Introduction to Val di Noto

Baroque and the loss of balance in the 16th century

Baroque is a particular cultural and artistic period that began in Rome in the early 17th century before spreading across Europe, in various forms, in the second half of the century. The negative connotation attributed to Baroque by 18th-century critics, who also coined the term, was aimed at artists who in their architecture and painting had moved away from the principles of harmony, beauty and functionality found in Renaissance culture.
The Enlightenment theorists and rationalists saw in the artistic experimentalism of the new aesthetic style bizarre, eccentric and fantastic elements in stark contrast with the harmony derived from the rigorous application of geometric and proportional principles used in the Renaissance. The 19th century brought a new appreciation for Baroque art and the end of its negative connotations. A more positive and diluted interpretation of the strong communicative position of Baroque spread from the end of the 19th century, a period that recognised the importance in art of a new perception of space, with its symbolic and scenographic force that was widely accepted by both aristocratic and less affluent classes.

The senses tell about Palazzo Zacco

A new site for the church of San Giorgio

The church and the college

Altars, saints and sculptural works

San Domenico and Gagliardi’s work

Palazzo Trigona di Canicarao

The interiors: diffused light and Byzantine relics

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

Militello: The story of an enlightened fiefdom

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

The new roads of the city

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

A Nobel Prize in Modica

The city within the city

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

Religious architecture

Fountain of the Nymph Zizza: public water in the town

The Church of St. John the Evangelist

Luminous sacred spaces

Reconstruction after the earthquake

Palazzo Trigona: a building with a complex shape

A stone garden

The Church of St. Paul

The senses tell the Church of San Michele

The city of Modica, a balance between nature and urbanism

Majestic exteriors, grandiose interiors

The Church of St. Julian on Via dei Crociferi

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

City and nature

Baroque creativity: recurring themes

The Church of St. Mary of the Mountain

The church and the monastery

The art of maiolica

The Church of Madonna della Stella

From the end of the world to rebirth from the rubble

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

St. Agatha and the candelore

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

Akrai and Syracuse: an unbreakable bond

The senses tell the Church of San Domenico

Garden of Novices and the restorations by Giancarlo De Carlo

The senses tell the story of the Church of San Benedetto

Rebirth and urban planning of the city of Noto

The beginning of an authentic Baroque conception

The senses tell about Palazzo Ducezio

Expansion, spatiality and light in the church of San Domenico

Palazzo Zacco, a balance between sobriety and decoration

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

A story of rebirth

The Antonino Uccello Birthplace Museum

The articulated interior spaces

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

The Palazzo dei due mori

The Franciscan convent

The interior and works of art

The city palace

The senses tell about Palazzo Beneventano

The illusion of light and the decorative splendour

The triumph of Baroque: expansion of spaces

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

The casket of austerity under the great dome

Expanded spaces, stucco and colourful lights

The senses tell the story of the Church of San Paolo

The Staircase of Angels

Unusual iconographies: the Burgos crucifix

Virtuosity, decorations and altars

The Benedictines’ library

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

One city, three sites

The dynamics of the Church of San Michele

Scenography and devotion for St. Agatha

The two churches

The expansion of space and changing reality

The Monte delle Prestanze in the new city layout

A heritage of votive works

The senses tell of Palazzo della Cancelleria

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

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

The Church of St. Francis

The Church of St. Benedict

Scenography, lights and colours of the cathedral

A casket of precious works

The senses tell the Cathedral of San Giorgio

The senses tell the Cathedral of Sant’Agata

Baroque and the loss of balance in the 16th century

The eagle-shaped city

The palace, the town, the church

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

Scicli, the city of Baroque scenery

Palazzo della Cancelleria: from former stable to the Nicastro family

The senses tell about Palazzo Trigona

Madonna of the Militia: a singular warrior virgin

The works in the church

The smallest Greek theatre in the world

The senses tell the Cathedral of San Giorgio

A unifying project for the city of Catania

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

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

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

The Infiorata of Noto, a modern tradition

Art in the cathedral

The interior of the church: space and colour

The senses tell of the Cathedral of San Pietro

The Monastery of the Benedictine nuns

A compromise between Neoclassicism and Baroque

The Madonna dei Conadomini and the art of devotion