Travel guide

of other Sardinia churches will eventually derive, amongst which the parish
of “Nostra Signora delle Grazie” at Sanluri, erected between 1781 and
1786 on a plan by Carlo Maino and Antonio Ignazio Carta. The late-
Baroque style expresses itself especially in the compound (church and
monastery) of Carmine of Oristano, designed in 1776 by the Piedmontese
Giuseppe Viana. Alignment with the trends of the Italian artistic schools
increases in the XIX century with the works of some architects native to
the Island but educated in Turin, aware of the neoclassical forms that were
spreading throughout Europe. Thus, Giuseppe Cominotti designs the dome
of San Luigi Gonzaga in the cathedral of Oristano (1829–37), in which
other neoclassical sculptures by the Sassarese Andrea Galassi will find place
(1793–1845). Antonio Cano supervises the restoration of the Franciscan
church of Santa Maria of Betlem in Sassari (1829–34) as well as the
construction of the cathedral of Santa Maria della Neve in Nuoro
(1835–40). The XIX century leader in Sardinia is the Cagliaritan architect
Gaetano Cima, to whom are attributable the church of Santa Maria
Assunta at Guasila (1839–52) and the hospital of San Giovanni di Dio in
Cagliari (1844–48), which place him alongside the Functionalist current of
the international field. In the mid-XIX century, the most representative
“L’ombra del mare”
by Mauro Manca,
1957 (Courtesy Man)
painter is Giovanni Marghinotti (1798–1865) who, in 1830, paints the
large canvas of Carlo Felice munifico protettore delle Belle Arti in
Sardegna, currently housed in the Palazzo Civico of Cagliari, and later
paints the Royal Palace in Turin. The last quarter of the century is marked
both by the artistic efforts aimed at the construction of a Sabaudian Italy,
also culturally united, and by the enhancement of the historical heritage of
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