Cemetery Serrone, Biagi and Cagnore
The first post-unification legislation on health and sanitation (laws of 1865 and 1888) gave much attention to protect public health through the regulation of the burial of bodies; in order to mitigate the terrible consequences of cholera, the law of March 20, 1865 attributed to the municipal authority of interment within the exclusive competence of the cemeteries, "civil and religious institutions" to be realized at the expense of the town itself, in compliance specific regulations on police mortuary. The municipality of San Severino Marche characterized by vast proceeded to the construction of thirteen fences for burial spread across the various segments; technical instructions contained in the ministerial regulations caused its architectural style. In a period between 1877 and the last decade of the nineteenth century, through the expropriation of land and preparation of projects, they were built in isolated places and dry, the walls, two to three meters high, to contain the rectangular area of the cemetery divided symmetrically from the axis of a path, which from the entrance gate proceeded straight to the door of the church, the latter in some cases existing in other consists of simple sacred shrine built inside the wall of the bottom , acting as a morgue.
Church of Saint Albertino
Coord. WGS84 N 43° 08' 52,86" E 12° 56' 50,50"
Altitude: 523 mt
Church of Saint Albertino
The church of Saint Albertino is on a small hill above Sefro, not far from the Eremita valley, where there was once a Benedictine hermitage. It was built in the 18th century. Saint Albertino da Montone was an abbey of Fonte Avellana and his remains are still venerated today in the hermitage of the upper valley of the river Cesano. Although he was known as a holy man, the church hesitated to canonise him because the person responsible for canonising noticed that Albertino did not inspire any great devotion in the people as he was not known to have performed miracles.
Cesare Bazzani Rome 1873 - 1939 Academic of Italy, is one of the greatest and most prolific Italian architects of public architecture of the early twentieth century.
After designing the headquarters of the Aniene Rowing Club of Rome in 1897, he devoted himself to the restoration of medieval buildings in Rome. The Royal Grand Prix won in Milan in 1906, accelerates his prestigious career studded with prestigious public commissions including, in 1936, as Chairman of the Central Building and Urban Look at the Ministry of Italian Africa.
Among his works, marked by bombast and grandeur, style essentially eclectic and often dotted with Masonic symbols, stand out the National Central Library of Florence (1911), the Gallery of Modern Art in Rome (1911), the facade of the basilica of Santa Maria degli Angeli in Assisi (1924-1930), the headquarters of the Ministry of Education (1928), the arrangement of the Tiber Island in Rome (1930-1935), the Maritime Station in Naples (1936), the Cathedral of Addis Ababa (1938) and Pescara (1939). A Bazzani should it be, a large part of today's urban layout of Terni.
St. Philip Churches
Among the elements in common between Matelica and Treia can definitely be counted churches dedicated to St. Philip which are architectural masterpieces of the eighteenth century Marche.
If the Church of St. Philip in Treia is one of the most prestigious in the group of Filipinos, show decorations and spatial solutions, result of a first restoration a few years after construction, retain wooden crucifixes of great artistic value (that of Matelica is also believed to be miraculous) , preserve relics of saints proto-martyrs: Matelica the bones San Cesario, Treia the bodies of the saints Castoria, Venusta, Aurelio and Valentin.On the latter, some scholars have recently suggested that it may be that the bishop patron saint of lovers. Common to both architectures also the laterzio facade and the large amount of internal chapels: four in Treia, in the niches where the eight corners dotted with statues of the Evangelists and Doctors of the Church works in value of Gioacchino Varlè, you're in Matelica between which stand out that the Pious Union of Lanari and Merchants in woolen clothes and that of the pious union of shoemakers and leather workers.
Giuseppe Valadier (Rome 1762-1839) Architect, goldsmith and silversmith amongst the most important of the neoclassical period is the author of numerous Roman works including the arrangement of Piazza del Popolo, the contribution to the scientific definition of the modern restoration experimented in the 'Arch of Titus (with its synthetic insulation and reintegration of the missing parts), the solution of consolidation of truncated end of the outer ring of the Colosseum.He was also interested in the restoration of the Milvian Bridge which added the turret. First-class municipal architect during the French Government, he left in Rome significant signs of a modern urban culture: cured the floor of the promenade of the Imperial Forums and the unique Coffee House (better known as Casina Valadier) to the Pincio where he built one of the most significant urban landscape accommodation of the time (1809-14). In the Marche region, in addition to the façade of the Academy Georgica of Treia and the house Ugolini in Macerata, Urbino's Cathedral and Collegiate Church of Monte San Pietrangeli.
Luigi Vanvitelli Napoli 1700 – Caserta 1773 Painter and architect.
He is the author, among other things, of the Reggia di Caserta. The original surname of Netherlands origin who betrays his family origin (van Wittel) was Italianate in Vanvitelli from his father who played painting activity in Rome became the initiator of landscape painting. Initially follows in the footsteps of his father and later became one of the most important Italian architects of the period between Baroque and Neoclassicism.
Notable early work is the Lazaretto of Ancona, built on a large artificial island of pentagonal shape, made by the same Vanvitelli within the port.
Marcamontana is a territory on which it is still evident of the medieval urban footprint. Imposing forts,cobbled streets of the old towns that are almost cut a theory of alleys between the houses, Palazzo or Castello overlooking the main square, a course in which passing the time is emphasized by the different styles of facades. In the immediate vicinity, fractions were born from the villas of Roman origin that were a sort of fortified farms. Even in urban planning, Marcamontana shows a gem: in Treia there is one fronton for the game of football with the bracelet, the classic game of Italians from the sixteenth century. Not entirely sacrificed to the needs of urban, Arena Didimi every first Sunday of August is the theater of the Challenge of the Bracelet, a reenactment involving, in addition to people in costume, more than 80 players representing the districts of the city.
It is a complex of original fortification completed in 1382 by Giovanni da Varano. Spread over a large bow for about 12 km from Beregna in Pioraco to the Potenza. It consisted of a trench in timber accompanied by berms, tunnels and defensive ditches. Connected to view from the towers, but also from other medieval fortresses which then evolve into fine castles of residence. Like Aiello and Lanciano, the lntagliata constitutes a "unicum" typological, not only in the Marche region but in the whole central Italy.
In the Middle Ages the defense of the territory was concentrated in the strengthening of the major centers. Often the doors of the walls were defended by towers, as in Treia. The towers isolated (control rather than defense of strategic locations), many are made of stone or brick: quadrangular (Crispiero, Pitino, Aliforni), or polygonal (Gagliole and Treia). A rare example of a cylindrical tower is Valfibbia of Fiuminata. Sometimes the towers were upgraded with original wrap-around facilities for the artillery bastion, as in the Cassero of Castelraimondo and Carpignano of San Severino, only with sling-based polygonal blunt. Those towns have functions instead of the civic tower or garrison city of powerful families like the Smeducci in San Severino. Often the towers were placed in a territorial defense system boundaries, as in Intagliata.
". . . Turning his back to the Municipality in front of you had something more closer to a vision of a building. Contained lightly at the sides, in front of the square flew into the sky. . .. "So Dolores Prato describes the impressive (and unique) square in Treia, very good starting point for a tour of the jewel-squares of marcamontana; Elliptical, majestic (224x55 m), mostly arcaded square the People, in San Secerino Marche is a triumph of architectural unity with the theory of the extraordinary buildings that surround it.
square Mattei, in Matelica, it also offers an unusual opportunity to the visitor. According to tradition, performing around the Fountain Octagonal 7 running laps, it acquires the nice "Licence Mattu " (that is like a "Madman licence"): who engages in the enterprise, still gives the Pro Loco.
In Marcamontana churches are containers of art that are worth a visit, museum of art history which spread between the walls of medieval abbeys, shrines Renaissance and neoclassical temples springing up frescoes, portraits and sacred furnishings that testify the passage of artists of the brush and of the carving of international renown. The hand of Diotallevi Angeluccio has left its mark in the sanctuary the Madonna of Valcora, in the monastery of Fonte Bono, in Santa Maria Delle Macchie in Gagliole, the city where Andrea De Magistris has signed where the fresco, close to traditional religious subjects, there are two shepherds in San Domenico di San Severino. True artistic triumphs are the the churches of San Severinowhere works in wood or canvas are second only to the priceless frescoes by the Salimbeni. In Castelraimondo the interior of Santa Maria Assunta features a Giovanni Boccati. In Pioraco the Madonna della Grotta a crucifixion by Girolamo di Giovanni and San Francesco a rarity: the altar of papermakers. Rare works, perhaps miraculous, are common in this area. This is the case of the statue the Madonna of Loreto in Santa Chiara in Treia, Crocilisso traumaturgo of San Giovanni Decollato in Matelca, dell'effìge of the Madonna delle Lacrime in Pioraco.
Marcamontana is still evident in the medieval urban footprint. Impressive fortresses, paved streets old towns's that are almost cut among the houses, palace or castle overlooking the main square, a course in which the passage of time is emphasized by the different styles of the facades of the buildings.
In the case of San Severino Marche, the course is replaced by an extraordinary elliptical square on which stands a theory of continuous buildings that are architectural masterpieces which must be added the sixteenth century Palazzo Ottoni in Matelica and the Academy of Georgica in Treia, a work of Valadier.
The villa was originally a Roman country house built for the upper classes. According to Plinio il Vecchio, there were two types of villas: the urban villa, easily reached for a night or two, and the villa rustica, farm lived by the servants (who took care of the farm work and maintenance) only seasonally residence of the owners. After the Roman era, the term was referring to a farm, usually fortified, self-sufficient as a village. Leon Battista Alberti was responsible for the rediscovery of the suburban villa: a fashion which in later centuries will create real masterpieces of taste and architecture erected with various purposes. It connotes a name Villa Speranza Sala (which takes its name from the saline springs that flowed to Passo di Treia in the river Potenza until 1860 that gave birth to a salt factory) and in time it became the residence of leisure the castle of Lanciano. It is at Villa Collio, commissioned by Servanzi Confidati that we finally find one of the most interesting examples of the villa as well as the mean from the mid nineteenth century onwards.
The historic theaters of Marcamontana well as excellent billboards, are linked by architecture, history and legend. There are two famous architects: Giuseppe Piermarini, which we owe the Teatro alla Scala in Milan, the signed project of Matelica; Aleandri Irenaeus, author of the Sferisterio in Macerata, is also the author of the theater of Feronia. In Matelica the restoration has brought to light a hut of fifth century BC and spa facilities of the Imperial age. The curtain of the theater Feronia, designed by Filippo Biagioli, represents the sacred temple to the goddess which it is entitled and that he had in Septempeda a temple where a slaves- liberation rite was celebrated. And it is just a curtain, that of the Teatro Comunale of Treia, jewel of acoustics and architecture, to tell an important moment in the history of Marcamontana: the defeat of the Swabians in Porto Vallesacco.
Engages harmoniously into the marble balustrade, designed by Andrea Vici-limiting one of the most beautiful squares of Italy the temple erected in honor of Pope Pius VI, who, in 1790, bestowed on Treia the title of City. If among other monuments of Marcamontana that of greater resonance is the bronze bust of Bartolomeo Eustachi (anatomist and physician from San Severino from which it takes its name the tube that connects the middle ear cavity and pharynx); the monumental tomb where rests in his Matelica Enrico Mattei, is a true repository of works by the greatest sculptors of the twentieth century.