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 SASSARI

485

SATALA

8. d.); MoRicE, History of the Catholic Church in Western Canada (2 vols., Toronto, 1910) ; alao other works. Also The School Act (Regina, 1911); Saskatchewan, Canada (Regina, s. d.); Land and Agricultitre in Alberta (Edmonton, 1911).

A. G. MoRiCE.

Sassari, Archdiocese of (Turritan.\), in Sar- dinia, Italy, situated on the River Rosello in a fertile region : a centre of the oil, fruit, wine, and tobacco in- dustries. The city has a university founded in 1634. There is a monument to the Duke of Maurienne in the cathedral; the Church of the Most Blessed Trinity contains a beautiful picture by an unknown artist of the Quattrocento. Other noteworthy buildings are the palace of the Duke of Vallombro.sa, the Aragonese castle with its high tower, the Fontana del Rossello, and a thirteenth-century wall. Sassari was unknown till about the eleventh century; it developed with the decay of the ancient Torres {Turris Lybissonis), which till then had been the principal city on the island. It was sacked by the Genoe-se in 1166. In 1294 it became a republic with the consent of the Gen- oese, who were pleased to see it thus withdrawn from the control of the Pisans. Its statutes of 1316 are remarkable for the leniency of the penalties imposed when compared with the penal laws of the Middle Ages. In 1390 it was united to the giudicatura of Arborea, of which it became the capital, but in 1420 it fell into the hands of the Aragonese. In 1527 it was sacked by the French. The ecclesiastical history of Sassari commences with that of Torres. In 304 the soldier Gavinus, Protus a priest, and the deacon Janu- arius suffered martyrdom there. Later Gavinus and Protus were reputed bisho])s, and said to have lived in the second and third centuries respectively. St. Gau- dentiu-s, who seems to have heioiigeil to the beginning of the fourth century, is also venerated there. The first bishop whose date is known is Felix (404). Other bishops: Marinianus, a contemporary of St. Gregory the Great; Novellus (6S.5), whose ordination caused a controversy between John V and the Arch- bishop of Cagliari; Felix (727), who took refuge at Genoa to escape the cruelty of the Saracens; almost nothing is known concerning bishops of Torres for the next three centuries, till Simon (1065). His succes- sor, Costantino de Crasta (1073), was an archbishop. Other archbishops: Blasius (1199), representative of Innocent III, on several occasions; Stefano, O. P. (1238), legate of Innocent IV in Sardinia and Corsica; Trogodario (about 1278) who erected the episcopal palace in Sassari, to which Teodosio (1292) added the Church of St. Andrea; after this the archbishops re- sided habitually at Sassari. Pietro Spano(1422) was a restorer of discipline; under him the episcopal see was definitively transferred to Sassari by Eugenius IV. This bishop intended to erect a seminary for the training of the clergy, but his death frustrated the plan. Angelo Leonini (1509) was at the Fifth Lateran Council; Salvatore Salepusi (1553) was distinguished at the Council of Trent; Alfonso de Sorca (1585), highly esteemed by Clement VIII. At about the year 1500 there were united to the Archdiocese of Sas- sari the Sees of Sorca (Saralapsis) which is mentioned as a bishopric in 1106, and whose last bishop was Ja- copo Poggi; and of Ploaghe {Pluhium), the first known bishop of which is Jacentius (1090). The sees suffra- gan to Sassari are: Alghero, Ampurias and Tempio, Bisarchio, Bosa. The archdiocese contains 35 par- ishes, 140 secular; 41 regular priests: 112,500 inhabi- tants, 9 convents of reUgious, and 13 monasteries, 7 boys', and 5 girls' institutions.

Cappelletti, Le chiese d' Italia (Venice, 1870): Filia, La Sardegna cristiana, I {Sussslt'i, 1909). \J _ BeNIGNI.

Sassoferrato, Giovanni Battista Salvi da, b. at Sassoferrato in the March of Ancona, 1609; d. at Rome, 1689, where he had passed the greater part of his life. His father, Tarquinio Salvi was his first master. At Naples, he studied under Dominichino

Giovanni Battista Salvi, called

Sassofekrato

Self-portrait, UfEzi Gallery, Florence.

and through him was a pupil of the Carracci. Sev- eral of his pictures are direct imitations of Perugino. Raphael, and Titian. His Madonnas, especially, are inspired by Raphael, and in their quiet sweetne.ss rival those of Carlo Dolci. In the seventeenth century, the Blessed Virgin was too frequently portrayed with a cold dignity, and reserve so austere towards the Child Jesus that it is difficult to realize her motherhood. "Consequently, men grew more fond of Sassoferrato whose Madonnas, tender, lovely, carefully painted, all reveal the mother's heart, as men more readily for- give certain errors when they are lofty, and certain weaknesses when they are pictur- esque" (Burck- hardt). Sassofer- rato gave to his compositions a pleasing air of intimacy, and a certain naivete, in happy contrast to the melancholy exi)ressin too fre- quently foimd in the paintings of his time. Among others the "Ador- ation of the Shep- herds", and the "Workshop of the Carpenter Joseph with the Infant Jesus Sweei)ingthe Shavings" (Mu- seum of Naples) present this charming character of in- timacy. His masterpiece, however, is to be found in Rome, in the Church of St. Sabina on the Aventine: "Our Lady of the Rosary with St. Dominic and St. Catherine". This was painted at the request of the Princess de Rossano, and finished in 1643, the artist re- ceiving the sum of one hundred ecus (crowns) in pay- ment. "The Virgin in a blue cloak and {)urple (Iress is seated in the centre with the Infant Jesus on her left knee; kneeling at the right is St. Dominic to whom she presents the rosary, whilst the Divine Child with one hand ext(>nding the rosary to St. Catherine, who kneels at the left, with the other places upon her head rever- ently bent, the crown of thorns. Circling the head of the Virgin is a crown of five small angels of ravishing grace and devotion" (Berthier). Besides these, there is at the Louvre, the "Assumption of the Blessed Virgin"; at the Mu.sce des Offices, the "Infant Jesus asleep on His Mother's knees" (this last subject is also found in the Museums of Dresden and Madrid); his Portrait; "The Virgin of Sorrows"; at the Vatican there is the "Madonna with Angels"; at Turin, the "Madonna of the Rose"; at Berlin, the "Holy Fam- ily"; at Frankfort-on-thc-Main, Galerie Stadel, the "Virgin praying". Madonnas of Sassoferrato arc likewise to be found in the Museums at London, St. Petersburg, Brussels, Vienna.

Lanzi, History of Painting in Italy, tr. from the Italian by Roscoe, I (London, 1847), 469; Blanc, Histoire des peintres de toutes les Ecoles: Ecole omhrienne (Paris, 1869-77) ; Burck- HARDT AND BoDE, Le Cicerone, tr. GiSrard, II (Paris, 1892), 810-11; Bryan, Dictionary of Painters and Engravers, V (Lon- don, 1905); BEmmEH, L' Eglise de sainte Sabine d Rome (Rome, 1910;, 313-16.

Gaston Sortais.

Satala, a titular see in Armenia Prima, suffragan of Sabastia. Satala according to the ancient geog- raphers was .situated in a valley surrovmded by mountains, a little north of the Euphrates, where the road from Trapezus to Samosata crossed the boundary of the Roman F^mpire. Later it was connected with Nicopolis by two highways. This site must have been occupied as early as the annexation of Lesser