A beautiful example of a medieval defensive tower on the coast of southern Italy with a museum of selected ceramics
As part of the activities for the knowledge and enhancement of ancient, modern and contemporary ceramics, the National Association of Friends of Ceramics carried out research on ceramic containers for wine, in particular the Grottagliese jar.
In Grottaglie the origins of the figurative art are lost in time, but it is the wine jar, called srulu in the local dialect, that characterizes the production of the last two centuries, when the wine for daily consumption was extracted from the capason in the srulu.
The word srulu derives from the Latin urceolus, a diminutive of urceus, orcio,
first adulterated in ursulu, then by apheresis in rsulu and finally by metathesis in
srulu.
probably it is an onomatopoeic voice that indicates the sound
yes before
when the wine is sucked out of the ceramic container
SOTS
I give with enthusiasm.
Its shape is characterized by the ovoid body on a disc base and the wide neck
esti
or. the ribbon handle and the inverted nose pourer. Over time it suffers
lie
actions: in the nineteenth-century examples it is pot-bellied, while in those
SH vi tends to lengthen gradually from 20 to 40 cm. with the ability to make it from poorly cleaned local clay and cover it with different enamels from ivory white to matte yellow.
therefore from a simple, meager artifact that the figures of Grottaglie represent
from
embellished by short brushstrokes and with chromatic vivacity: ochre to iron yellow, from light blue to intense blue, from fat green to manganese brown; More or less bright colors, tastefully combined in a balanced and bright relationship with the base glaze.
Meape covered Elumi, ilos values of ceramic production. The decorative motifs constitute the iconographic repertoire of the Grotagliese craftsmanship of the 19th and 20th centuries: from the anthropomorphic elements to the twisted, phytomorphic, landscape and geometric elements, up to the double continuous thread with daisies that always defines the limit of the artistic. It is therefore authentic folk art, expressing general feelings and views of authentic folk art, inspired by sophisticated or traditional models of thought. The more convincing the Arinium, the more authentic
Tsula his language niae, the cultivated convinced". An art that every
Rono or Rework Vescio Quil Sa Fire "Core in Heni's reality
Well, dear friends, you know how to make exaggerations, but also joys, hopes and faith.
The Colimena cove was chosen as the highest lookout point by the engineer Giovanni Maria
Tommaso Scala, responsible for designing new watchtowers. A small tower already existed, but for economic reasons, it was decided to preserve it and incorporate it into the base of the new one, completed in
1570. From that moment on, Torre Colimena represented a fully-fledged defense structure, with its harquebusiers, machicolations and falconate and access regulated by retractable ladders. Its garrison was entrusted to a tower keeper with the rank of corporal, accompanied by companeros with whom he monitored the horizon to promptly warn of the arrival of the enemy with alarm signals (smoke during the day, fires at night, shots from stone cannons and the sounds of the trumpet).
Once the Turkish danger had subsided, in 1730, the tower passed into the custody of Giulio Briganti; in 1777 to that of the soldiers of the Invalid Regiment; in 1820 to the Customs Guards and then went through a period of abandonment, until it was entrusted in 1877 to a Brigade
Translated by Google •
In the know? Log-in to add a tip for other adventurers!