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Captain Leale Martelli - The Odyssey in the Realms of Time
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<blockquote data-quote="TOURIST" data-source="post: 166090" data-attributes="member: 8640"><p>Hi All, just to advise that the correct surname of Giuseppe is C O STAGLIOLA and not C a stagliola - below a little newspaper clipping for a hint to study in deep about this great Little Doctor 's topic::</p><p></p><p>[ATTACH=full]6978[/ATTACH]</p><p>Livorno had, in the terrible years of the Second World War, a true and great "friend of museums and monuments". His name was Giuseppe Costagliola, he was a simple official of the Municipality of Livorno, but it was also thanks to his interventions, largely voluntary, that the artistic heritage of the city was almost entirely saved, so much so that the first post-war mayor, Furio Diaz , was able to cite the reorganization of the Civic Museum as a symbol of the rebirth of Livorno, "with the intact and superb collections of our great Fattori". The "Giovanni Fattori" Civic Museum, which until the Second World War had been located in Piazza Guerrazzi, in the area of the city center of Livorno most drastically affected by war events, was unfortunately destroyed during the bombings of 1944, succumbing to TNT and phosphorus . But Costagliola, obscure but heroic custodian of the Civic Museum, worked amid a thousand risks to secure a large part of the works and verified over the years, even under the constant danger of sudden bombings, the state of conservation of what remained in the halls of Guerrazzi Square. This person, and those dramatic periods, are remembered in an article written about ten years after the war by Piero Sampaolesi, then director of the Monuments and Galleries Superintendency for the provinces of Pisa, Livorno, Lucca and Massa-Carrara. Sampaolesi between 1943 and 1944 took care of protecting the heritage of the Tuscan provinces that had been entrusted to him, and among these Livorno. In 1940 on the initiative of the director of the Fine Arts office of the Municipality of Livorno Costanzo Mostardi and with the decisive help of the museum custodian, Costagliola, in fact, twelve crates had left for the municipal school of the Valle Benedetta, containing all of Fattori's paintings, etchings and drawings. Together with them, the three paintings by Silvestro Lega, the watercolor by Telemaco Signorini, a painting by Terreni, two portraits by Angiolo Tommasi, some works of ancient art and sixteen canvases by Enrico Pollastrini were also transferred. Presumably Fattori's largest canvases, Cecconi's Cenciaiole from Livorno and Bicci's Crucifixion of Neri were taken to the Valle Benedetta refuge without crates, because they were too large. On 23 June 1940 the transport of the most important materials from the archaeological collection of the Civic Museum was prepared, but most of the objects remained in their place. Only in '43, when events were about to precipitate a second choice of paintings and sculptures was saved. In that circumstance, unfortunately, the work "Gli esuli di Siena" by Enrico Pollastrini remained in his place and ended up destroyed in the bombings. Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day In that circumstance unfortunately the opera "Gli esuli di Siena" by Enrico Pollastrini remained in its place and ended up destroyed in the bombings. Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day In that circumstance unfortunately the opera "Gli esuli di Siena" by Enrico Pollastrini remained in its place and ended up destroyed in the bombings. Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day in fact, he continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovery of the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building where the works were located. On November 18, 1943, in one day in fact, he continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovery of the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building where the works were located. On November 18, 1943, in one day</p><p></p><p>Wet with rain, Sampaolesi and Costagliola, with a flight of firecrackers and hand bowls, managed to load some “small but delicious” Macchiaioli tablets and bring them to safety in the Calci Charterhouse. The most important paintings by Fattori were hospitalized in Poggio a Caiano with a long and tortuous journey, in a successful attempt, as a reporter from the Gazzetta would later recall, to make all traces of the precious cargoes lost as guarantees against looting or against the thefts. The other works that were in Valle Benedetta in those same days were taken over by the Superintendence and put away in Poggio a Caiano, where the bronzes of the Quattro Mori, the most famous monument in Livorno, were already except thanks to the decisive work of Costagliola. Even in October of 1944, when Livorno had been liberated, the public education office turned to Costagliola to save the few surviving works that had remained inside the bombed-out museum from bad weather and theft. And in 1947, again after Costagliela's usual and prodigal intervention in Calci, the Livorno works of art finally returned to Livorno, first located in the building called "Le Quattro Stagioni" in Corso Amedeo, then in Villa Fabbricotti, being the historic headquarters of the Civic Museum no longer usable. The great regret of this person who can be defined as the great "friend of Livorno's museums and monuments" was that of not having saved Pollastrini's "Siena Exiles". Superintendent Sampaolesi, in the article quoted at the beginning of this speech, recalls that "on January 27, 1944, a winter day,</p><p>"We left it there - writes the Superintendent - victim of an event in some way comparable to what the painter had represented there". In fact, the last terrible bombardment would soon have wounded the city even more deeply, devastating the museum building among others.</p><p></p><p><em>(Taken from Irene Amadei's study "The Livorno Civic Museum from the Second World War to the end of the Fifties")</em></p><p></p><p></p><p></p><p></p><p>TOURIST</p></blockquote><p></p>
[QUOTE="TOURIST, post: 166090, member: 8640"] Hi All, just to advise that the correct surname of Giuseppe is C O STAGLIOLA and not C a stagliola - below a little newspaper clipping for a hint to study in deep about this great Little Doctor 's topic:: [ATTACH type="full" alt="upload_2017-12-30_23-21-49.png"]6978[/ATTACH] Livorno had, in the terrible years of the Second World War, a true and great "friend of museums and monuments". His name was Giuseppe Costagliola, he was a simple official of the Municipality of Livorno, but it was also thanks to his interventions, largely voluntary, that the artistic heritage of the city was almost entirely saved, so much so that the first post-war mayor, Furio Diaz , was able to cite the reorganization of the Civic Museum as a symbol of the rebirth of Livorno, "with the intact and superb collections of our great Fattori". The "Giovanni Fattori" Civic Museum, which until the Second World War had been located in Piazza Guerrazzi, in the area of the city center of Livorno most drastically affected by war events, was unfortunately destroyed during the bombings of 1944, succumbing to TNT and phosphorus . But Costagliola, obscure but heroic custodian of the Civic Museum, worked amid a thousand risks to secure a large part of the works and verified over the years, even under the constant danger of sudden bombings, the state of conservation of what remained in the halls of Guerrazzi Square. This person, and those dramatic periods, are remembered in an article written about ten years after the war by Piero Sampaolesi, then director of the Monuments and Galleries Superintendency for the provinces of Pisa, Livorno, Lucca and Massa-Carrara. Sampaolesi between 1943 and 1944 took care of protecting the heritage of the Tuscan provinces that had been entrusted to him, and among these Livorno. In 1940 on the initiative of the director of the Fine Arts office of the Municipality of Livorno Costanzo Mostardi and with the decisive help of the museum custodian, Costagliola, in fact, twelve crates had left for the municipal school of the Valle Benedetta, containing all of Fattori's paintings, etchings and drawings. Together with them, the three paintings by Silvestro Lega, the watercolor by Telemaco Signorini, a painting by Terreni, two portraits by Angiolo Tommasi, some works of ancient art and sixteen canvases by Enrico Pollastrini were also transferred. Presumably Fattori's largest canvases, Cecconi's Cenciaiole from Livorno and Bicci's Crucifixion of Neri were taken to the Valle Benedetta refuge without crates, because they were too large. On 23 June 1940 the transport of the most important materials from the archaeological collection of the Civic Museum was prepared, but most of the objects remained in their place. Only in '43, when events were about to precipitate a second choice of paintings and sculptures was saved. In that circumstance, unfortunately, the work "Gli esuli di Siena" by Enrico Pollastrini remained in his place and ended up destroyed in the bombings. Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day In that circumstance unfortunately the opera "Gli esuli di Siena" by Enrico Pollastrini remained in its place and ended up destroyed in the bombings. Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day In that circumstance unfortunately the opera "Gli esuli di Siena" by Enrico Pollastrini remained in its place and ended up destroyed in the bombings. Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day Paintings and sculptures from the Civic Museum, hospitalized in the elementary school of Valle Benedetta, were left in the care and supervision of a teacher, Maestra Guidi, and under the voluntary supervision of Costagliola. Costagliola, who had been exempt from service in 1941, in fact continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovering the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building in which the works were located. On November 18, 1943, in one day in fact, he continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovery of the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building where the works were located. On November 18, 1943, in one day in fact, he continued to take care of the works on a voluntary basis, and was also the protagonist of the daring episode of recovery of the material hospitalized in the Benedetta valley, endangered by the presence of a German military unit in the building where the works were located. On November 18, 1943, in one day Wet with rain, Sampaolesi and Costagliola, with a flight of firecrackers and hand bowls, managed to load some “small but delicious” Macchiaioli tablets and bring them to safety in the Calci Charterhouse. The most important paintings by Fattori were hospitalized in Poggio a Caiano with a long and tortuous journey, in a successful attempt, as a reporter from the Gazzetta would later recall, to make all traces of the precious cargoes lost as guarantees against looting or against the thefts. The other works that were in Valle Benedetta in those same days were taken over by the Superintendence and put away in Poggio a Caiano, where the bronzes of the Quattro Mori, the most famous monument in Livorno, were already except thanks to the decisive work of Costagliola. Even in October of 1944, when Livorno had been liberated, the public education office turned to Costagliola to save the few surviving works that had remained inside the bombed-out museum from bad weather and theft. And in 1947, again after Costagliela's usual and prodigal intervention in Calci, the Livorno works of art finally returned to Livorno, first located in the building called "Le Quattro Stagioni" in Corso Amedeo, then in Villa Fabbricotti, being the historic headquarters of the Civic Museum no longer usable. The great regret of this person who can be defined as the great "friend of Livorno's museums and monuments" was that of not having saved Pollastrini's "Siena Exiles". Superintendent Sampaolesi, in the article quoted at the beginning of this speech, recalls that "on January 27, 1944, a winter day, "We left it there - writes the Superintendent - victim of an event in some way comparable to what the painter had represented there". In fact, the last terrible bombardment would soon have wounded the city even more deeply, devastating the museum building among others. [I](Taken from Irene Amadei's study "The Livorno Civic Museum from the Second World War to the end of the Fifties")[/I] TOURIST [/QUOTE]
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