Travel guide

on the architectural styles, with the erection of the church of
Sant’Agostino Nuovo (1577–80), but also on the market, which breaks the
monopoly of the local workshops and refers back again to the extra-island
ones. A similar tendency is also recorded throughout the XVII century,
when several paintings of Genoese, Roman, and Neapolitan school reach
the Island; of identical origin are also the
wooden sculptures which find place within the recesses of retables of
baroque typology and which replace the late-Gothic ones previously carved
in the presbytery of churches. The interaction between the work of the
local builders and carvers with that of the ‘maestri’ coming from the Italic
mainland is especially appreciable in the Sassarese construction of the
Jesuit church of Santa Caterina (1579–1609), in the restoration of the
cathedral of Cagliari (started in 1615 with the crypt of the Martyrs and
ended in 1703 with its baroque façade), and in the construction of the
imposing ‘portico’ of the cathedral of San Nicola of Sassari, dated to 1714
and featuring an exuberant baroque decorative pattern. Located inside the
museum complex of the Cittadella dei Musei, the Pinacoteca Nazionale di
Cagliari (National Gallery of Cagliari) provides an interesting overview of
Sardinian painting and of the influence of Catalan-Valencian painting in
Paint of Giuseppe
Sciuti, Provincial
Building, Sassari
the XV and XVI centuries. The majority of paintings are from the nowdisappeared
church of San Francesco of Stampace of Cagliari, such as the
Trittico della Consolazione (Triptych of the Consolation) attributed to
Michele Cavaro. The Cagliaritan family members of the Cavaros were the
leading representatives of the ‘school of Stampace’, the link between the
local painting tradition and the Catalan and Italian artistic instances. The
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