Francesco Ciusa stood our from the Sardinian artists of the early twentieth century, since he introduced modern sculpture in Sardinia and used the academic techniques that he learnt "in the Continent" (Italy) to give shape and, symbolically, life to Sardinian people, their history and their traditions. After he earned a national and an international reputation for his work La madre dell’ucciso, which was exhibited and acclaimed at the Venice Biennale in 1907, he coherently continued his personal "plastic poem" of Sardinia, even if the critics and the public sometimes did not appreciate him. Over the years he also focused on applied arts, especially ceramics. Ciusa, who was one of the friends of Grazia Deledda – that, when she was in Rome, recommended him not to leave the Island - and of Sebastiano Satta – who dedicated to him one of his Canti Barbaricini in 1910 and for whom he designed his funerary monument (now destroyed) in 1931 - is still one of the first and most important exponents of the desire for a revivification and a moral and cultural affirmation of Sardinia, finally redeemed by art. One of the five bronze copies of his debut work is housed by the Galleria Nazionale d’Arte Moderna in Rome, whereas another one is located in the Chiesa di San Carlo in the district of Santu Predu in Nuoro. This Church, which is located in front of the house where the sculptor lived, has contained his remains since 1988.