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)
“Commercial jazz, soap opera, pulp fiction, comic strips, the movies set the images, mannerisms, standards, and aims of the urban masses. In one way or another, everyone is equal before these cultural machines; like technology itself, the mass media are nearly universal in their incidence and appeal. They are a kind of common denominator, a kind of scheme for pre-scheduled, mass emotions.”
—C. Wright Mills (1916–62)
“Humility is often only the putting on of a submissiveness by which men hope to bring other people to submit to them; it is a more calculated sort of pride, which debases itself with a design of being exalted; and though this vice transform itself into a thousand several shapes, yet the disguise is never more effectual nor more capable of deceiving the world than when concealed under a form of humility.”
—François, Duc De La Rochefoucauld (1613–1680)