Palazzolo Acreide

One city, three sites

Situated inland from Syracuse, Palazzolo Acreide is one of the oldest towns of the Val di Noto.
Palazzolo Acreide was also affected by the earthquake of 1693. It was reborn from its rubble, in its original place, where Baroque squares with their scenic architecture wind around the main street. Light enters the squares, animating the façades and creating chromatic contrasts.
The city features three different sites that describe its three historical periods. The medieval centre, rebuilt on top of where it stood near former Acre, was located on a rocky spur in a strategic position for controlling the territory.
There stood a “palatium”, or imperial palace, which is where the name “palatiolum” of the new town comes from. The oldest centre of the town was founded 70 years after the city of Syracuse, creating a lasting bond with it.

This new town on the plateau of the Hyblaean Mountains allowed trade between Syracuse and the other southern towns, promoting the spread of Hellenic culture in the centuries to come.
The 17th and 18th-century buildings and Baroque squares become prominent features of the main street, with their unique art and architecture. The main street leads to the ancient Greek site of Akrai which still houses the world’s smallest Greek theatre today.
The entire monumental archaeological area, which also includes the ancient theatre, is near to the fabric of the Baroque town and its great scenic importance is fundamental for discovering ancient Sicily.

foto fil di ferro Teatro Greco
Teatro Greco
The senses tell the story of the Church of Santa Maria del Monte

The beginning of an authentic Baroque conception

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

The expansion of space and changing reality

The city of Modica, a balance between nature and urbanism

A compromise between Neoclassicism and Baroque

Akrai and Syracuse: an unbreakable bond

The triumph of Baroque: expansion of spaces

A heritage of votive works

Expanded spaces, stucco and colourful lights

The Monastery of the Benedictine nuns

Palazzo Zacco, a balance between sobriety and decoration

Art in the cathedral

Virtuosity, decorations and altars

The interior and works of art

The senses tell about Palazzo Trigona

The Madonna dei Conadomini and the art of devotion

One city, three sites

The Church of St. Paul

Scenography and devotion for St. Agatha

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

The church and the monastery

The Antonino Uccello Birthplace Museum

Rebirth and urban planning of the city of Noto

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

The articulated interior spaces

The new roads of the city

Scenography, lights and colours of the cathedral

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

The senses tell the Church of San Michele

From the end of the world to rebirth from the rubble

The senses tell of the Cathedral of San Pietro

The interior of the church: space and colour

Reconstruction after the earthquake

The illusion of light and the decorative splendour

City and nature

Fountain of the Nymph Zizza: public water in the town

The senses tell the Cathedral of San Giorgio

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

The Monte delle Prestanze in the new city layout

Scicli, the city of Baroque scenery

The senses tell about Palazzo Beneventano

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

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

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

The Church of St. Benedict

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

San Domenico and Gagliardi’s work

Baroque creativity: recurring themes

The church and the college

The interiors: diffused light and Byzantine relics

The Church of St. Mary of the Mountain

Majestic exteriors, grandiose interiors

The senses tell about Palazzo Ducezio

Militello: The story of an enlightened fiefdom

The Church of St. Francis

The two churches

The senses tell the story of the Church of San Paolo

The senses tell the Cathedral of San Giorgio

Garden of Novices and the restorations by Giancarlo De Carlo

Madonna of the Militia: a singular warrior virgin

Unusual iconographies: the Burgos crucifix

The city within the city

The Franciscan convent

Luminous sacred spaces

Expansion, spatiality and light in the church of San Domenico

A unifying project for the city of Catania

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

The Staircase of Angels

A new site for the church of San Giorgio

The senses tell the Church of San Domenico

The Infiorata of Noto, a modern tradition

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

The smallest Greek theatre in the world

The Church of Madonna della Stella

The art of maiolica

The Church of St. John the Evangelist

A story of rebirth

St. Agatha and the candelore

The casket of austerity under the great dome

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

Altars, saints and sculptural works

Palazzo Trigona di Canicarao

The Benedictines’ library

The senses tell the Cathedral of Sant’Agata

The senses tell about Palazzo Zacco

Palazzo Trigona: a building with a complex shape

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

The senses tell of Palazzo della Cancelleria

Baroque and the loss of balance in the 16th century

Religious architecture

The Church of St. Julian on Via dei Crociferi

The eagle-shaped city

The works in the church

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

The Palazzo dei due mori

The city palace

A stone garden

The palace, the town, the church

A Nobel Prize in Modica

The dynamics of the Church of San Michele

Palazzo della Cancelleria: from former stable to the Nicastro family

A casket of precious works

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