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Costantino Carasi's work, Noto native artist, is not easily definde in philological and formal terms. He was a minor artist who partecipated, with the other major artist, to expose both, the artistic and cultural fabric and the popular religious dimension of a little know territory. This study investigates the foundations of a late-baroque lenguage that relates to personality such as Carlo Maratta, Olivio Sozzi, Vito D'Anna, that determinated, beetween the end of Seventeenth and the early Eighteenth Centuries, the pictorical decoration in the liturgical spaces. Carasi espressed his "theological" vision according to the post-tridentistdictates and celebrated the ecclesial condition of his time. [ABSTRACT FROM AUTHOR]

Always neglected by history of art as it was believed to be the negation of formalism, argentinian sculpture, both baroque and folk, today intrigues scholars who are rediscovering in its structure formal significance, anthropological and theological, and are able to make sense of the existential complexity of the country. The present essay, supported by critical and documented texts, sheds light on the force of a decorative language that extracts reasoning from both european culture, as well as South American Civilization. Therefore plastic imagery does not imitate Iberian or Italian models, but translates to another reality, impregnating faith and magic, christianity and animism. [ABSTRACT FROM AUTHOR]