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 two churches

The dynamics of the Church of San Michele

The smallest Greek theatre in the world

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

A Nobel Prize in Modica

The Church of St. John the Evangelist

Palazzo Zacco, a balance between sobriety and decoration

From the end of the world to rebirth from the rubble

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

Unusual iconographies: the Burgos crucifix

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

The city of Modica, a balance between nature and urbanism

The Madonna dei Conadomini and the art of devotion

The Church of St. Mary of the Mountain

The Staircase of Angels

The senses tell of the Cathedral of San Pietro

Palazzo Trigona: a building with a complex shape

The Church of Madonna della Stella

The casket of austerity under the great dome

The interior of the church: space and colour

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

Akrai and Syracuse: an unbreakable bond

The triumph of Baroque: expansion of spaces

Madonna of the Militia: a singular warrior virgin

The Monastery of the Benedictine nuns

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

A story of rebirth

Baroque creativity: recurring themes

The interiors: diffused light and Byzantine relics

The Franciscan convent

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

Militello: The story of an enlightened fiefdom

The city palace

A stone garden

The works in the church

Art in the cathedral

The Infiorata of Noto, a modern tradition

The church and the college

The illusion of light and the decorative splendour

The senses tell the Church of San Michele

The senses tell the Cathedral of San Giorgio

The Antonino Uccello Birthplace Museum

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

The city within the city

The senses tell the Church of San Domenico

Rebirth and urban planning of the city of Noto

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

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

The palace, the town, the church

Religious architecture

Luminous sacred spaces

A compromise between Neoclassicism and Baroque

Altars, saints and sculptural works

The Church of St. Francis

The church and the monastery

Fountain of the Nymph Zizza: public water in the town

The senses tell the Cathedral of Sant’Agata

City and nature

Baroque and the loss of balance in the 16th century

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

The Church of St. Paul

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

Scenography, lights and colours of the cathedral

The eagle-shaped city

The senses tell about Palazzo Zacco

One city, three sites

Virtuosity, decorations and altars

The senses tell about Palazzo Trigona

The senses tell the story of the Church of San Benedetto

Palazzo Trigona di Canicarao

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

A new site for the church of San Giorgio

Majestic exteriors, grandiose interiors

The senses tell about Palazzo Beneventano

The Church of St. Benedict

The interior and works of art

Expanded spaces, stucco and colourful lights

The Church of St. Julian on Via dei Crociferi

A casket of precious works

The art of maiolica

The beginning of an authentic Baroque conception

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

A unifying project for the city of Catania

The senses tell about Palazzo Ducezio

The Palazzo dei due mori

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

The expansion of space and changing reality

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

Palazzo della Cancelleria: from former stable to the Nicastro family

Garden of Novices and the restorations by Giancarlo De Carlo

San Domenico and Gagliardi’s work

The senses tell of Palazzo della Cancelleria

The articulated interior spaces

A heritage of votive works

Scicli, the city of Baroque scenery

The senses tell the Cathedral of San Giorgio

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

The Benedictines’ library

The senses tell the story of the Church of San Paolo

St. Agatha and the candelore

Reconstruction after the earthquake

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

Expansion, spatiality and light in the church of San Domenico

Scenography and devotion for St. Agatha

The Monte delle Prestanze in the new city layout

The new roads of the city