center" style="text-align: justify;">
			<strong><strong><em><em><em>These works are provisionally preserved in the Civic Art Gallery pending the completion of the restoration work.<br />
			Are instead in France other two precious paintings, The Delivery of the keys of Guido Reni and St. John the source of Guercino, removed at the end of &#39;700 by Napoleon&#39;s troops (now at the Louvre and Montpellier).<br />
			The Oratory, next to the church, was completed in 1699 and decorated by the Bolognese Bonaguardia Lauro, who also designed the ornamentation of the dome. That environment, now destroyed, was on the ground floor of the building of Federiciana Library. Upstairs, since 1678, a large hall had been set - the so-called. Hall of Globes - still exists, furnished with high shelves, the work of a master Francesco Bologna. Here it was, and is still hosted the great &#39;Libraria&#39; Abbot Domenico Federici (12,000 volumes), which welcomed the Congregation in 1681, made the convent of the Philippines one of the &#39;poles cult&#39; most important city. F.E. <!-- P--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>This material was taken from shows points of Filipinos summer 1995; edited by the Marche Region <!-- p--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em><a href="https://www.google.it/maps/place/Chiesa e Convento di S. Maria Nuova/@43.8346456,12.9855719,10073m/data=!3m1!1e3!4m5!3m4!1s0x132d10f58ac99bcb:0x26917d3f137a2270!8m2!3d43.8422868!4d13.0171037" target="_ blank"> <span style="color: # ff0000;"> SANTA MARIA NEW <!-- span--></span></a> <!-- p--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>The original parish church of San Salvatore has its origins in the Middle Ages, in the &amp; nbsp; 1518 &amp; nbsp; was given to the &amp; nbsp; <a class="links_rosso" href=" http://it.wikipedia.org/wiki/Frati_Minori_Osservanti " title="Friars Minor observant "> Friars Minor </a> &amp; nbsp; on the run from their suburban monastery of Santa Maria Nuova in San Lazzaro because of harassment perpetrated by Della Rovere troops who they laid siege to Fano in the &amp; nbsp; 1517. Just the brothers rebuilt the ancient place of worship by giving it its present form, the church was remodeled in the &amp; nbsp; eighteenth century &amp; nbsp; and underwent deep restoration in the &amp; nbsp; 1959 &amp; nbsp; after the devastation (collapse of the tower leading to the area damaged presbytery) of &#39;conflict mondiale.Ogni last year, from &amp; nbsp; in 1962, is home to the &amp; nbsp; Organ Festival Santa Maria Nuova. <!-- p--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>Outside the church the greatest interest is given by the fine Renaissance portal that is under an airy porch &amp; nbsp; Renaissance, a work of Pietro Bernardino da Carona, produced in the &amp; nbsp; 1498 &amp; nbsp; originally to beautify church outside the city walls abandoned by frati.L&#39;interno is characterized by a single large nave and deep presbytery, decorated with eighteenth century stucco. Starting on the right side, on the first altar you can admire a painting by Francesco Giangolini depicting the &amp; nbsp; <em> Baptism of Jesus <!-- em-->. In the third altar, however, it is the &amp; nbsp; <em> <a class="links_rosso" href="http://it.wikipedia.org/wiki/Pala_di_Fano" title="Pala of Fano"> Pala Fano <!-- a --><!-- em-->, the table &amp; nbsp; </a><a class="links_rosso" href="http://it.wikipedia.org/wiki/Perugino" title="Perugino"> Perugino </a> &amp; nbsp; built in &amp; nbsp; 1497 &amp; nbsp ; and representing the &amp; nbsp; <em> Madonna and Child enthroned with saints Mary Magdalene, Paul, Peter, Francis and John the Baptist <!-- em-->&amp; nbsp; with a bezel with a &amp; nbsp; <em> Piet&agrave; <!-- em-->; the rich rich plastic strength, given by chiaroscuro and color make it one of the artist&#39;s masterpieces and it is not impossible that you had a hand also a very young &amp; nbsp; <a class="links_rosso" href="http: // en. wikipedia.org/wiki/Raffaello" title="Raffaello">Raffaello </a>, as well as in the predella with the &amp; nbsp; <em> Nativity of Mary <!-- em-->&amp; nbsp; <em> Presentation of Jesus at the Temple <!-- em-->&amp; nbsp; <em> Marriage of the Virgin <!-- em-->&amp; nbsp; <em> Annunciation <!-- em-->&amp; nbsp; and &amp; nbsp; <em> Hiring <!-- em-->. <!-- p--></em></em></em></em></em></em></em></em></em></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>In the apse is a fine wooden choir by Antonio and Andrea Barili from Siena, built between &amp; nbsp; 1484 &amp; nbsp; and &amp; nbsp; 1489, has been subject to major renovations after the Second World War because of damage suffered by the explosion of campanile.Nel left side of the church, on the fourth altar, there is a &amp; nbsp; <em> Madonna with Child and three saints <!-- em-->&amp; nbsp; painting by Giovanni Maria Luffoni, according to a <em> <a class="links_rosso" href="http://it.wikipedia.org/wiki/Annunciazione_di_Fano" title="Annunciazione of Fano"> Annunciation </a> <!-- em-->, another panel by Perugino dating back to 1489 while the first &amp; nbsp; <em> Visitation <!-- em-->, table of Giovanni Santi. <!-- p--></em></em></em></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>The two main altar, within specific niches with exhibits consisting of &amp; nbsp reeds; Main, is the pipe organ &amp; nbsp; Mascioni &amp; nbsp; <em> opus 776 <!-- em-->, built in &amp; nbsp; 1959 .The tool to &amp; nbsp; fully electric drivetrain, has 2952 &amp; nbsp; rods &amp; nbsp; for a total of 73 &amp; nbsp; registers &amp; nbsp; on three keyboards of 61 notes each and &amp; nbsp; concave-radial pedals &amp; nbsp; 32-note <!-- p--></em></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em><a href="https://www.google.it/maps/place/Parrocchia Madonna Ponte/@43.8308738,12.686166,80195m/data=!3m1!1e3!4m8!1m2!2m1!1ssanta maria del ponte metauro fano!3m4!1s0x132d11bacc261c9f:0x3d08dbf8a76d0598!8m2!3d43.8287037!4d13.0493457" target="_ blank"> <span style="color: # ff0000;"> SANTA MARIA DEL PONTE METAURO <!-- span--></span></a> <!-- p--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>Not included in &#39;Itinerary asks Fano but important reality for the whole city is the Sanctuary of the Madonna del Ponte (or S. Maria del Ponte); it is located on the left bank of the river Metauro, to the side of the Adriatic highway, 3 km from Fano and near the mouth. <!-- p--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>The church has ancient origins, perhaps prior to the twelfth century.<br />
			Surely the first important moments live there in the first half of the fourteenth century when this little monastery with hospital settles the Franciscan tertiary Blessed Francis of Montegranaro, also known as Beato Cecco from Pesaro.<br />
			The location, right at the mouth of the Metauro, is tied to the legend of the killing in 1215 of a giant snake, or dragon, by the same San Francesco.<br />
			And &#39;there that the Blessed Cecco puts the picture in fresco of the Madonna of Humility or milk, in a first nucleus of the church at that time had to be a chapel open to the street to keep her vision of the Madonna to the travelers. <!-- P --></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>The church has a look that is by the restorations that were affected in 1926, when it became the parish, and in 1930, after the earthquake.<br />
			Has a singular plant T, a nave with cross ceilings at the ends and a barrel vault in the center.<br />
			In a chapel on the left, in what was the compartment of the bell tower, it conserves the fresco of the Madonna del Latte, the object of great veneration in the centuries, as evidenced by the numerous ex still exposed vote. In 1984, during the visit of Pope John Paul II in Fano, the Madonna and Child were added two crowns and the Virgin Mary was named patroness of the city and the Sailors. <!-- P--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>Before 1926 instead of this chapel was a large arch (now buffered) closed by a gate, to allow outside the vision of the Virgin Mary.<br />
			Over against, on the right wall it is a stone structure built in 1597 to house a reliquary tabernacle and below the fresco of the Madonna, then moved in 1926 into the present chapel. There currently is the baptismal font.<br />
			The church has other paintings of some importance: a fresco on the wall of the right, the school of Perugino, the Madonna on a throne flanked by St. Roch and the bottom, on the right wall of the presbytery, another fresco depicting the Last Supper. <!-- p--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>On the high altar it was originally exhibited the magnificent altarpiece executed in the first half of 1400 by two Venetian masters and now preserved in the Civic Art Gallery of Fano. The altarpiece is attributed to Gianbono and the so-called master of Roncaiette, in two completely separate registers.<br />
			In its place there is now a beautiful wooden crucifix of 1710 (1). <!-- P--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>The current crenellated tower is the result of the reconstruction of a bell tower, which collapsed in the earthquake of 1930. Before that he was a watch tower, built in 1486 to counter the incursions Turks. The feast of the sanctuary, still widely followed today, takes place on Easter Tuesday in the adjacent pine forest <!-- p--></em></em></em></strong></strong></p>
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			<strong><strong><em><em><em>Source proloco Fano <!-- p--></em></em></em></strong></strong></p>
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