George Grote e John Stuart Mill interpreti dell’Epitafio di Pericle (original) (raw)
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Considerable building activity was registered in the province of Bari around the mid-eighteenth century. In the religious sphere, this led to the substitution or modernization, according to the dictates of the elegant and “modem" Neapolitan architectural style, of old and dilapidated buildings, either aesthetically obsolete falla gotica V or no longer able to fulfill the needs of a growing population. Well-known Neapolitan architects (such as Domenico Antonio Vaccaio, Giovati Battista Nauclerio, Giuseppe Astarila, Ferdinando Sanfelice etc.) superintended or directly participated in this general building renewal (sometimes even competing between each other). But no less important is the contribution made to it by local masters, sometimes working in partnership and undoubtedly receptive to the appeal of contemporary Neapolitan architectural culture. Two exponents of this numerous group of local master-builders/engineers are the “architects” Michele and Giuseppe Colangiulo (father and son) from Acquaviva, in the province of Bari. The present study tries to define the cultural environment in which the two architects worked and assess their real stature, it does so through a critical discussion of the attributions hitherto accredited (but for the most part unreliable) and an examination of archival documents, some of them unpublished, leaving out of account other important aspects of his professional activity, the a uthor concludes that the documented experience of Michele Colangiulo in the design and construction of buildings can so far be restricted to two important churches in the historic town centre of Monopoli, in the province of Bari. One is the imposing cathedral (built in partnership with Pietiv Magarelli, another well known master-builder Engineer of the province of Bari). The other is the chinch of San Francesco d’Assisi. Almost contemporary with each other in their design ami in the initiation of the work (1741-1742), the two churches are undeniably indebted to the style oj Neapolitan baroque architecture, but combined with the probable persistence of the Roman baroque and even reminiscences of the classical Renaissance style. As for Michele’s son, Giuseppe Colangiulo, the author concludes that only a single (and hitherto unpublished) work may testify with certainty to his architectural activity and to his aesthetic and architectural ideas, since it has not been possible to specify the mie he played in the realization of the church of San Francesco in Monopoli (though he certainly contributed to its construction), nor confine other professional interventions attributed to him. The work in question is the enlargement of the little church of the monastery of the Cappuccinelle in Acquaviva, which lie planned and directed in 1755. In its spatial articulation and its use of stucco decoration, the building represents a minor but nor negligible example of late-baroque architecture in the province of Bari.
2021
An important festival for the wedding of Prince Michele Peretti and Princess Anna Maria Cesi was held in Rome in 1614. From many aspects this was an extraordinary festival, with lots of dancing, but surely not only. So far not much attention has been given to this important event. The bridegroom was a brother of Cardinal Montalto (and thus a descendant of Pope Sisto V) vice-chancellor and a very influential member of the “Ac-cademia degli Umoristi”. The bride was a cousin of Prince Federico Cesi, who was the founder and leading person of the “Accademia dei Lincei”. It was unavoidable that during this festi-val the life and the subsequent tensions in both Academies came to light, which created heated discussions among those present. This led, of course, to further discussions and strain. Consid-ering the period this was doubtless very courageous since these two Academies had the intention to use this festival for defending Galilei and the Nuova Scienza. Among the numerous per-sons wh...