Saturday, January 22, 2011 at 19.00 at the Episcopal Seminary of Conversano - Library diocesan Way of the Vincentians, the second will be presented Conversano
The last work of the 'Architect of
Leonardo Petrosino Noicattaro
ART marble workers.
THE
eighteenth-century Chapel of Our Lady of
SOURCE IN THE CATHEDRAL OF CONVERSANO
PREMISE of
M. Pasculli Ferrara
The art of marble in southern Italy
With pleasure I present the book Leonardo Petro-up that fits the trend of studies on the marble in southern Italy, with particular reference to
eighteenth-century Chapel of Our Lady of the Fountain at the Cathedral of Conversano. Typical example of an operational reality in the context of a famous cathedral that is an important buyer of art works Brotherhood architect Joseph Gimma, known thanks to a newly qualified historical bibliography and criticism. (...)
object of study of this volume is the Chapel of Santa Maria Source of the Cathedral of Conversano, that precious documents found in the archives of Leonardo Petrosino return to our memory, after a devastating fire in 1911 has erased the traces.
main protagonist of this research is the altar, the center has always been sacred to any decor, but the subject of total decontextualization unfortunately in recent times. And so it was also in the Cathedral of Conversano. A careful study of
Petrosino is well suited to those who are the Chair of our research. E 'thirty years of research carried out by me since he put the attention on the precious marble altars (inlaid with precious stones or carved sinuous) dismantled after the liturgical reform of the '60s, to a false interpretation (...) of mandatory changes to the new rite also throughout the presbytery.
the attention of scholars on this subject, starting from the volume Art in Naples Puglia from the sixteenth to the eighteenth century (1983), she also has seen aligned with the cultural interests of the "Research Center of religious history in Puglia" (.. ..)
And in the series of studies of the "Research Center of Religious History in Puglia" I chair, is placed on good law from the impressive volume of Leonardo Petrosino (...) which offers a gradual transition from the analytical discovery of documentary data (showing The Committee of the altar of Madonna della Fonte 1776 both the designer Joseph Gimma and manufacturers, the Neapolitan Antonio di Tommaso marble-and Martina Angiolo Michele plasterer) to the attention of the Cathedral of Conversano places today, compared with those where originally stood above the altar Our Lady of the Fountain (apse through the left side wall of the transept to the left just the second project and the existing drawing of Joseph Gimma), the "rediscovery" of watercolor drawings (found in the diocesan Conversano performed in 800 and already published by Rescio) with the possible hypotheses that one of them (the one to "eighteenth-century types) may correspond the eighteenth-century drawing depicting the altar of Our Lady of the Fountain, now no longer exists, but by the marble-Neapolitan, of Thomas.
The news is that though Thomas works with the workshop in Bari and then the altar is not imported from Naples, as was the centuries-old practice throughout the first half of the '600 and '700. (...) In the face of the episodes of temporary stay of Neapolitan artists in Puglia, is to report the phenomenon of the late eighteenth century some artists from Naples who settled in the city where they were called to work, moving and forming a local shop: Nicola Polignano Lamberti, Andrea Trani staircase, Vincent Pannone, where it forms a Bitonto workshop established, the whole street to be named said exactly the way "of the marble-cutter."
In these cases the second half of the eighteenth century, (...) we can add hours of this marble-Neapolitan Antonio Thomas, who works with his own workshop in Bari as a "marble-mason of Naples, family and commorante for many years in Bari" . In Bari, "said altar where will troubled," including the condition of the circumstance, that if "these were not so perfectly that you require, you can from these gentlemen prosecutor and officials of the chapel to be in Naples at the expense of that interest and Master Antonio. "
interesting at this point is to stress the idea Home Leonardo Petrosino to accompany the entire volume of a series of boxes relating to the type Baroque marble altar, in detail (...). Box
These have the background of variegated marble used to decorate various altars, marble always reported on time in the contracts that were signed between the developer and the architect-sculptor and marble worker. (...)
conclude, then, with such splendid altar of sanmartiniana type, that is inspired by the exquisite models of the great Neapolitan sculptor Giuseppe Sanmartino, which left several examples in Puglia in the second half of the 700, all imported from Naples. (...)
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