Modica

A compromise between Neoclassicism and Baroque

Located at the top of a majestic staircase along Corso Umberto I, in the historic centre of Modica, the Cathedral of San Pietro seems to welcome the worshippers and invite them, at the same time, to partake in a journey of art and faith.

The Cathedral of San Pietro
The Cathedral of San Pietro is located on the top of an imposing staircase of three flights along Corso Umberto I in the historic center of Modica. The perimeter of the staircase is characterized by the presence of the statues of the twelve apostles raised on high pedestals that give it an even more severe appearance. The facade of the church, of a reddish color, is divided into two bands and has an unusually sober appearance for the baroque canons. The first band is divided by three portals surmounted by broken timpani, of which the central one has the coat of arms of Saint Peter; these portals are interspersed with ashlar pilasters. The second band has two small volutes and houses the statues of Saints Cataldo, Rosalia, Peter and the Madonna.

It is considered the city’s second out-of-scale work of architecture and comes second to the Cathedral of San Giorgio in terms of importance.
The majestic sacred building was built in 1308, though there are no records of the original structure. After being damaged by the earthquake of 1693, it was rebuilt in 1697 according to a design by Mario Spata and Rosario Boscarino, master builders linked to local artisan tradition.
What drove the immediate reconstruction of the cathedral was the desire to reaffirm that the church of San Pietro was the “Mother Church” of Modica.
The scenographic and severe staircase accompanies the visitor inside the church, who is followed by the gaze of statues of the twelve apostles called “I Santoni”. The sculptural decorations rest on pedestals marking the three flights of the staircase which was completed in 1876. The church façade is full and generally sober compared to the exuberant shapes of the cathedral of San Giorgio.
Two overlapping levels, marked by rusticated pilaster strips made more three-dimensional, stand out on the flat surface of the façade. The first level features three portals surmounted by broken tympanums , with the central one surmounted by the coat of arms of St. Peter.
The second level, characterised by two small volutes, houses the four statues representing St. Catald, St. Rosalia, St. Peter and the Virgin Mary. The façade ends with a sunburst in which a triumphant Christ is inserted.
dettaglio portale con stemma san pietro lesene sul prospetto

The church and the monastery

The senses tell of the Cathedral of San Pietro

The city of Modica, a balance between nature and urbanism

Scenography, lights and colours of the cathedral

The smallest Greek theatre in the world

A Nobel Prize in Modica

Unusual iconographies: the Burgos crucifix

The Duomo di San Giorgio (Cathedral of St. George)

The beginning of an authentic Baroque conception

Verticality and dynamism of the façade of the Church of San Carlo

The interiors: diffused light and Byzantine relics

Scicli, the city of Baroque scenery

The senses tell the Cathedral of San Giorgio

Expanded spaces, stucco and colourful lights

The two churches

Luminous sacred spaces

The Franciscan convent

The Church of St. Paul

The interior of the church: space and colour

The senses tell the story of the Church of San Benedetto

The Church of St. Julian on Via dei Crociferi

A story of rebirth

The church and the college

Fountain of the Nymph Zizza: public water in the town

Art in the cathedral

Barresi-Branciforte: the lords of the fiefdom and the modernisation of the town

The senses tell the Cathedral of San Giorgio

The senses tell the story of the Church of San Paolo

The Church of St. Benedict

Expansion, spatiality and light in the church of San Domenico

Madonna of the Militia: a singular warrior virgin

The Church of St. Mary of the Mountain

The senses tell the Church of San Michele

One city, three sites

The dynamics of the Church of San Michele

The triumph of Baroque: expansion of spaces

A new site for the church of San Giorgio

The senses tell the story of the Sanctuary Church of Santa Maria della Stella

A unifying project for the city of Catania

The senses tell the story of the Church of San Carlo and the former Jesuit college

Altars, saints and sculptural works

A stone garden

The senses tell about Palazzo Beneventano

The senses tell about Palazzo Ducezio

The senses tell of Palazzo della Cancelleria

The senses tell the story of the Church of San Giuliano ai Crociferi

The senses tell the Church of San Domenico

The city palace

A compromise between Neoclassicism and Baroque

The Church of St. John the Evangelist

A casket of precious works

The neo-Gothic seminary chapel: symbols, light and space

The church of San Nicolò l’Arena: the majesty of an unfinished beauty

Palazzo Trigona di Canicarao

The senses tell the story of the Church of San Giovanni Evangelista

The expansion of space and changing reality

The Church of Madonna della Stella

Garden of Novices and the restorations by Giancarlo De Carlo

The freedom of worship and the Catholic Church’s role in the diffusion of Baroque

The Madonna dei Conadomini and the art of devotion

The Church of St. Francis

The Monastery of the Benedictine nuns

The Monte delle Prestanze in the new city layout

The senses tell the Benedictine Monastery and the Church of San Nicolò l’Arena

Baroque and the loss of balance in the 16th century

Virtuosity, decorations and altars

The Palazzo dei due mori

Rebirth and urban planning of the city of Noto

Baroque creativity: recurring themes

Akrai and Syracuse: an unbreakable bond

The eagle-shaped city

The senses tell about Palazzo Zacco

San Domenico and Gagliardi’s work

A heritage of votive works

Piazza Duomo, the elephant fountain, the heart of the city

St. Agatha and the candelore

The Infiorata of Noto, a modern tradition

The works in the church

The senses tell the Cathedral of Sant’Agata

The palace, the town, the church

Geometry and wonder in civic architecture in the Baroque of the Val di Noto

Views denied, views conquered: the power of the devout Benedictines

Reconstruction after the earthquake

City and nature

The interior and works of art

The illusion of light and the decorative splendour

From the end of the world to rebirth from the rubble

Palazzo Zacco, a balance between sobriety and decoration

The Badia di Sant’Agata (St. Agatha’s Abbey)

Palazzo Trigona: a building with a complex shape

The city within the city

The articulated interior spaces

The Staircase of Angels

The senses tell the story of the Church of Santa Maria del Monte

The art of maiolica

The casket of austerity under the great dome

The Benedictines’ library

The senses tell about Palazzo Trigona

The Antonino Uccello Birthplace Museum

Scenography and devotion for St. Agatha

The new roads of the city

The senses tell the story of the Church of the Badia di Sant’Agata

Palazzo della Cancelleria: from former stable to the Nicastro family

Religious architecture

Majestic exteriors, grandiose interiors

Militello: The story of an enlightened fiefdom