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

Virtuosity, decorations and altars

The Monte delle Prestanze in the new city layout

Luminous sacred spaces

The senses tell the Church of San Domenico

The works in the church

The senses tell the Cathedral of Sant’Agata

The interior of the church: space and colour

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

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

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

One city, three sites

The Madonna dei Conadomini and the art of devotion

Palazzo della Cancelleria: from former stable to the Nicastro family

Scicli, the city of Baroque scenery

A Nobel Prize in Modica

The Staircase of Angels

The Church of St. Benedict

The art of maiolica

San Domenico and Gagliardi’s work

The Benedictines’ library

The Church of Madonna della Stella

The senses tell about Palazzo Ducezio

The beginning of an authentic Baroque conception

A story of rebirth

The Church of St. Paul

Madonna of the Militia: a singular warrior virgin

A compromise between Neoclassicism and Baroque

The senses tell the Church of San Michele

The senses tell about Palazzo Zacco

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

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

The palace, the town, the church

A casket of precious works

Rebirth and urban planning of the city of Noto

The church and the college

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

The new roads of the city

The triumph of Baroque: expansion of spaces

The Church of St. Julian on Via dei Crociferi

The expansion of space and changing reality

The illusion of light and the decorative splendour

Palazzo Trigona: a building with a complex shape

The Church of St. Francis

A heritage of votive works

The eagle-shaped city

The dynamics of the Church of San Michele

The Church of St. John the Evangelist

The senses tell of the Cathedral of San Pietro

The two churches

The senses tell the Cathedral of San Giorgio

St. Agatha and the candelore

Religious architecture

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

Altars, saints and sculptural works

The senses tell about Palazzo Trigona

The senses tell about Palazzo Beneventano

Majestic exteriors, grandiose interiors

Baroque and the loss of balance in the 16th century

The Antonino Uccello Birthplace Museum

Scenography, lights and colours of the cathedral

Scenography and devotion for St. Agatha

A stone garden

Expansion, spatiality and light in the church of San Domenico

Expanded spaces, stucco and colourful lights

The casket of austerity under the great dome

The Palazzo dei due mori

The interior and works of art

The senses tell of Palazzo della Cancelleria

The senses tell the Cathedral of San Giorgio

Unusual iconographies: the Burgos crucifix

The city palace

Palazzo Zacco, a balance between sobriety and decoration

The interiors: diffused light and Byzantine relics

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

The church and the monastery

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

The smallest Greek theatre in the world

The Church of St. Mary of the Mountain

Baroque creativity: recurring themes

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

A unifying project for the city of Catania

The Infiorata of Noto, a modern tradition

The senses tell the story of the Church of San Paolo

Akrai and Syracuse: an unbreakable bond

Militello: The story of an enlightened fiefdom

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

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

The city within the city

From the end of the world to rebirth from the rubble

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

The senses tell the story of the Church of San Benedetto

The city of Modica, a balance between nature and urbanism

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

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

The articulated interior spaces

Garden of Novices and the restorations by Giancarlo De Carlo

Fountain of the Nymph Zizza: public water in the town

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

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

A new site for the church of San Giorgio

Palazzo Trigona di Canicarao

City and nature

Art in the cathedral

The Monastery of the Benedictine nuns

The Franciscan convent

Reconstruction after the earthquake