Art, Monuments and Urban Design
On February 2, 2006, the town received recognition as an art city. The center retains its medieval labyrinthine street grids, and was once delimited by a perimeter wall punctuated by seven gates. The medieval town suffered from the earthquake of July 30, 1627. It is rich in Baroque palaces (including those of de Petris, del Sordo, de Lucretiis, Fraccacreta, Mascia, Recca, de Ambrosio, Pozzo, and Summantico). It had a number of monasteries, including three Benedictine monasteries (now the seat of the Court), a Celestine monastery (which became the town hall in 1813) and a Franciscans monastery (now the seat of the Municipal Library and Museum).
At the center of the town is the Romanesque church of San Severino, dedicated to the patron of the city. The cathedral, dedicated to Santa Maria Assunta has undergone many reconstructions. The interior has a 12th century baptismal font and paintings by eighteenth-century painters such as D'Elia, Primavera, and Solimena). The Church of San Giovanni Battista has paintings by Nicola Menzel. The cupola of the church of Santa Maria del Carmine was frescoed by Mario Borgoni.
The Teatro Comunale, dedicated to Verdi, is the largest theater building in Capitanata, premiered in 1937. It has a large public garden with century old avenues that converge on an artificial mound called Montagnella, and a platform with bronze statues and a large round stage for concerts. A number of small monuments are dispersed throughout the flower beds, including the marble bust (1837) of Matteo Tondi by Tito Angelini.
After the earthquake of 1627 and the gradual removal of walls, the town expanded with the creation of new districts. To contain the damage caused by frequent earthquakes, most of the buildings do not exceed two floors (and often were reduced to low ground floors and whitewashed gable roofs). The expansion of the city continued into the late nineteenth and early twentieth century.
Read more about this topic: San Severo
Famous quotes containing the words monuments, urban and/or design:
“If the Revolution has the right to destroy bridges and art monuments whenever necessary, it will stop still less from laying its hand on any tendency in art which, no matter how great its achievement in form, threatens to disintegrate the revolutionary environment or to arouse the internal forces of the Revolution, that is, the proletariat, the peasantry and the intelligentsia, to a hostile opposition to one another. Our standard is, clearly, political, imperative and intolerant.”
—Leon Trotsky (1879–1940)
“A peasant becomes fond of his pig and is glad to salt away its pork. What is significant, and is so difficult for the urban stranger to understand, is that the two statements are connected by an and and not by a but.”
—John Berger (b. 1926)
“With wonderful art he grinds into paint for his picture all his moods and experiences, so that all his forces may be brought to the encounter. Apparently writing without a particular design or responsibility, setting down his soliloquies from time to time, taking advantage of all his humors, when at length the hour comes to declare himself, he puts down in plain English, without quotation marks, what he, Thomas Carlyle, is ready to defend in the face of the world.”
—Henry David Thoreau (1817–1862)