Members of the San Cataldo Society Women’s Group of Pittston recently held a bake sale Running the basket raffle were Debbie DelRegno and Jeanie Bantell (ANS – San Cataldo) – The centenary celebrations of the Salesian presence in the Sicilian town of San Cataldo continue with great enthusiasm Massimo Naro discussing "The Relevance of Don Bosco’s Social Message," a second "moment of reflection" was offered to the entire community and the people of the Diocese on Monday at the hall of the Mother Church of San Cataldo The theme of this gathering was "The Oratory of San Cataldo – Between Memory and Prophecy." The event featured two distinguished speakers: titled "A Century of Salesian Presence in the Diocese of Caltanissetta Through the Lens of the Press Past and Present," retraced the history of the Salesian presence in San Cataldo from the late 1800s when Bishop Giovanni Battista Guttadauro personally requested Don Bosco to send Salesians to his diocese to the ongoing support of the current bishop who has always been close to the Salesians of San Cataldo invited attendees to imagine what San Cataldo would be like today without the Church and the Salesian oratory "Ecclesiality and Salesian Identity in Central Sicily: The Oratory of San Cataldo – Past and Future," was structured into three phases: He concluded with a hopeful message: "From memory to dream and from dream to tangible and meaningful signs." Bishop Mario Russotto provided the closing remarks for the event emphasizing: "One cannot imagine San Cataldo without the Salesians; we do not even dare to imagine San Cataldo without them," reaffirming once again that "San Cataldo is Salesian!" Reflecting on the historical arrival of Don Bosco's followers and the many hidden saints who lived in the town "The union between the deeply rooted spirituality and faith of San Cataldo and Don Bosco’s charism was truly a nuptial embrace." The evening was further enriched by the expert moderation of Dr Marisa Falzone and the musical interludes performed by the female vocal ensemble "Resonantiæ Camera Chorus." A large and engaged audience attended the event Vice Provincial of the Salesians of Sicily As Bishop Russotto aptly stated: "The story continues But one thing is certain: without Don Bosco’s charism and the Salesians in San Cataldo this story cannot continue as a prophecy … and we want the prophecy!" ANS - “Agenzia iNfo Salesiana” is a on-line almost daily publication the communication agency of the Salesian Congregation enrolled in the Press Register of the Tibunal of Rome as n 153/2007 This site also uses third-party cookies to improve user experience and for statistical purposes By scrolling through this page or by clicking on any of its elements 2025 marks an important date for the city of Bari and the Puglia region with the reopening of the San Cataldo Lighthouse after a thorough process of recovery and enhancement welcoming inside the Lighthouse and Radio Museum which will celebrate the history and fundamental role that lighthouses have played in guiding ships in the Adriatic Sea This intervention was made possible thanks to the CoHeN-Coastal Heritage Network project an initiative funded by the Interreg Greece-Italy Program 2014/2020 which involved the Apulia Region in the rehabilitation and refunctionalization of three lighthouses and three towers destined to become focal points of a new coastal tourist itinerary linking the Adriatic and Ionian shores.The reopening of the San Cataldo Lighthouse will not only be a symbolic act of recovery but also an opportunity for reflection and creativity the lighthouse will host the site-specific installation Bagnanti al faro ( Bathers at the Lighthouse ) by Francesco Lauretta (Ispica created specifically for the site and premiered in conjunction with the museum’s opening The environmental pictorial work is part of the project Lighthouses and Towers of Secret Fire promoted by the Fondazione Pino Pascali and the Department of Tourism Cultural Economy and Territorial Enhancement of the Region of Puglia a new perspective on some of Puglia’s most striking and significant places The art project Lighthouses and Towers of Secret Fire curated by Christian Caliandro and Nicola Zito interpreted the lighthouses and towers of Puglia as places of memory and potential transformation Isabella Mongelli and Virginia Zanetti were involved Each of these artists created an intervention capable of dialoguing with the geographical historical and cultural context of the various sites using languages ranging from painting to sculpture The artists’ works were presented in the group exhibition Lighthouses and Towers of Secret Fire which was held from August to October 2024 at the Fondazione Pino Pascali in Polignano a Mare creating an important moment of sharing between contemporary art and historical and cultural heritage both for the quality of the artistic interventions and for the intent to preserve and enhance places rich in history through creativity The San Cataldo Lighthouse is one of the central points of this project Other places that have been the subject of artistic intervention are the Punta Palascìa Lighthouse in Otranto the Torre-Faro Carlo V of Torre San Giovanni in Ugento Torre Pietra in Margherita di Savoia and Torre Calderina in Molfetta Each of these places has received the attention of an artist who has been able to interpret their historical and symbolic importance helping to make them even more central to Puglia’s cultural landscape The reopening of the San Cataldo Lighthouse represents a moment of fusion between past and present between the tradition of lighthouses and contemporary artistic experimentation With the opening of the Lighthouse and Radio Museum and Lauretta’s installation the lighthouse becomes a symbol of a new vision of Apulian culture capable of enhancing its historical heritage through the language of art Please enable JS and disable any ad blocker (ANS – San Cataldo) – "So far I thought that the best Oratory after Valdocco was somewhere else but from this evening I can say that the best Oratory after Valdocco is the one in San Cataldo" This is how Fr Pascual Chávez Villanueva concluded the Immaculate Conception Academy held at the Salesian San Luigi Oratory at the end of three intense and beautiful days dedicated to the opening of the centenary year of Salesian presence in San Cataldo It was on 6 December 1924 when the first Salesians arrived in the town in central Sicily thus beginning a history of education and evangelisation that continues to this day The celebrations for this important anniversary began on Friday 6 December with a welcome to Fr Chávez and the Provincial of the Salesians in Sicily (ISI) Fr Giovanni D’Andrea at the Oraotry by the entire Educative and Pastoral Community in the theatre during which the salient stages of the one hundred years of Salesian presence were retraced including an address from Fr Chávez on specific topics to thank the Lord for the gift of the Salesians and the entire Salesian Family (which culminating in the unveiling of a commemorative plaque It began with a reflection at the Gaetano Saporito Auditorium – made available by the Toniolo BCC at San Cataldo – and focused on the "Relevance of Don Bosco's social message today" including various civil and religious authorities were able to appreciate the rich and profound talks given by Father Massimo Naro ordinary member of the Pontifical Theological Academy and professor at the Theological Faculty of Sicily on "The urgency of the future: the oratory response to the change of era" and Fr Chávez who focused on "Don Bosco: a social response for young people the performance of some pieces by a teacher and three students from the Vincenzo Bellini Conservatory of Music in Caltanissetta and the expert service of the ‘Euroform’ students from San Cataldo at the concluding supper enriched the event The Eucharistic Celebration in the afternoon of the same day at the city's Mother Church was solemn and well attended Concelebrating with Fr Chávez were Archpriest Fr Alessandro Giambra the Vice-Provincial of the Salesians in Sicily some Salesians from San Cataldo or who were once in San Cataldo for a few years brought a lamp to the altar and placed it before the relic of Don Bosco It will burn for the entire centenary year at the church in the Oratory He also proclaimed the "Act of entrusting the City to St John Bosco" The centenary celebrations continued on Sunday making an already significant date for the Salesian Family even richer as it was the solemnity of the Immaculate Conception and the 183rd bhirthday of the Oratory in memory of the encounter between Don Bosco and Bartholomew Garelli After the Eucharistic Celebration presided over by Fr Chávez in a packed church at the oratory people moved to the upper courtyard for a prayer to Our Lady and for the blessing of the large murals of Our Lady Help of Christians made by Nisseno artist Mirko Cavallotto a Poste Italiane Pavilion was also set up at the oratory for the special "Celebratory philatelic cancellation" created specifically for the Salesian centenary event The Immaculate Conception Academy held on the afternoon of Sunday 8 December was certainly the most beautiful way to conclude this first appointment of a year full of scheduled events already trodden by thousands of young people over a hundred long years representatives of the different Oratory groups performed bringing together all age groups in a wonderful show of songs testimonies and moments of reflection that made one savour the beauty and preciousness of so many children and young people who - as Fr Chávez pointed out in his final message - became ‘protagonists’ of such a beautiful moment when meeting with the Salesian community and the centenary commission recalled some words of Don Bosco that must help us understand what the Sanctaldese community is experiencing and celebrating ‘I've always needed everyone.’ It is not just a matter of lending a hand to be more but it is making the experience of Don Bosco's charism our own feeling that we share responsibility for his mission identifying with his cause: the good of the young." And this is exactly what has been experienced in this oratory over recent days because – as has been repeatedly recalled – the celebration of a centenary marks the opening of a second centenary of the Salesian presence in San Cataldo to be filled 'with our creative charismatic madness' as the ISI Provincial said." fulfills the first part of the previous statement Partly because the project was not entirely built and the harshness would be felt more forcefully Composed of buildings with almost abstract the cemetery project is a good example of Aldo Rossi's production at the time of its conception San Cataldo Cemetery. Photo by Luke Stearns, via Flickr. CC BY-NC-ND 2.0 licenseManfredo Tafuri defends the Rossian language within the architecture theory The author argues that Rossi's architecture is silent compared to others constructed from an arbitrary system of signs defined by its creator As the 1960s saw an infinite number of architectural expressions emerge Rossi started longing for places where time seemed suspended He also released his architecture from reality His architecture became increasingly closed and nostalgic for another era Tafuri argued that the central point of communication in architecture The silence of its shapes can only demonstrate the communication system's finiteness It is as if San Cataldo ceases to "say" anything San Cataldo Cemetery. Photo by Trevor Patt, via Flickr. CC BY-NC-SA 2.0 licenseFor those who come into contact with San Cataldo Luigi Ghirri seems to reinforce the idea of architectural type photography reinforces the model of what is represented The idea or image of the photographed object fixes itself in a certain mental category of the observer who may recognize them in different contexts sometimes between the familiar and the unknown Ghirri attributes these characteristics to Aldo Rossi's work This can only benefit all parties involved ARGAN, Giulio Carlo. On the Typology of Architecture.NESBITT, Kate. Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory 1965 - 1995 You'll now receive updates based on what you follow Personalize your stream and start following your favorite authors If you have done all of this and still can't find the email Italy - February 2025 - A rich programme of celebrations in honour of Don Bosco was held in San Cataldo to mark the centenary year of the Salesian presence in the town Enriching the celebrations was the presence of the distinguished relic of Don Bosco's tongue and larynx exposed for the first time - as Fr Pierluigi Cameroni Postulator General for the Causes of the Saints of the Salesian Family stated - to the veneration of the faithful has strengthened the city's bond with the Salesian community and with the figure of Don Bosco the Salesian Family gathered for the Don Bosco Vigil organised by the young people of the Formative Groups celebrated the Eucharist which was followed by a torchlight procession through the streets of the Don Bosco suburb the Community welcomed Fr Pierluigi Cameroni Postulator General for the Causes of Saints of the Salesian Family who in the evening offered a reflection on the theme ‘Salesian Saints: pilgrims of hope’ Fr Cameroni celebrated the Eucharist in the city's Mother Church fireworks and the band which accompanied Don Bosco's statue back to the oratory a musical on the life of Don Bosco by the young people from the Lab'Oratorio CGS Don Bosco San Cataldo Italy – March 2025 – Not everyone in San Cataldo had the opportunity to see and venerate the relic of Don Bosco which arrived in the central Sicilian town for the centenary of the Salesian presence there Don Bosco became a "pilgrim of hope," bringing comfort to those in difficult situations The gates of the San Cataldo Prison also opened to welcome Don Bosco whose message still echoes today: “If only someone had taken care of them!” Thanks to the efforts of long-time chaplain Fr the relic was warmly received by the inmates who entrusted it with their dreams and hopes the chapels and wards of the "Maddalena Raimondi" Hospital in San Cataldo and the "Sant’Elia" Hospital in Caltanissetta were filled with tear-streaked faces and hearts full of hope as people sought intercession for healing and the grace to follow God’s will This profound experience also touched doctors leaving a lasting impression on many hearts and opening them to hope Father Francesco Falletta and Father Enzo Spoto Italy – March 2025 – The Salesian Cooperators of Sicily had an amazing day filled with friendship Over 150 people from 43 different local SSCC centres came together at the San Luigi Oratory in San Cataldo The SSCC Provincial Council had organized this event A key moment at the event was a reflection led by Sr who offered deep insights into the educational and pastoral mission of Salesian Cooperators today Discussions also introduced the "Communities of Practice" initiative aimed at enhancing the effectiveness of apostolic activities and Francesca shared their experiences in the "Communicating 360°" formation program demonstrating how communication can be a powerful tool for spreading Salesian values with creativity and impact The highlight of the day was the Eucharistic celebration presided over by Fr raising funds for Salesian missions in Senegal specifically for the Don Bosco 2000 Association which is building a medical dispensary to provide healthcare services Regional Coordinator Simone Battaglia emphasized the importance of shared commitment and responsibility in continuing the Salesian mission with passion and dedication Luca Cammarata breeds goats in San Cataldo The hills in the province are barren due to an unprecedented drought The Cammarata goats are of the Girgentana breed whose existence is threatened with extinction In comments he gave to Reuters news agency in recent days Cammarata noted that water in the heart of Sicily is scarce might force him to take the goats for slaughter For centuries this animal has provided products such as cheese and ricotta Cammarata added that the price of water doubled and that he would therefore have to rely on the tanker truck of the CarabinieriForestry Department which every fortnight provides water to farms with animals in the area was quoted as saying that the situation in this regard in Caltanissetta is a disastrous one The Sydney native discussed living at home taking online classes and developing the next generation of Australian “basketballers.” As Northwestern’s women’s basketball defends its conference title who appeared in eight games in 2019-20 after recovering from knee surgery The COVID-19 pandemic has kept Sancataldo home in Australia for the season she is making the most of the opportunities presented to her Inside NU: When did you go back to Australia after the cancellation of the 2019-20 season Jess Sancataldo: I went back in the middle of March We were thinking that we were going to have a big party for the NCAA selection [show] Phillips came in and called a team meeting in the film room and said You’re all going home.” Straight after that I booked my ticket as fast as I could because flights to Australia were being canceled and then I had to self-isolate for two weeks before I could go out I didn’t actually tell my parents I was coming home which isn’t a great idea during a pandemic but I called my grandma and we schemed about it and I was sitting down on the couch at home and waited for them to walk in the door My dad looked at me and looked away and looked at me like I was a ghost INU: Did you have the chance to come back to Evanston for the season I thought there was no way I’d be able to go back because the Australian government isn’t letting people leave the country I could apply for an exemption but that would take a month-and-a-half to get approved The main thing that’s kept me here is that no one can get into Australia they’re only allowing 1000 people back into the country every month which is unfortunate because if I was able to get home from America I have friends from around the world currently stranded with nowhere to go INU: How difficult has it been not to play this season JS: I can’t tell you how much I miss playing with my team Watching the livestream and the live stats but I’m doing what I can to prepare so that when I go back I should be able to fit in right away and help them win some games INU: How have you adjusted to being away from the team and staying in shape It is hard not being able to play for a team The NCAA has a rule that I’m not allowed to play for any other teams here because it’s basketball season at the moment which is hard because I really want to play with my mates But I’m able to play 1-on-1 with my friends I have some mates who are here who would be playing college ball I definitely miss the team environment and the facilities at Northwestern INU: How have you been keeping up with your teammates and coaches throughout this season JS: I’ve been messaging the girls a lot and keeping up to date I’ve been messaging the girls who graduated last year as seniors a lot because they’ve gone in different directions I’ve also been communicating a lot with the coaches They’ve been calling and keeping me up to date I’ve loved watching the first-years getting out there and doing their thing and I just can’t wait to meet them in person I just love how the people off the bench have been stepping up into their roles and providing that spark when the starters get tired INU: Have you been able to watch your games JS: I don’t have a subscription to ESPN or BTN because sometimes it’s not available in Australia I watch the live stats on ESPN and then I wait and see the video on Hudl and it’s broken down really well I watch all the highlights on Twitter as they roll through INU: How have you adjusted to online school I’m really good at calculating it in my head but if I have an assignment due on Thursday at 5 p.m. I have to think “okay that’s Friday at 10 a.m.” Getting out of bed to do Italian at 4:30 a.m I’m grateful that I can still have an education from here It is really rewarding when I can get it done INU: Are there any advantages to being in Australia right now aside from the lack of COVID-19 cases relative to the United States and it doesn’t occur to me that people are walking in the background “What’s that feel like?” It took me a moment because that doesn’t happen in America It is really great to be with my family and have Christmas together for the first time in a few years I haven’t had an Australian summer in three years and get to be with my sister as well I love being able to do my education from home and stay in contact with everybody I’m also doing a lot of work in basketball in Australia trying to help development with younger people and try to help people get to college — some of my mates trying to make that process easier for them It’s something I want to pursue after I graduate from Northwestern I’ve done a lot of individual sessions with kids I’m breaking down a lot of film with the younger age groups of children and talking with parents to educate them about the college pathway It’s not the easiest process to get there with recruitment and exposure and once you get an offer from a university finding which one is the best fit for you and what they’re hiding There’s not a lot of money in basketball in Australia and unfortunately for the younger age groups if you get hit with one bad coach your playing career is over because you miss that development I’m trying to teach kids as much as I can before I go back INU: Have you ever envisioned yourself coaching at Northwestern JS: I’d be very fortunate to have a role at Northwestern I’m actually coaching seven days a week in Sydney I’m trying to mentor some of the younger coaches who don’t have as much experience but want to get into basketball coaching I wasn’t really sure about it before I went to Northwestern I use to do some individual coaching and run camps by myself for kids I’ve been on a mission to help develop them and it’s just inspired me to keep going INU: When did you first get in to coaching I’m regularly working with four or five kids I’m mainly working with kids who have aspirations of going further in basketball I don’t want to be someone who’s a baby sitter I want to help someone who has dreams and aspirations of playing in the future I’m lucky that I get to work with some really good high school players INU: Have you taught any of the kids you coach the Blizzard defense JS: I break down film with girls who want to play basketball in the future and they’ll ask ‘What defense is that?’ I’ll maybe try to explain the Blizzard in 25 words or less and you can see their eyes go all over the place Maybe when they’re older they’ll learn all about it Maybe that’ll be the new Australian style of defense As soon as teams cut it up we find a different way to change it INU: Is being recruited out of Australia a challenge JS: My year was the biggest recruiting class ever from Australia Each year it seems to be growing and getting bigger There were a lot of girls that didn’t know about the process they’d get to college and be great basketballers but didn’t realize you also had to study at the same time and had to take the community college route The American and Australian university systems are two very different systems and people don’t figure it out until it’s too late INU: Do you have any idea of when you can return to Evanston JS: I hope that I could return relatively soon Every week I check to see what the Australian government are doing about people coming home on flights because that’s the main thing determining when I come back I don’t think it’s going to be changing for a few more months but I remember getting emails that the rest of spring quarter would be online and the next minute the dorms are shut for the following quarter Among the regions most receptive to marble inlay seventeenth-eighteenth-century Apulia boasts a substantial number of examples Among the greatest examples of Neapolitan Baroque outside Naples is the Cappellone di San Cataldo in Taranto Cathedral 1); together with the Chapel of the Blessed Sacrament it has fortunately survived the restorations of the 1950s aimed at the elimination of all the ’additions’ of the modern period Marble cladding predominates in it from the floor to the walls an architectural module very common in Baroque Rome though mediated by some Neapolitan examples (church of San Sebastiano the Cappellone di San Cataldo does not seem to have direct comparisons with similar chapels built in modern times in Neapolitan churches It is accessed through a vestibule of quadrangular shape the Cappellone remains unique in Apulia for the marble decoration that from the cornice on which the dome is set proceeds downward; on the two half-ellipses are distributed five niches that follow a decreasing trend At the point of agreement of the two half-ellipses the most important niche was carved out to preserve the silver statue of Saint Cataldo The decision for such a construction was due to the Neapolitan Tommaso Caracciolo of the princes of Avellino a Theatine and archbishop of Taranto since 1637; he in order to restore the proper decorum to the cathedral which had been devastated by a terrible fire on Christmas night of the previous year that reduced the organ and the roof to ashes decided to repair the cathedral by showing greater attention to the chapels on either side of the presbytery area In that of the Blessed Sacrament he had stucco decorations and paintings executed as well as having a human-sized portrait of him in a prayerful kneeling attitude inserted before the new altar which features a tabernacle decorated with inlaid marble an example that immediately brings to mind the one in sculpture of Oliviero Carafa in the succorpo of the cathedral of San Gennaro executed by an anonymous sculptor in the early 16th century) Cataldo under the archbishopric of Caracciolo was built in its essential lines being still incomplete with its roof in 1663 as has been reiterated on several occasions by Mimma Pasculli Ferrara that its architect was Cosimo Fanzago (Clusone since the Cappellone appears as a “perfect synthesis of architecture sculpture and pictorial decoration and a typical expression of that religious triumphalism inspiring much artistic production of the seventeenth century.” From a stylistic analysis with another admirable example of Neapolitan Baroque built in 1665 on commission from Neapolitan nobles for which Fanzago received as much as 1885 ducats the scholar identifies in the Taranto Cappellone a stylistic detail that seems to be the signature of the sculptor from Bergamo In several panels is placed in the base and top a slightly raised lanceolate point which if in the Cappellone di San Cataldo is repeated three times in theintrados of the entrance arch from the vestibule to the room proper in the Carthusian monastery of San Martino in Naples it is a constant solution that Fanzago adopts on the entrances to the various chapels mindful of what was being accomplished in those years in Naples with the construction of the chapel of the Treasury in the cathedral begun in 1608 and completed about four decades later wanted to have a Cappellone built in the Apulian city as well that would be worthy of the city’s patron saint according to precise directives that would contribute to the constitution of a unified project the work went on for more than a century and saw the alternation of many artists as would seem to be confirmed by archival documents unearthed in recent times by Mimma Pasculli Ferrara and architect Gabriella Morciano who was already present in Naples in 1637 among the members of the Guild of marble workers was responsible for the construction of the high altar (fig as can be seen from a contract drawn up on May 10 from which we learn that he received a sum of 2,000 ducats for the altar that he was to build within two years Truly remarkable is the report of the reuse of many ancient marbles some from the church of San Domenico that abounded in different parts of the city while to carry out the work Lombardelli called five other ’masters’ to Taranto Giovanni built the chapel of Santa Maria del Popolo commissioned by Bishop Caracciolo in 1651 and decorated only in patire from 1662; he 1663 (it was destroyed in 1844 by then Bishop Blundo) in which each part is characterized by a rich decoration with phytomorphic elements from the antependium to the lateral ones up to the steps of the postegal surmounted by two columns that frame the niche within which the’ancient silver statue of St were added during the archbishopric of Francesco Pignatelli as evidenced by the presence of the coat of arms with three pine cones of information about the period from 1676 to 1695 the year in which Giovanni Lombardelli must likely have already been deceased because to direct the work in the Cappellone who would work over the next four years in accordance with the original project with the “same good and perfect mastria with all the arch and frontispiece of that.” Pasculli Ferrra taking into account a dossier related to a lawsuit between Tommaso Algisi who had a house adjoining the new construction and the deputies of the Chapel of San Cataldo Giacomo Marianna and Cataldo Antonio Cossetta in addition to the construction of the altar proceeded to cover the walls of the Cappellone with committed marble It goes without saying that in 1676 if it was decided to furnish the Cappellone with the high altar it was because it was to appear finally complete and therefore this date constitutes the terminus ante quem for the masonry covering which had to be executed after 1663 and in any case under the archbishopric of the Dominican Tommaso di Sarria who moved from the diocese of Trani on April 13 called to fill the see left vacant by the late Tommaso Caracciolo In the minutes of a pastoral visitation held in 1671 the bishop still mentions the old chapel of San Cataldo located to the left of the cathedral’s high altar and complemented by an altar dedicated to the saint; as will be examined in the 18th century it was decided to transform it into the vestibule that today gives access to the current Cappellone during the archbishopric of the Neapolitan Francesco Pignatelli entered into a contract with the deputies of the Chapel by which he undertook to continue the work in the Cappellone according to the original design and to finish it within four years the new archbishop Giovan Battista Stella arrived in Taranto who was responsible for commissioning the fresco decoration of the dome by Paolo De Matteis (Piano Vetrale who depicted the Glory of Saint Cataldo (fig 4) and Episodes from his life between the windows of the drum of the dome and the work on the covering of the vestibule or anticappella (the ancient chapel of St Cataldo) by the Neapolitan marble worker Andrea Ghetti was not interrupted but continued by Nicola and Francesco Ghetti Andrea’s brother and nephew respectively under the episcopacy of Casimiro Rossi (1733-1738) and Giovanni Rossi (1738-1750) from 1736 to 1742 proposed to the deputies of the Chapel the restitution of the ducats obtained for work that had not actually been done and in 1742 the marble mason Aniello Gentile was called in to estimate the work completed by the Ghetti for 3010 ducats against the 3550 received when he turns out to be deceased and the deputies called in the surveyors Gennaro de Martino and Gennaro Cimafonte to assess the state of the work; unfortunately the accounts of that survey have not come down to us but according to the studies of Mimma Pasculli Ferrara Gentile had to almost completely complete the floor decoration and the entire wall of the counterfacade when he was transferred to Naples; in his place came the Montecassino Benedictine Isidoro Sanchez de Luna of the dukes of Arpino who wanted to endow the Cappellone with 1,500 ducats for the creation of worship objects commissioned the Neapolitan marble mason Domenico Tucci based on the design of Giuseppe Fulchignone which would be completed by the iron gate forged by master ironworker Rocco Imperato and covered in brass by master brassworker Pasquale Terrone who collaborated with Tucci himself so that the result would be in harmony with the architecture Through archival data tracked down by Gabriella Marciano it is known that these ducats were likely used to pay for the work of Giuseppe Sanmartino (Naples who in 1772 obtained 1,600 ducats for the creation of the statues of St obtaining three hundred ducats for the first two respectively because they were larger than the others They were placed inside niches covered with mixed marble opted for the creation of corbels on which the aforementioned statues rest while as a reminder of the archiepiscopal bequest he wanted to insert the coats of arms of Bishop Sanchez de Luna on the Taranto cathedra sat since 1759 the Theatine Francesco Saverio Mastrilli After the great experience with Raimondodi Sangro which led Sanmartino to the creation in 1753 of the famous Veiled Christ consecrating him among the greatest sculptors of the 18th century the Taranto experience was another great success Giuseppe Sanmartino stipulated the contract in Naples on March 30 procurator of Bishop Mastrilli; the stipulation set the time for delivery by October 1773 and provided for the creation of two larger statues to be placed in the central niches of the Cappellone to be placed in the niches lateral to the central ones it seems that the desired arrangement was observed only in part in that on the sides of the Assisian saint were to be arranged Saints Philip Neri and Francis of Paola while on the sides of the Guzman saint were to be placed Saints Irene and Teresa (fig on the sides of Saint Francis of Assisi are placed Saint Francis of Paola and Saint Irene The sculptor also executed clay models to be submitted to the attention of Giuseppe Fulchignone and “some good painter” of whom the documents do not specify anything else; Elio Catello has identified two such sketches depicting saint Philip Neri which compared to the final version has few variations concerning the paludamento and saintFrancescod’Assisi at the Kunsthistorisches Museum in Vienna The statues were sculpted directly in Naples and Giuseppe Sanmartino was to bear the expenses of “transporting them to the navy of Naples,” while on the journey to Taranto the deputies of the Chapel of San Cataldo would provide the Saint Francis of Assisi precedes a second version attributable between 1785 and 1788 preserved at the museum of San Martino in Naples but coming from the church of Sant’Efremo Nuovo and intended to be placed on his tomb; for the execution of the Saint Dominic the Vaccarian memory of the same saint for the spire of the same name in Naples must have been still vivid in Giuseppe Sanmartino’s mind perhaps because at the same time the sculptor was finishing the statues of Saints Peter and Paul for the facade of the Gerolamini church in Naples previously rough-hewn by Cosimo Fanzago; the saint is portrayed according to the usual iconography that wants him with his gaze rapt toward heaven and the gesture of moving back his torso gives the sculpture a strong gestural quality Elio Catello seems to identify a strong collaboration by the sculptor’s pupils Theresa is posed in “contrapposto,” as she carries her right leg forward to which corresponds her left arm raised and bent to better emphasize the fineness of the elongated metacarpal of the hand brought toward her chest; her face is characterized by a very sweet expression a solution that the sculptor experiments with in two allegories in the cathedral of San Martino in Martina Franca in which the execution of the sculptural group is really high and where Sanmartino achieves extraordinary results in the foreshortened view of the figure “a work that like few others encapsulates all the poetics of the master together with a firm structure that highlights Bernini-like nostalgia.” with Giuseppe Sanmartino’s group of statues the Chapel of San Cataldo was nearly completed in all its magnificence; on May 3 Archbishop Mastrilli entered into a contract with Filippo Beliazzi in Naples through his procurator Giovanni Leonardo Mascia; the latter having already worked at the Carthusian monastery of San Martino was probably advised to the Taranto bishop by the same Sanmartino who had worked on the chapels of San Martino and the Assumption four years earlier Beliazzi undertook to execute the floor in front of the Cappellone di San Cataldo in the center of which Mastrilli’s tombstone was placed The munificent archbishop wished that the Chapel of the Blessed Sacrament could also be enriched with marbles from the floor with red Venetian marble in the background with a central polylobed motif of black and yellow white tessellations to that of the right arm of the transept also in colored marbles with a double star and semistar motif from the door on the short wall of the transept symmetrical and mirroring the one executed by Filippo Beliazzi in the arm opposite the altar with sculptors executed by Giuseppe Sanmartino and in 1790 he again approached Giuseppe Sanmartino for the creation of a St 11) to be inserted in the vestibule; the stipulation bears the date of November 25 and was ratified in Taranto the following December 2 The sculptor would have executed the statue depicting the putative father of Jesus of the same height as the one of Saint John G ualbert recently made by the same for Don Saverio Carducci Agustino and placed probably since August 1789 in another niche in the vestibule of which a drawing still remains preserved by the Carducci family “to be considered one of the highest autographs of the last production of the master” in which "a special attention to the pressing neoclassical instances at that time in Naples particularly felt by a certain patronage 700 ducats some of Giuseppe Sanmartino’s last works considering that he would die in 1793; almost two centuries after the first works initiated almost certainly by Cosimo Fanzago the Cappellone di San Cataldo was finally considered finished with the exception of still four other vacant niches which it was planned to fill with as many statues 13) attributed by Riccardo Naldi to the Renaissance sculptor Giovanni Nola Mark were sculpted by the Neapolitan Giuseppe Pagano in 1804 for 453 ducats I want to reiterate some important data concerning the figure of Giuseppe Sanmartino took his first steps in the workshop of Domenico Antonio Vaccaro who had inherited all the artistic sensibility of his father Lorenzo another point of reference for our sculptor Certainly if well known are the artistic events concerning the second half of the 18th century scarce are those relating to Sanmartino’s youthful activity considering that the earliest known information to date dates back to 1750 the year in which he executed a clay model of St.VincenzoFerreri based on a drawing by the painter Giuseppe Bonito in partnership with the marble worker Giovanni Cimafonte he made two statues for the cathedral of Monopoli (Bari) Apulia is among the regions that hold the highest number of Sanmartino sculptures from Taranto (I recall the Angels on the cathedral’s high altar where the cathedral houses the beautiful St forged in 1793 by Biagio Giordano from a design by Giuseppe Sanmartino This website is using a security service to protect itself from online attacks The action you just performed triggered the security solution There are several actions that could trigger this block including submitting a certain word or phrase You can email the site owner to let them know you were blocked Please include what you were doing when this page came up and the Cloudflare Ray ID found at the bottom of this page …(with Gianni Braghieri) for the Cemetery of San Cataldo (1971–84) in Modena Rossi’s design for the sanctuary of the cemetery a heavy cube standing on square pillars with raw square windows carved out in symmetrical layers After delays to the San Cataldo Container Terminal (SCCT) investment programme because of COVID-19 the terminal could be ready to welcome its first vessel as soon as July In May 2020, Konecranes’ engineering team arrived at the SCCT in Taranto to start crane revamping project The team’s arrival was scheduled for the end of 2019 the pandemic delayed the investment programme It is expected that the port will be ready to accept the first container vessel from CMA CGM in July 2020 The total revamping project is estimated to be complete in one year DP World is set to implement OneStop Modal and the OneStop Vehicle Booking System (VBS) The US House of Representatives has voted to overturn the Environmental Protection Agency‘s (EPA) 2023 global schedule reliability surged to 57.5 per cent Container throughput at the Port of Melbourne totalled 267,000 TEUs in March 2025 Cover image: ©Associated Press The death toll has risen to at least 70 Northwestern Adds Jess Sancataldo to 2018 Class11/16/2017 9:50:00 AM | Women's Basketball their second floating offshore wind project The location is off the coastline of southeastern Italy between Brindisi and San Cataldo the same partnership submitted their EIA for the nearby Odra Energia development to Italy’s Ministries of Environment and Energy Security (MASE) and Culture The documents cover the predicted impacts of the development and will be made published over the next few weeks on the MASE Environmental Assessment online portal for consultations Kailia Offshore involves the installation of up to 78 floating wind turbines with a projected capacity of 1,170 MW and production of about 3.4 billion kWh/year The estimated overall cost is close to Eur4 billion ($4.36 billion) by /// October 31 hushed whispers: monumental cemeteries carry with them a historical and emotional burden that barely anyone can be indifferent to that Here are three monumental cemeteries to visit in Emilia-Romagna to learn more about the history and memory of this Italian region The Certosa di Bologna is one of the oldest cemeteries in Europe; it was in fact established in 1801 as a city cemetery after the conquest of the city by the Napoleonic troops It was built in an area used in Etruscan times as a necropolis – whose finds, discovered during archaeological excavations carried out between 1869 and 1873, are kept in the Civic Archaeological Museum From 1334 to 1796 it was occupied by the Carthusian convent of San Girolamo di Casara – whose church still houses a cycle of paintings dedicated to the life of Christ made by the main Bolognese painters of the mid-seventeenth century the cemetery was then enriched with new spaces and cloisters until it took the labyrinthic aspect of a real open-air museum with precious decorations and funeral monuments The Charterhouse thus soon became a privileged destination for international nineteenth-century tourism – among the most famous visitors Lord Byron and Charles Dickens Not to be missed in particular the Third Cloister and the Seventh Cloister which houses the tomb of the Marconi family there are many other important figures of local and national history DISCOVER MORE ABOUT CERTOSA DI BOLOGNA Certosa di Bologna | Credit: Gaia Conventi Certosa di Bologna | Credit: Renata Sedmakova via ShutterStock The historic monumental cemetery of the Certosa di Ferrara is located within the city walls, in the area of the so-called Addizione Erculea (Renaissance Addition) Founded as a Carthusian monastery in 1452 at the behest of Borso d’Este the complex originally stood outside the walls: in that period the walls were located in the current Corso della Giovecca The monastery was incorporated within the Herculean Addition only in 1498 the same year in which the famous Ferrara’s architect Biagio Rossetti designed the Church of San Cristoforo alla Certosa After the monastery was closed because of the Napoleonic suppressions until it acquired its current role of city cemetery in 1813 when it was purchased by the Municipality of Ferrara from Duke Borso d’Este to the painter Giovanni Boldini The Charterhouse of Ferrara can be discovered by following 3 thematic itineraries: DISCOVER MORE ABOUT CERTOSA DI FERRARA Certosa di Ferrara | Credit: Gaia Conventi Certosa di Ferrara | Credit: Fabio Caironi Cimitero di San Cataldo - Ossario progettato da Aldo Rossi | Credit: AJ165 Cimitero di San Cataldo - Ossario progettato da Aldo Rossi | Credit: oltrelautostrada Parte nuova progettata da Aldo Rossi | Credit: Gaia Conventi Cimitero storico monumentale di San Cataldo | Credit: Gaia Conventi The San Cataldo cemetery in Modena comprises the monumental cemetery built in the years 1858-1876 by the architect Cesare Costa and the new part, the work of the famous Milano’s architect Aldo Rossi with Gianni Braghieri created between 1971 and 1987 in a rationalist-metaphysical style and only partially completed as compared with the project is considered a masterful expression of Rossi’s poetics allows access to a “surreal” city where – in the intention of Rossi himself – the private relationship with death becomes a civil relationship with the institution The link between the city of the living and the city of the dead is evident above all from the drawings that the shadows make in the spaces of the cemetery which recall the shadows of the arcades typical of the Emilian cities The cemetery is located far from the city center The external enclosure is a continuous wall 13 meters high and 5 meters wide made up of buildings; each building contains two rows of columbaria crossed in the center by a straight path about 4 meters wide Square windows follow one another on a regular basis in all buildings in pierced brick color with square windows contains the shrine of the fallen in the world wars and in the partisan struggle The historic monumental cemetery is instead formed by a large rectangular quadriportico with long corridors and Doric columns At the main entrance, there is the mausoleum-shrine of the fallen in the liberation struggle in World War II, at the center of which is installed the sculpture A battle: for the partisans made in 1971 by Arnaldo Pomodoro This part of the cemetery hosts also some famous personalities for Modena and world history DISCOVER MORE ABOUTCERTOSA DI SAN CATALDO Social Media Manager for @inEmiliaRomagna and full-time mom by /// February 28 by /// September 20 by /// April 23 an email (in Italian) with selected contents and upcoming events For information, contact us: inemiliaromagna@aptservizi.com From the Ground Up is a series on Archinect focused on discovering the early stages & signs of history's most prolific architects Starting from the beginning allows us to understand the long journey architecture takes in even the formative of hands and often surprising shifts that occur in its journey These early projects grant us a glimpse into the early ambitious and at points rough edges of soon to be architectural masters In this installment we look at Aldo Rossi and his San Cataldo Cemetery While not his first project under his own name it would become the project tied to the progression and growth of his career and one of his largest impacts on the discipline as a whole disciplinary and literary standards within our world words and images have become references for endless careers and movements and yet the project he is most known for is one that represents the end of careers and the end of traditional movements Aldo Rossi's unfinished San Cataldo Cemetery in Modena, Italy, is considered one of the first and most critical Postmodern buildings At the center of the proposal sits the object of attention for this excursion Here we find the focal point of his design a cube-shaped ossuary for housing remains and a conical tower that marks a communal grave Set within a courtyard on the outskirts of Modena the ossuary is covered in soft terracotta styled render while the perimeter buildings that enclose the courtyard feature steely blue roofs Rossi was both working towards housing projects and starting to explore the conceptual and philosophical aspirations for his architectural investigations along with those of the discipline at large Rossi designed the Cemetery of San Cataldo for a 1971 competition that called for an extension to the existing nineteenth-century Costa Cemetery This geometric twin is one that is traditionally exempted from drawings and records but is what gave the main formation and bounds to Rossi's proposal Employing conventions of perspective developed in the fifteenth century Rossi uses an aerial view to give a sense of the cemetery in both plan and elevation One enters this wall-enclosed space through a gate opposite what seems to be an abandoned house a cubic structure designed as a collective or nondenominational temple to be used for funeral you are positioned and forced through successive rectangular structures ribbed ossuaries that rise in height as they diminish in length The journey towards death itself is punctuated by a cone-shaped smokestack monumentalizing a communal grave for the unknown and referencing the industrial landscape beyond Rossi's design is rooted in an Enlightenment typology of the cemetery as a walled structure set on the outskirts of town It is built simultaneously in the mind and in the built realm It not only recalls the adjacent Costa Cemetery but "complies with the image of a cemetery that everyone has." A structure without a roof it is a deserted building intended for those who no longer need the protection of shelter-a house for the dead in which life and death exist as a continuum within the collective memory Rossi uses the power of the narrative of death the idea of its definite arrival as a tool of both architectural investigation and as a symbol of architecture's limits Through his use of aerial perspective, elemental form, and color Rossi constructs a visual passage through the drawing that corresponds to the journey through the cemetery Shadows stem from a particular light source yet reference no particular time of day Shadows lie in order to delay the passing of time and the coming of death is colored with a Northern Italian palette and draws our eye not back into space but rather up the page the drawing presents a road toward abandonment in which time seems to stand still A masterful expression of Aldo Rossi's the cemetery remains a public building with the necessary clarity and rationality of the paths with the right utilization of the terrain To think that such a project might not have happened if Rossi had not come so close to death himself in the weeks leading up to the submission is truly remarkable Rossi had instead been working towards the Centre George Pompidou competition but a serious car accident just weeks before the deadline hospitalized Rossi and thus made his bid for the project impossible to complete This coming so close to death caused Rossi to rethink his tendencies and desires of his own work and instead launched him into the force that he was to become While this may not be the first of Rossi's projects it would become a main aspect of the Rossi that we know and revere today Anthony George Morey Anthony Morey is a Los Angeles based designer, curator, educator, and lecturer of experimental methods of art, design and architectural biases. Morey concentrates in the formulation and fostering of new modes of disciplinary engagement, public dissemination, and cultural cultivation. Morey is the ... Interesting article! Rossi was very influential on my in school in the late 80's. Are you sure you want to block this user and hide all related comments throughout the site? This is your first comment on Archinect. Your comment will be visible once approved. Ossuary of the San Cataldo Cemetery, Modena, Italy Latest articlesRIBAJ Spec: Architecture for Housing and Residential Development Webinar20 May 2025SpecRIBAJ Spec: Architecture for Housing and Residential Development Webinar Chelsea Waterfront integrates public realm and affordable housing to hold out the possibility of an inclusive future Baillie Baillie Architects used contemporary techniques while drawing inspiration from local traditions Sign up to receive regular briefings, updates and our weekly newsletter – all designed to bring you the best stories from RIBAJ.com Sign up to receive regular briefings, updates and our weekly newsletter – all designed to bring you the best stories from RIBAJ.com updates and our weekly newsletter – all designed to bring you the best stories from RIBAJ.com The presentation of the monograph "The devil's gold - History of sulfur and its extraction in Sicily" will be held on Saturday 15 April at 10:00 in San Cataldo (CL) The event is organized by the Department of Biological Geological and Environmental Sciences of the University of Catania which recently joined ReMi with the aim to cooperate in the definition of a cultural itinerary of sulfur in central Sicily The work is also part of the collaboration already started with the Municipality of Caltanissetta for the establishment of the First World Park of the Mediterranean lifestyle and with the Sicily Region The ReMi coordinator will participate in the event Further information Italy - April 2023 - The Salesian Youth Movement's " Youth Feast," experienced by 500 girls and boys from all the oratories of Sicily was held in the city of San Cataldo on Sunday in the true spirit of the Salesian Youth Movement The April 16 event was aimed especially at middle school children who are approaching Don Bosco's charism for the first time The reception was managed by the large and friendly community of San Cataldo together with the animators of the Salesian Oratory of Mazzarino The day's theme was "Where there's a Courtyard #acasAnonacasO," based on the certainty that only when one is in the courtyard does one feel at home Superior of the Salesian Province of Sicily recalling the beauty of living Baptism in one's daily life not only in the Oratory but also at school in the family; and of being "credible Christians," as Blessed Rosario Livatino said wished everyone to cultivate the gift of friendship and to always continue their journey toward Jesus the Salesian Youth Movement of Sicily is already looking forward to the next event: the "Camp Savio," scheduled for next summer Italy - April 2019 - On 6 April a young Salesian who grew up and was educated in the "San Luigi" oratory of San Cataldo during the Eucharistic celebration for the first time presided over by the new priest nine aspiring Salesian Cooperators issued their promise