Museo: Mostra TRA ULIVI E MARE - Alla scoperta di Armando Perotti, con lettere e ricordi

The Historical Context

Armando Perotti (1865-1924) lived during a period of great transformation for Italy and Bari. The unification of Italy, although completed in 1861, left the country divided between an industrialized North and an agricultural South, grappling with issues of large estates, lack of infrastructure, and low literacy rates. This imbalance fueled the debate on the "Southern Question," with some viewing the South as a hindrance and others denouncing its marginalization. Perotti, however, focused on promoting Apulian culture through his extensive literary and journalistic work, giving voice to an often-overlooked region. At that time, Bari was caught between the past and the future. The historic center, with the Cathedral of San Sabino, maintained its maritime identity, while the Murat district, with its neoclassical avenues and buildings, marked modernity. The inauguration of the modern port (1859) and the development of the railway transformed the city into a crossroads between Italy and the Balkans, fostering trade. Cultural institutions such as the National Library and the University of Bari were also established, consolidating the city's cultural role. Meanwhile, Italy was undergoing significant changes, including Southern emigration, colonial wars, and World War I (1915). Perotti witnessed these events with a critical eye, using his journalistic and literary activities not only to celebrate Apulia but also to reflect on societal development and the importance of preserving cultural identity in an era of change. He became a bridge between the past and the future, in a Bari seeking its place in a unified Italy.

The Perotti Family

Camillo Gaetano Perotti, from an old noble family, was born in Turin on August 10, 1823. He participated as a volunteer and later as an officer in the wars of 1848 and 1849. Subsequently, he taught Topography and Geodesy, reaching the rank of colonel and assuming command of the Gaeta fortress. During this assignment, he distinguished himself for the respectful treatment given to Giuseppe Mazzini during his imprisonment. After leaving the army, he moved to the Terra di Bari, settling in Cassano delle Murge, where he served as mayor from 1875 to 1883. During his term, he promoted the introduction of drinking water in the province of Bari. He was a provincial deputy, city councilor, and city alderman of Bari. He died in Cassano delle Murge on July 6, 1898.

The Miani Family

The Miani family, originally from Veneto, settled in Puglia in the 16th century, first in Francavilla Fontana (LE) and Ginosa (TA), and then in Cassano delle Murge at the end of the 18th century. Count Nicola Miani, a lawyer and member of parliament between 1870 and 1880, was born in Cassano and moved to Polignano after his marriage, where his daughter Fulvia was born on February 25, 1844. At nineteen, Fulvia married Colonel Camillo Gaetano Perotti. In Gaeta, she supported Giuseppe Mazzini, earning his gratitude. She died in Cassano delle Murge on February 25, 1931, and was buried in Polignano. Just three days earlier, Armando Perotti's remains had been transferred to the Bari necropolis. Fulvia Miani, a modern and charitable woman, dedicated herself to the poor and the working class, giving voice to their struggles through writing. She contributed for over forty years under the pseudonym "Voluntas" to various magazines, with an elegant and romantic style. In 1880, she published "Profiles and Landscapes of Puglia," recounting her travel impressions of the region. She founded a sewing school for the daughters of sailors in Bari, where she also led the provincial Red Cross. During the war of 1915-1918, she organized aid for soldiers and their families.

Armando's Studies

In Bari, Armando Perotti completed his early studies and obtained his high school diploma at sixteen. He longed to enter the Naval Academy of Livorno to follow in the footsteps of his father and grandfather, but his father's opposition, reluctant to send him far away, prevented him from fulfilling his dream of traveling. Instead, he would remain to watch and love the sea, as his mother Fulvia Miani would say: "One less sailor, one more poet." He continued his studies in Rome, where he also embarked on a journalistic career. In Florence, he obtained a diploma in Literature at the Istituto di Magistero, and at the University of Perugia, he graduated in Law. Perotti embraced poetry early on: his first composition dates back to 1879 when he was just fourteen. Poetry became a profound need for him, a means of expressing his feelings and worldview. During his youth, he wrote numerous verses that reflected his precocious talent, although many of them were not included in his early collections. In 1887, he published "Sul Trasimeno," marking a transition to more mature writing. In 1890, with "Il libro dei canti," he consolidated his poetic voice, entering the literary scene of the time.

The Intellectual

In the first decade of the 20th century, Perotti moved to Castro (LE) for a period where he continued his poetic production and wrote Bari Ignota (1907). Upon returning to Bari, Perotti actively worked at the Sagarriga Visconti Volpi Library as a librarian (1908-1912), becoming its director in 1921. He left a significant mark on the formation of the library's collections and its organization. His civic commitment led him to serve as a city councilor of Bari, and he distinguished himself with a famous speech delivered on July 11, 1910, in which he praised the city's growth. His passion for history and culture materialized in the celebration of the centenary of the Borgo Murattiano in 1913, a grand event that he conceived and organized. In the municipal elections of 1910, Perotti ran for office and, thanks to the wide support received especially from the citizens of the old town, he was the most voted, even surpassing the mayoral candidate Giuseppe Capruzzi. In the first session of the new city council, he was entrusted with delivering the inaugural address.

Love for Puglia

Armando Perotti traveled extensively in Italy in search of a cultural homeland, but always returned to Puglia, aware that his true identity lay there. From an observer he became a narrator, restoring dignity to his land through literature and historical research. From the alleys of Bari to the countryside, Perotti described Puglia with the heart of those who belonged there by destiny. In his writings he documented traditions and legends, preserving the memory of an often forgotten land. His connection with Puglia was not only as a passionate reporter, but also as a man seeking refuge. After his father's death, he found in solitude the strength to rediscover his Apulian identity. For almost a decade he lived in Castro, in Salento, dedicating himself to studies that led to his most important works. In the photo above we can observe the "Casina du' Generale", or rather of Armando Perotti's father, it was the country residence built by Gaetano Perotti at the foot of the Murgia and the Convent of S. Maria degli Angeli in Cassano delle Murge. In the photo below we discover the view from the beautiful window overlooking the Adriatic from which Armando Perotti contemplated the infinite horizon, letting himself be inspired by the quiet and majesty of the sea. In this humble home in Castro, the poet found refuge and nourished his love for Puglia by writing verses and his greatest work, “Bari Ignota”: he transformed the beauty of the landscape into timeless words.

Memory and Identity

Armando Perotti was a guardian of Puglia's historical memory, particularly through the "Sagarriga Visconti Volpi" Library in Bari, which he directed. His passion for books and historical documents led him to promote and defend the history and traditions of Puglia, viewing historical memory not just as preservation, but as a tool for identity and awareness. His research and civic battles, such as the defense of the old port of Bari and the Castle of Barletta, demonstrated his commitment to fostering dialogue between the past and the present. One of his most significant battles was against the construction of the Margherita Theater in Bari, built in the early 20th century. The project envisioned a masonry theater in a historic area of the old port, a symbol of the city's maritime identity. Perotti strongly opposed it, viewing the project as detrimental to the landscape and tradition. In "Bari Ignota," he dedicated three chapters to defending the old port, documenting its importance for preservation. He denounced the risk of losing the city's authentic soul in the name of progress. Despite his opposition, the theater was built, but his fight remained a symbol of his commitment to protecting Puglia's historical and cultural heritage, anticipating battles that would become central to the urban planning debate of the 20th century.

Sincerity

In Armando Perotti's letters and postcards, a man emerges who valued sincerity. In his writings and relationships, he preferred a direct and frank style, as demonstrated by one of his first letters to Fortunata Consiglio. For Perotti, true communication was unadorned, based on gestures and actions that reflected his principles in life and art. His ability to "write as I speak and as I think" allowed him to create authentic relationships, maintaining moral consistency regardless of the context. His relationship with his brother-in-law Nicola Consiglio is an example of how sincerity was at the heart of his friendships. The hundreds of postcards sent to Fortunata from Bari, Cassano delle Murge, and Castro show Perotti's daily life, recounted with simple and affectionate words. He often sent more than one postcard a day to his wife, sharing even the smallest details of his day. A significant bond was the one with his brother-in-law, the magistrate Nicola Consiglio, involved in the Lateran Pacts. Their shared passion for literature and art, combined with Nicola's expertise on Dante, created a deep intellectual and personal connection. In a letter to his brother-in-law dated July 1, 1910, Perotti writes: "Thank you for your praise, but it is exaggerated. I hope to do better, and soon: as soon as I am settled. For the moment, I work little or not at all. Imagine, they even want me to be a city councilor! Do you read my verses? What do you think? My youthful boldness is fading. I embrace you fraternally, Your Armando".

Love

For Armando Perotti, love was a source of vital inspiration, and his relationship with Fortunata Consiglio was its core. Their correspondence reveals a sincere and affectionate dialogue, where Fortunata was not only a companion, but also a muse and confidante who enriched Perotti's personal and artistic life. Armando expressed love through everyday actions rather than elaborate words, a philosophy that influenced both his life and his art. This love also stimulated intellectual exchanges, with Fortunata profoundly influencing Perotti, intertwining love and creativity. Maria Fortunata Consiglio, originally from Bisceglie, lived from 1872 to 1952 and married Perotti on February 27, 1911, becoming a fundamental companion in his life and artistic inspiration. In a letter to Fortunata Consiglio dated May 31, 1910, Perotti writes: "I have allowed myself to send you this morning [...] a volume of mine. [...] Leafing through it, you may find some part of me. And this is what I want, to reveal myself entirely, so that there are no surprises. My frankness, in life and in art, is proverbial among those who know me: I write as I speak and as I think".

The Satire and Art of Friar Menotti

Menotti Bianchi, known as Friar Menotti, was born in Bari on September 24, 1863, and became a prominent figure in Apulian satire in the late 19th and early 20th centuries. His early life is shrouded in mystery, but it is believed that he developed his artistic skills thanks to his father's influence. He became famous for his pungent caricatures, especially in the satirical weekly Fra Melitone, where he ridiculed public figures and powerful individuals of the time. Menotti was known for his eccentric style: a pointed beard, pince-nez glasses, and a smoking pipe. A recognizable figure in the streets of Bari, he drew caricatures for various newspapers, ignoring different political lines and often causing friction among editors. His satire, sharp but never vulgar, made him a symbol of critical conscience, loved by the people and feared by the bourgeoisie. He had a deep intellectual friendship with the poet Armando Perotti; together, they shared satirical ideas and ideals and contributed to giving voice to the critical conscience of the city. During fascism, his activity was hampered by the regime, which did not tolerate political satire. Friar Menotti died on September 11, 1924, in poverty, despite his popularity and extensive artistic production. His life reflected a free mind, ready to mock power with irony and intelligence.

Rhyme, the Poet, and Abandoned Childhood (February 12, 1893) and At the Trani Festivals - The Poets (1889-1992)

In this cartoon, Friar Menotti portrays Armando Perotti in six different poses, capturing various moments of his demeanor as a lecturer. Perotti is shown leaning on the table, reading, declaiming, and drinking, with the candles slowly burning down, symbolizing the passage of time as he entertains the audience. At the center of the composition, in a framed area, Perotti is arm in arm with an elegant lady, symbolizing poetry or the inspiring muse. The cartoon alludes to the lecture on rhyme given by Perotti on January 31, 1893, in Bari, a charity event for orphans, mentioned in the article "Art" published on February 12, 1893, in the periodical Fra Melitone. Friar Menotti highlights Perotti's passion and theatricality, emphasizing both his oratory skills and the scenic effect of his speeches. In the subsequent black and white watercolor, we observe a lively and surreal scene in which Armando Perotti seems to be discussing the Adriatic, indicated by the writing above, while the unidentified character is intent on talking about the sex of angels, represented by the small naked angel with wings. The presence of the skeletal figure of death floating in the background adds a macabre and ironic note, perhaps a visual commentary on the existential themes that often accompany poetic discussions. The atmosphere is that of playful gatherings among intellectuals, where serious and frivolous topics intertwined, evoking a sense of philosophical lightness typical of the "poets' festivals" in Trani.

Various Personalities (August 21, 1902) and the ... Zoological Circle (February 1912)

This color lithograph depicts the editorial staff of the humorous Bari newspaper "Don Ferrante." Recognizable are engineer Ettore Bernich at the bottom left; then "Friar Menotti" portraying himself with a camera, Armando Perotti with a lyre, lawyer Vito Indelli dressed as Don Ferrante, Ciccio Attolini dressed as Don Abbondio, and another unidentified character. In the subsequent drawing in pencil and colored watercolor, the Philological Circle of Bari is transformed into a zoo where members appear as animals, emphasizing their characteristics. Among the characters: Armando Perotti (rooster), Damaso Bianchi (sitting monkey), Giuseppe Petraglione (turtle), Giovanni Praitano (rhinoceros), and Mayor Sabino Fiorese (ape with a stick) holding Filippo Petrera. In the background also appear Hon. Malcangi and Prof. Garrone as a small monkey on a tree.

Provincial Exhibition (May 1900), The Farce of Every Evening (1915), and Pro-Expelled (July 1912)

In this color lithograph, Saraceno stands out among those present, holding a sign with the inscription "Laboremus"; just below him is Antonio De Tullio. On the raised platform, Mauro Amoruso-Manzari, councilor and promoter of modern urban planning for the city, Michele Zonno, and Poli are distinguishable. At the bar is Giuseppe Re David, and on the ground floor, Cassano, Ginesi, and Armando Perotti are seen. In the subsequent ink and watercolor drawing, Armando Perotti is in Bari during the war and engages daily in passionate polemics with the physician Tommaso Storelli. On Perotti's shield is a portrait of a Prussian general. Then we move on to another ink and watercolor drawing where, with the Italo-Turkish War (1911-1912), Italy conquered Libya, the Dodecanese, and Rhodes. However, this damaged the economy of the South, as the agricultural products of the colonies lowered local prices. Meanwhile, about 50,000 Italians were expelled from the Ottoman Empire, and trade relations suffered boycotts. In this context, Police Chief Calabrese, De Romita, Gadaleta, Narducci, Sereno, and Armando Perotti are depicted assisting the expellees who returned to Bari.

The Nationalist Pronouncement at the Announcement of Peace (1912) and On Trasimeno (1909)

This colored ink and watercolor depicts a protest demonstration against the peace of Lausanne of October 18, 1912, which concluded the Italo-Turkish War. Among the protagonists, satirical figures stand out such as Commendatore Laudisi in a wheelbarrow, Professor Fiorese with a crutch, Lawyer Petruzzelli with scissors, Gadaleta with a trumpet, Judge Epifania with a Napoleonic hat, and Armando Perotti raising a sign, joining his voice with the nationalists in defense of national pride. In the subsequent black and white watercolor, there is a caricature, part of a small album created by Friar Menotti with satirical portraits of various personalities of the time, portraying Armando Perotti as a "prelate" of Apulian literature, a cardinal with a red cape and biretta, giving him an authoritative air. Perotti holds his book of poems "Il Trasimeno" (1887).

Armando Perotti presents his book Bari Ignota (1908) and in Bisceglie during the Bombardment of August 2 (August 1916)

This colored watercolor highlights the most famous work of the Bari poet Armando Perotti, "Bari Ignota," an in-depth study of Apulian folk traditions, in which the author presents himself as a careful observer and guardian of local realities. This text, along with others, testifies to Perotti's connection to his land, combining research and passion for folklore. Perotti dedicated numerous works to popular culture and the intangible heritage of Puglia, including: Bari dei nostri nonni (Bari of our Grandparents), Vita pugliese (Apulian Life), Puglia e Venezia tra mito e storia (Puglia and Venice between Myth and History), Storia e storielle di Puglia (Stories and Tales of Puglia), Il libro dei canti (The Book of Songs), and Nuove storie e storielle di Puglia (New Stories and Tales of Puglia). These works offer a unique window into the customs, stories, and legends of the region, preserving the collective memory of Puglia. In addition to folklore, Perotti was also interested in toponymy, the protection of cultural heritage, dialect, environmental protection, and social and economic issues related to work and the market. The following ink and colored watercolor refers to August 2, 1916, when, during the First World War, two Austrian destroyers bombarded the city of Bisceglie: the unexpected war event caused the injury of nine people, including two women, and the destruction of several houses. Armando Perotti, in Bisceglie with his wife, hid in the cellar among the barrels.

Don't Touch the Old Port (1910) and No Disembarking Here! (1910)

In this watercolor, Armando Perotti leads a demonstration to defend the Old Port of Bari, with demonstrators waving the banner of San Nicola. Perotti, a prominent cultural figure and director of the National Library, was a staunch opponent of the urban demolition that threatened the old city, committing himself to the protection of historical heritage. However, the Margherita Theater was built in the Old Port, the construction of which was strongly criticized by Perotti, who called it a "criminal folly." Paradoxically, the stretch of coast "Lungomare Perotti" was named after him, despite the fact that the eyesores of "Punta Perotti" were built there, later demolished in 2005. In the subsequent ink and watercolor, Perotti is portrayed as a proud soldier on a rock, symbolizing his role as "guardian" of the Bari coast. With a rifle and a bicycle, he assumes a heroic and determined pose, accompanied by the phrase "No Disembarking Here!" to underline his will to defend the territory from foreign threats. The scene reflects the political tensions with Austria and the issue of the Adriatic, addressed by Perotti in articles for the Corriere delle Puglie and a lecture at the Teatro Piccinni on June 5, 1910. During the lecture, addressing the volunteer cyclists, Perotti firmly declared "There's no way through here!", expressing patriotism and resistance against Austrian ambitions.

With a Continuous Pump (1909) and the Very Bitter Adriatic (1908)

In this pencil and colored watercolor drawing, Armando Perotti is portrayed in the act of "churning out" publications for the Corriere delle Puglie, an image that vividly depicts the intense intellectual and journalistic activity that characterized his daily commitment. A leading journalist and a figure of great importance in Apulian culture, Perotti tirelessly contributed to spreading ideas, reflections, and insights on the social and cultural issues of his time. In the subsequent colored ink and watercolor, Gabriele D'Annunzio and Armando Perotti, in a satirical vein, symbolically pour sugar and honey into the Adriatic Sea to sweeten its waters. D'Annunzio's expression "Adriatico amarissimo" (very bitter Adriatic) alludes to the Austro-Hungarian domination until 1914, which weighed heavily on these coasts and populations with a centuries-old oppressive foreign presence. Menotti evokes the desire for liberation of the Adriatic lands and peoples from centuries of foreign influence, here symbolized by the attempt, however futile, to sweeten the bitterness of the sea itself.

I Did This (1900) and Happy New Year

This cartoon shows Antonio De Tullio and Armando Perotti. De Tullio, self-assured, walks with his chest puffed out, displaying a proud and almost pompous attitude, pointing to a sign on the ground, with stylized feces on it, bearing the inscription "Pugliese Exhibition 1900": De Tullio seems to attribute to himself the responsibility or "merit" for what is represented on the ground. Armando Perotti, holding his nose, seems to be running away, looking with disgust at those feces on the ground. A clear satire on the situation and the events related to the Pugliese Exhibition of 1900. In the following lithograph, Martino Cassano, director of the Corriere delle Puglie (later Gazzetta del Mezzogiorno), wishes a happy new year along with other characters including Armando Perotti with his lyre.

July (1910) and May (August 1910)

In this black and white watercolor, one can note the irony regarding two significant events for Bari in 1910: the inauguration of the city's tram network (July 13) and the organization of the Historical Exhibition of the nineteenth century for the centenary of Borgo Murattiano. On the left, an unidentified character operates a small tram as if it were a toy, a satirical allusion to the control exercised over the city's infrastructure projects. On the right, Armando Perotti emerges from a smoking cauldron with a sign bearing the inscription "Exhibition of 1913," suggesting how the Exhibition was immersed in a context of political tension. Perotti, represented as a "boiling" critic in the cauldron of political differences, symbolizes the heated discussions and contrasts linked to the celebrations and urban expansion projects. The subsequent cartoon depicts a scene in which Senator Antonio De Tullio undertakes diplomatic relations with the Ottoman Empire. Below, Armando Perotti, with a megaphone facing the sea, seems to be launching an appeal or a protest, with ships on the horizon alluding to foreign presences. The illustration reflects the tensions between Bari and Ottoman influence, with Perotti in the role of critical voice and defender of the city.

Friar Menotti and Armando Perotti Visiting the Cemetery (1912) and Armando Perotti Dying (May 1924)

In this watercolor, Friar Menotti and Armando Perotti are portrayed during a visit to the cemetery, a moment of reflection and meditation. The melancholic scene shows the two friends among cypresses and tombstones, symbols of the transience of life and their deep bond. Menotti notes a list of his visits, reflecting on death. This drawing symbolizes their friendship, which will last beyond life: both will die in 1924, a few months apart. In the subsequent watercolor, Perotti, marked by illness, is portrayed in a moment of fragility. Menotti pays tribute to him with affection and irony, reflecting on his career. Perotti, a poet and historian, shared with Menotti a civic commitment and a love for Bari. Their intellectual connection was born with their collaboration on the periodical "Don Ferrante" (1902-1907). On May 8, 1924, Menotti visited Perotti for a final farewell before dying in September. This work is a final tribute to a friendship that death would never break.

Friendships

Armando Perotti cultivated friendships in various cultural spheres, creating a network that included writers, artists, and intellectuals. Among them, Filippo Cifariello, a sculptor from Molfetta, transmitted to him the passion for studying Puglia. Another important bond was with the satirical cartoonist Friar Menotti, with whom he shared civic and cultural commitment to Bari. His brother-in-law Nicola Consiglio represented an important intellectual and personal support. His friendships reflected his ability to weave connections with the Apulian cultural landscape, enriching his life and work. After his death in 1924, the "Committee for the Publication of the Works of Armando Perotti" was created to honor his literary legacy. Among the members were Giuseppe Petraglione, Francesco Colavecchio, Luigi De Secly, and Michele Viterbo. The committee meticulously collected Perotti's works, including unpublished sonnets and poems for the book "Or da poggia or da orza." These were published in the posthumous anthology "Poesie" in 1926, which offers a window into Perotti's soul, celebrating his passion for his land and his poetic talent.

The Last Years

In 1921, Perotti became Director of the Sagarriga Visconti Volpi Library in Bari. In the last years of his life, starting in the fall of 1923, his health deteriorated. A file of documents, written by his brother-in-law Nicola Consiglio, reveals Perotti's difficulties during this period. Despite this, he continued to travel between Bari and Rome for treatment, always supported by his wife Fortunata and his family. His passion for culture remained strong, even participating in public events during his convalescence. Perotti died on June 24, 1924, in Cassano delle Murge. The support of Nicola Consiglio was fundamental, accompanying him to Rome for treatment. Their correspondence shows a deep intellectual and personal bond. Perotti, not understanding the severity of his illness, died slowly, as noted by Consiglio. Their last meeting took place on June 23, 1924. On June 24, Perotti died in the arms of his mother and family doctor, Paolo Fasano. The funeral, held the following day, saw a large participation of authorities and friends. His body was buried in Cassano Murge, later transferred to Bari in 1931, in the Monumental Cemetery, where illustrious Bari citizens rest and where a beautiful epigraph written by Augusto Cerri is placed.