Being a lover of art and love of my country and all that beautiful expression, I often pause to observe, in all the smallest details, those expressions of art that make up almost the entire assets Scilla . That is to say, our churches! In a hypothetical hierarchy based on beauty, tap the top right of the church of the Holy Spirit, the second to that of San Rocco and so on. But in reality, playing fantasy, you realize that each of our seven churches have at least one work that stands for harmony and beauty to those of the other six. Rubbing unworthy of the title "architect", will draw a sacred building consists of works kept in all our churches. Starting from the apse area, you must place a high altar: what if one of the church of the Holy Spirit?! This gem of late Baroque has over ten varieties of marble. At the center, set of four columns with Corinthian capitals rose and stem in white Carrara marble, is the painting "The descent of the Holy Spirit", created by Francesco celebrate, court painter of the Bourbon, in 1799 at the age of 70 years, and then in full artistic maturity. 
After the innovations introduced by Vatican II, churches must have the Eucharistic table, and I think own and should be put that of the Mother Church. This (real treasure of inlaid marble) is composed of three panels in polychrome marble belonging to the ancient convent of the Observant, whose existence testifies to the street name Monks Garden where it was placed, as written in the right panel where, through a game of marbles, 
depicts the coat of arms of the Franciscan fathers, or two arms crossed with a cross in the background and one, the rear of yellow marble with black stripes, with the coat of arms of Mariano A superimposed on the M ( Ave Maria) in high relief. Beside the altar, the crucifix should be located and who says that we would certainly secure in the church of Porto Salvo. This is a work of eighteenth-century anatomical and hits to run perfect. The muscles are contracted and live, hands and feet almost twisted closed. 
Christ halo he has a round silver embossed and engraved with floral motifs. Of course we must provide to the chair of the celebrant. The best, including mobile ones, without a doubt has been kept in the Carmelite church. In carved and gilded wood (actually due to a pseudorestauro has been repainted with gold paint), has the emblem of the Rosary (SS RR), church-brotherhood to which he belonged. The front feet are shaped like a lion's paw (hence widely used in sacred art, because symbol of strength), and around, the following wood is carved floral and geometric motifs. 
The church should have a chapel to house the Blessed Sacrament, according to my taste, the blade should have as a central decoration of the church of San Giovanni. This is the only one that Scylla is composed using two different techniques: the pictorial and sculptural. At the center is a wooden crucifix in the round that, unlike the one in the church of Porto Salvo, striking for the expressiveness of the face and body that is completely torn, it makes the idea of \u200b\u200bthe scene that he was experiencing excruciating . On either side, there are two panels dipinti raffiguranti San Giovanni Evangelista, Maria Addolorata e Maria Maddalena. L’opera dovrebbe essere stata realizzata da due artisti diversi o dallo stesso. In questo secondo caso, però, l’artista non doveva essere altrettanto abile in entrambi gli stili. Completato l’interno, andrebbe realizzata la facciata. Come portale, metterei quello che separa l’avancorpo dalla chiesa di San Giuseppe. Quest’opera, del XVIII secolo, è in una originalissima pietra tufacea, il cui colore insolitamente bianco avvicina quasi questo materiale al marmo. Presenta due colonne 
tortili, intrecciate da fusti erbacei, con capitelli corinzi e, ai lati, due angeli che indicano l’ingresso. Infine il portone. 
Without a doubt should be placed the wooden door of the church of San Rocco! Opera in 1885, made by Rocco Scilla Foca, is perhaps the ultimate expression of the engraving in our area. Actually, rather than carved wooden gate, we should speak of carved door, so fine and precise and its execution.
I wanted to play fantasy, imagining this hypothetical church to realize, to understand that Scilla all the churches - even those from the artistic point of view, secondary and devices - contain, in reality, the real jewels of 'art. An art that is only apparently è opera dell’uomo, discendendo, invece, direttamente da Dio, “il Creatore di tutte le cose visibili ed invisibili”!
Rocco Panuccio
After the innovations introduced by Vatican II, churches must have the Eucharistic table, and I think own and should be put that of the Mother Church. This (real treasure of inlaid marble) is composed of three panels in polychrome marble belonging to the ancient convent of the Observant, whose existence testifies to the street name Monks Garden where it was placed, as written in the right panel where, through a game of marbles, 
depicts the coat of arms of the Franciscan fathers, or two arms crossed with a cross in the background and one, the rear of yellow marble with black stripes, with the coat of arms of Mariano A superimposed on the M ( Ave Maria) in high relief. Beside the altar, the crucifix should be located and who says that we would certainly secure in the church of Porto Salvo. This is a work of eighteenth-century anatomical and hits to run perfect. The muscles are contracted and live, hands and feet almost twisted closed. 
Christ halo he has a round silver embossed and engraved with floral motifs. Of course we must provide to the chair of the celebrant. The best, including mobile ones, without a doubt has been kept in the Carmelite church. In carved and gilded wood (actually due to a pseudorestauro has been repainted with gold paint), has the emblem of the Rosary (SS RR), church-brotherhood to which he belonged. The front feet are shaped like a lion's paw (hence widely used in sacred art, because symbol of strength), and around, the following wood is carved floral and geometric motifs. 
The church should have a chapel to house the Blessed Sacrament, according to my taste, the blade should have as a central decoration of the church of San Giovanni. This is the only one that Scylla is composed using two different techniques: the pictorial and sculptural. At the center is a wooden crucifix in the round that, unlike the one in the church of Porto Salvo, striking for the expressiveness of the face and body that is completely torn, it makes the idea of \u200b\u200bthe scene that he was experiencing excruciating . On either side, there are two panels dipinti raffiguranti San Giovanni Evangelista, Maria Addolorata e Maria Maddalena. L’opera dovrebbe essere stata realizzata da due artisti diversi o dallo stesso. In questo secondo caso, però, l’artista non doveva essere altrettanto abile in entrambi gli stili. Completato l’interno, andrebbe realizzata la facciata. Come portale, metterei quello che separa l’avancorpo dalla chiesa di San Giuseppe. Quest’opera, del XVIII secolo, è in una originalissima pietra tufacea, il cui colore insolitamente bianco avvicina quasi questo materiale al marmo. Presenta due colonne 
tortili, intrecciate da fusti erbacei, con capitelli corinzi e, ai lati, due angeli che indicano l’ingresso. Infine il portone. 
Without a doubt should be placed the wooden door of the church of San Rocco! Opera in 1885, made by Rocco Scilla Foca, is perhaps the ultimate expression of the engraving in our area. Actually, rather than carved wooden gate, we should speak of carved door, so fine and precise and its execution. I wanted to play fantasy, imagining this hypothetical church to realize, to understand that Scilla all the churches - even those from the artistic point of view, secondary and devices - contain, in reality, the real jewels of 'art. An art that is only apparently è opera dell’uomo, discendendo, invece, direttamente da Dio, “il Creatore di tutte le cose visibili ed invisibili”!
Rocco Panuccio
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