Pozzo Sacro di Predio Canopoli

Perfugas, Italy

The Pozzo sacro of Predio Canopoli is a sacred well, one of the best preserved well temples in Sardinia, has been discovered in 1923 and excavated by Taramelli. The monument has a typical plan of a nuragic well temple, with the atrium, stairs and the well located in underground chamber. The sacred well is constructed of very accurately treated limestone blocks.

References:

Comments

Your name



Details

Founded: 1300 BCE
Category: Prehistoric and archaeological sites in Italy

Rating

4.5/5 (based on Google user reviews)

User Reviews

Aurella Ornano (3 months ago)
Absolutely to visit, both for the perfection of a work of over three thousand years ago and for the kindness and competence of Mrs. Caterina, guide of the cooperative sa Rundine di Perfugas.
Michele Marras (4 months ago)
The sacred well owes its name to Domenico Canopoli, owner of the garden in which the building was discovered, in 1924. The well temple, among the most refined in Nuragic Sardinia, has the usual pattern: a vestibule that leads into a staircase connecting the well chamber. The building is built with limestone ashlars - quarried from the outcrops of Laerru - perfectly worked and installed on regular rows. The rectangular vestibule (width 2.70 m; depth 1.88 m), with perfectly paved flooring, has two benches on the walls made up of two worked blocks. At the center of the compartment there was a sort of "sacrificial canteen" with a basin and a patent cavity in the upper part; the blockade has disappeared today. From the vestibule you enter the staircase (length 2.30 m; width 0.90 m) which descends into the small chamber of the well with 8 steps. The roofing consists of three slabs arranged at a scaled height. The cell, which stands out today, is perfectly circular in plan and truncated cone in elevation (diameter 1.70 / 1.60 m; height 2.75 m); the walls are covered with perfectly worked and connected blocks, arranged on eleven rows in a slight overhang. The ashlars of the external face of the drum, as well as those of the vestibule, have two relief drafts of uncertain meaning: it is, perhaps, a technical device that facilitated the taking and transport of the blocks, but an ornamental function was not excluded. The drum is connected to the drainage system, made up of five limestone slabs with channels for the outflow of water that gushed inside the well. The area adjacent to the well was enclosed by a fence of large blocks of trachyte, built on the remains of a previous rectangular temple "in antis". Around the well, the remains of a village extend and, not far away, a complex nuraghe was to rise. Interesting ex-votos come from the well: among these, a bull figurine represents one of the most refined specimens of the small nuragic bronze plastic. The monument can be dated to the end of the Middle Bronze Age, recent Bronze Age, final Bronze Age, Iron Age. (Sardinia Culture)
Ludovica Cattaneo (5 months ago)
Magical!
Alessandro (5 months ago)
yet another archaeological site closed, there is a number to call to arrange the visit, but in passing we don't have much time to wait, too bad ...
Manuela Talenti (2 years ago)
Beautiful, different from Santa Cristina but just as beautiful. It is worth the visit, even to see closely the ability to build it! Extremely helpful guide, thanks x giving us directions x domus de janas to visit on return.
Powered by Google

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Palazzo Colonna

The Palazzo Colonna is a palatial block of buildings built in part over ruins of an old Roman Serapeum, and has belonged to the prestigious Colonna family for over twenty generations.

The first part of the palace dates from the 13th century, and tradition holds that the building hosted Dante in his visit to Rome. The first documentary mention notes that the property hosted Cardinal Giovanni and Giacomo Colonna in the 13th century. It was also home to Cardinal Oddone Colonna before he ascended to the papacy as Martin V (1417–1431).

With his passing, the palace was sacked during feuds, and the main property passed into the hands of the Della Rovere family. It returned to the Colonna family when Marcantonio I Colonna married Lucrezia Gara Franciotti Della Rovere, the niece of pope Julius II. The Colonna"s alliance to the Habsburg power, likely protected the palace from looting during the Sack of Rome (1527).

Starting with Filippo Colonna (1578–1639) many changes have refurbished and create a unitary complex around a central garden. Architects including Girolamo Rainaldi and Paolo Marucelli labored on specific projects. Only in the 17th and 18th centuries were the main facades completed. Much of this design was completed by Antonio del Grande (including the grand gallery), and Girolamo Fontana (decoration of gallery). In the 18th century, the long low facade designed by Nicola Michetti with later additions by Paolo Posi with taller corner blocks (facing Piazza Apostoli) was constructed recalls earlier structures resembling a fortification.

The main gallery (completed 1703) and the masterful Colonna art collection was acquired after 1650 by both the cardinal Girolamo I Colonna and his nephew the Connestabile Lorenzo Onofrio Colonna and includes works by Lorenzo Monaco, Domenico Ghirlandaio, Palma the Elder, Salviati, Bronzino, Tintoretto, Pietro da Cortona, Annibale Carracci (painting of The Beaneater), Guercino, Francesco Albani, Muziano and Guido Reni. Ceiling frescoes by Filippo Gherardi, Giovanni Coli, Sebastiano Ricci, and Giuseppe Bartolomeo Chiari celebrate the role of Marcantonio II Colonna in the battle of Lepanto (1571). The gallery is open to the public on Saturday mornings.

The older wing of the complex known as the Princess Isabelle"s apartments, but once housing Martin V"s library and palace, contains frescoes by Pinturicchio, Antonio Tempesta, Crescenzio Onofri, Giacinto Gimignani, and Carlo Cesi. It contains a collection of landscapes and genre scenes by painters like Gaspard Dughet, Caspar Van Wittel (Vanvitelli), and Jan Brueghel the Elder.

Along with the possessions of the Doria-Pamphilij and Pallavacini-Rospigliosi families, this is one of the largest private art collections in Rome.