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.

Virtuosity, decorations and altars

Baroque and the loss of balance in the 16th century

The expansion of space and changing reality

The city palace

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

The Church of Madonna della Stella

The interior of the church: space and colour

The Church of St. Mary of the Mountain

The palace, the town, the church

Fountain of the Nymph Zizza: public water in the town

Scenography and devotion for St. Agatha

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

Akrai and Syracuse: an unbreakable bond

Luminous sacred spaces

The Staircase of Angels

The Infiorata of Noto, a modern tradition

Religious architecture

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

The senses tell the Church of San Domenico

Majestic exteriors, grandiose interiors

The city within the city

The new roads of the city

Garden of Novices and the restorations by Giancarlo De Carlo

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

A stone garden

The senses tell about Palazzo Beneventano

Reconstruction after the earthquake

The senses tell about Palazzo Zacco

Palazzo Trigona di Canicarao

The works in the church

Palazzo della Cancelleria: from former stable to the Nicastro family

The senses tell the story of the Church of San Benedetto

The two churches

The illusion of light and the decorative splendour

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

Madonna of the Militia: a singular warrior virgin

The Franciscan convent

St. Agatha and the candelore

The church and the monastery

A story of rebirth

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

The eagle-shaped city

One city, three sites

Baroque creativity: recurring themes

A casket of precious works

The senses tell the Cathedral of San Giorgio

The Benedictines’ library

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

The senses tell about Palazzo Trigona

The Monte delle Prestanze in the new city layout

The Church of St. Paul

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

City and nature

The senses tell the Church of San Michele

The senses tell the Cathedral of Sant’Agata

The senses tell of the Cathedral of San Pietro

Expansion, spatiality and light in the church of San Domenico

A unifying project for the city of Catania

The senses tell of Palazzo della Cancelleria

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

The Madonna dei Conadomini and the art of devotion

The church and the college

The casket of austerity under the great dome

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

A heritage of votive works

Militello: The story of an enlightened fiefdom

The senses tell the Cathedral of San Giorgio

Rebirth and urban planning of the city of Noto

Art in the cathedral

Unusual iconographies: the Burgos crucifix

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

The Church of St. Francis

The Church of St. Julian on Via dei Crociferi

A compromise between Neoclassicism and Baroque

The senses tell the story of the Church of San Paolo

Expanded spaces, stucco and colourful lights

The Antonino Uccello Birthplace Museum

The city of Modica, a balance between nature and urbanism

Scicli, the city of Baroque scenery

The articulated interior spaces

The smallest Greek theatre in the world

Altars, saints and sculptural works

A Nobel Prize in Modica

Palazzo Zacco, a balance between sobriety and decoration

From the end of the world to rebirth from the rubble

The interior and works of art

The Church of St. Benedict

The dynamics of the Church of San Michele

The beginning of an authentic Baroque conception

The Palazzo dei due mori

The Monastery of the Benedictine nuns

The senses tell about Palazzo Ducezio

The art of maiolica

The interiors: diffused light and Byzantine relics

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

A new site for the church of San Giorgio

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

San Domenico and Gagliardi’s work

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

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

Scenography, lights and colours of the cathedral

The Church of St. John the Evangelist

Palazzo Trigona: a building with a complex shape

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

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

The triumph of Baroque: expansion of spaces