Civilisations of Sicily Mediterranean Crossroads: Three Thousand Years of Creativity

Total Page:16

File Type:pdf, Size:1020Kb

Civilisations of Sicily Mediterranean Crossroads: Three Thousand Years of Creativity MARTIN RANDALL TRAVEL ART • ARCHITECTURE • GASTRONOMY • ARCHAEOLOGY • HISTORY • MUSIC • LITERATURE Civilisations of Sicily Mediterranean crossroads: three thousand years of creativity 13–25 September 2021 (mh 889) 13 days • £4,960 Lecturer: Dr Luca Leoncini 11–23 October 2021 (mh 988) 13 days • £4,960 Lecturer: Dr Philippa Joseph 18–30 October 2021 (mh 998) 13 days • £4,960 Lecturer: John McNeill Covers all the island, showcasing the main sights and many lesser-known ones. The whole gamut – Greek, Roman, Norman, Renaissance, Baroque and 19th century. A full tour but carefully paced and with only three hotels. Cross the Straits of Messina to Reggio di Calabria to see the Riace Bronzes. Several special arrangements to visit places not normally open to the public. Option to combine the September departure Segesta, watercolour by Alberto Pisa, publ. 1911 with World Heritage Malta, 27 September–3 October 2021. ornamented with wrought-iron balconies. In glittering greens of intensely farmed valleys. every town there are buildings of unexpected The smoking bulk of Mount Etna, Europe’s Sicily is the pre-eminent island in the magnificence and a plenitude of modest largest active volcano, is visible from much of Mediterranean – the largest as well as the structures of ineffable charm. Some are well the eastern part of the island. most eventful historically. It is also more or preserved, some are crumbling – witness to a less in the middle, a stepping stone between deeper malaise. Itinerary Europe and Africa and a refuge between the For much of its history, Sicily was regularly Levant and the Atlantic. Throughout history one of the most prosperous of European Day 1: Palermo. Fly at c. 3.00pm from London Sicily was viewed as a fortuitous landfall by territories, but political mismanagement and Gatwick to Catania, and drive across the island migrating peoples and a prized possession social dislocation led to a long, deep slump. to Palermo (British Airways). The largest and by ambitious adventurers and expansionist Into the space vacated by absentee landlords by far the most interesting city on the island, princes. And as the Mediterranean has been the and self-serving authorities, the ‘Honoured Palermo has been capital of Sicily since the catalyst and disseminator of a greater variety of Society’ inserted itself as protector – though period of Saracenic occupation in the ninth civilisations than any other of the world’s seas, it has been even more exploitative and malign century. It reached a peak under the Normans the island has accumulated an exceptionally than the worst of earlier tyrants. And the and again during the Age of Baroque. First of rich and incomparably varied inventory of art, region remains low in the tables of prosperity. six nights in Palermo. architecture and archaeological remains. Matters are improving, however. Day 2: Palermo. A morning walk through the Here are to be found some of the finest Conservation and curatorship have made great old centre includes visits to several oratories surviving ancient Greek temples and theatres; strides in recent years, the Mafia has lost its and outstanding Norman buildings including Roman floor mosaics which have no peer dominance, poverty has lessened, and other La Martorana with fine mosaics. Lunch is at a in Europe; and wall and vault mosaics by indicators of wellbeing – the high quality of private palace, by special arrangement. In the Byzantine craftsmen which are unequalled cuisine among them – are more evident as each afternoon see the collection of pictures in the anywhere. Medieval churches and Baroque year goes by. Sicily has been a part of a unified 15th-century Palazzo Abatellis. In the evening palaces abound, and there are many memorable Italy since 1861 and ethnically and culturally it there is an out-of-hours visit to the Palatine paintings, sculptures and other works of art. is unmistakably Italian. But it is also distinctly Chapel in the palace of the Norman kings. As much part of the experience as these Sicilian, a world apart. Forming the backdrop Entirely encrusted with Byzantine mosaics, this masterpieces are the picturesque hill towns, to all this are some ineluctable landscapes, the is perhaps the finest assembly of Byzantine art coastal settlements lapped by a gentle sea, formidable stark hills of the interior and the to survive anywhere. haphazard alleys and vibrant city boulevards book online at www.martinrandall.com Telephone 020 8742 3355 MARTIN RANDALL TRAVEL Civilisations of Sicily continued Day 3: Monreale, Cefalù. The small town of coast of mainland Italy. The town itself, later. There is a series of well preserved mosaics. Monreale dominates a verdant valley southwest clinging to a hillside with beaches far below, Day 13: Noto, Modica. Rebuilt after an of Palermo. Its cathedral is one of the finest has buildings from five centuries as well as earthquake in 1693, the hill town of Noto is one Norman churches on the island and possesses further Roman structures. A smart resort since of the loveliest and most homogenous Baroque the largest scheme of Byzantine mosaic the 19th century, our hotel has shaded gardens towns in Italy. All of honey-coloured stone, decoration in existence. Cefalù, a charming which spill down a series of terraces. (Also a vistas are enlivened with carved stone balconies coastal town, has another massive Norman swimming pool which is usually open between with elaborate ironwork. Visit the cathedral, a cathedral, also with outstanding mosaics, and March and October). convent and a suite of Empire-style rooms in a an art gallery with a painting by the 15th- Day 9: Messina, Reggio di Calabria. Drive palazzo. The exceedingly lovely town of Modica century artist Antonello da Messina. along the coast to Messina. The city was one is situated at a conjunction of valleys at the foot Day 4: Segesta, Selinunte. Set in an unspoilt of Caravaggio’s Sicilian refuges, and in the of the Monti Iblei. See the cathedral, designed hilly landscape, the almost complete but art gallery there are two paintings by him and by Rosario Gagliardi. Fly from Catania, fascinatingly unfinished fifth-century temple at the best-surviving work by the 15th-century arriving London Gatwick at c. 11.15pm. Segesta was built by indigenous if thoroughly painter Antonello da Messina. Cross the Straits If combining this tour with World Heritage Hellenised Sicilians. On an adjacent hill is a of Messina by hydrofoil to Reggio di Calabria Malta, fly from Catania to Malta (Ryanair or spectacularly sited theatre with views to the on mainland Italy to see the Riace Bronzes, Air Malta) and taxi transfer to the hotel. Two sea. Selinunte, founded by Greeks from over-life-size male nudes associated with extra nights in Valletta. the Attic city of Megara c. 650 bc, is a vast Phidias and Polyclitus, among the finest Greek archaeological site, renowned for its many sculpture to survive. temples and acropolis. Day 10: Catania, Siracusa. Sicily’s second city, Lecturers Day 5: Agrigento. The remains of the Greek Catania was largely rebuilt after the earthquake Dr Philippa Joseph. Independent lecturer colony of Akragas at modern-day Agrigento of 1693 with long straight streets lined with and researcher with a background in academic constitute one of the greatest sites bequeathed Baroque palaces. Special arrangements to see publishing. Former reviews editor of History by the ancient world. A relatively late a magnificent private palazzo and a Byzantine Today, she is a tutor in architectural and art foundation (580 bc), it rose rapidly to riches chapel, and visits to the enormous monastery history at the Oxford University Department and constructed eight peripteral temples, the of St Nicola and harmonious cathedral square. for Continuing Education. Her teaching and most numerous group in the Greek world. Continue to Syracuse: founded as a Greek research focuses on the artistic and cultural That dedicated to Olympian Zeus was the colony in 733 bc, it became the most important legacies of Andalucía and Sicily. largest of all Doric temples before being felled city of Magna Græcia. Late-afternoon visit to by Carthaginians and earthquakes, while the the fifth-century bc theatre, the largest of its Dr Luca Leoncini. Art historian with a Temple ‘of Concord’ is the best preserved. type to survive, and the Roman amphitheatre. speciality in 15th-century painting and a wide Continue to Syracuse for the first of three knowledge of Italian art and architecture. Day 6: Palermo. San Giovanni degli Eremiti nights. He obtained his degree and PhD at Rome is a Norman church with five cupolas and a University and studied at the Warburg Institute charming garden. The cathedral, a building of Day 11: Syracuse. The Island of Ortygia, the in London. He has also written on Mantegna and many periods (though largely medieval), has ancient heart of Syracuse, is densely packed on Renaissance drawings. He is one of MRT’s grand royal and imperial tombs. See also the with structures from ancient Greek to Stile longest serving lecturers. archaeological museum, which displays one Liberty, and is one of the largest areas of of the richest collections of Punic and Ancient unremittingly picturesque townscape to John McNeill. Architectural historian of the Greek art in Italy. be found anywhere. The day’s walks thread Middle Ages and Renaissance. He lectures for through meandering alleys, little piazze and Oxford University’s Department of Continuing Day 7: Palermo, Piazza Armerina. Visit seaside promenades, lingering at buildings Education and is Honorary Secretary of the Castello della Zisa, an Arab-Norman Palace. such as the cathedral, unique in incorporating British Archaeological Association. Publications Then leave Palermo and drive through the hilly a Doric temple of c. 480 bc, and the medieval include articles in learned journals and interior of Sicily.
Recommended publications
  • Adriatic Odyssey
    confluence of historic cultures. Under the billowing sails of this luxurious classical archaeologist who is a curator of Greek and Roman art at The Metropolitan Museum of Art. Starting in the lustrous canals of Venice, journey to Ravenna, former capital of the Western Roman Empire, to admire the 5th- and 6th-century mosaics of its early Christian churches and the elegant Mausoleum of Galla Placidia. Across the Adriatic in the former Roman province of Dalmatia, call at Split, Croatia, to explore the ruined 4th-century palace of the emperor Diocletian. Sail to the stunning walled city of Dubrovnik, where a highlight will be an exclusive concert in a 16th-century palace. Spartan town of Taranto, home to the exceptional National Archaeological Museum. Nearby, in the UNESCO World Heritage Site of Alberobello, discover hundreds of dome-shaped limestone dwellings called Spend a delightful day at sea and call in Reggio Calabria, where you will behold the 5th-century-B.C. , heroic nude statues of Greek warriors found in the sea nearly 50 years ago. After cruising the Strait of Messina, conclude in Palermo, Sicily, where you can stroll amid its UNESCO-listed Arab-Norman architecture on an optional postlude. On previous Adriatic tours aboard , cabins filled beautiful, richly historic coastlines. At the time of publication, the world Scott Gerloff for real-time information on how we’re working to keep you safe and healthy. You’re invited to savor the pleasures of Sicily by extending your exciting Adriatic Odyssey you can also join the following voyage, “ ” from September 24 to October 2, 2021, and receive $2,500 Venice to Palermo Aboard Sea Cloud II per person off the combined fare for the two trips.
    [Show full text]
  • Antonello Da Messina's Dead Christ Supported by Angels in the Prado
    1 David Freedberg The Necessity of Emotion: Antonello da Messina’s Dead Christ supported by Angels in the Prado* To look at Antonello da Messina’s painting of the Virgin in Palermo (fig. 1) is to ask three questions (at least): Is this the Virgin Annunciate, the Immaculate Mother of God about to receive the message that she will bear the Son of God? Or is it a portrait, perhaps even of someone we know or might know? Does it matter? No. What matters is that we respond to her as if she were human, not divine or transcendental—someone we might know, even in the best of our dreams. What matters is that she almost instantly engages our attention, that her hand seems to stop us in our passage, that we are drawn to her beautiful and mysterious face, that we recognize her as someone whose feelings we feel we might understand, someone whose emotional state is accessible to us. Immediately, upon first sight of her, we are involved in her; swiftly we notice the shadow across her left forehead and eye, and across the right half of her face, the slight turn of the mouth, sensual yet quizzical at the same time.1 What does all this portend? She has been reading; her hand is shown in the very act of being raised, as if she were asking for a pause, reflecting, no doubt on what she has just seen. There is no question about the degree of art invested in this holy image; but even before we think about the art in the picture, what matters is that we are involved in it, by * Originally given as a lecture sponsored by the Fondación Amigos Museo del Prado at the Museo del Prado on January 10, 2017, and published as “Necesidad de la emoción: El Cristo muerto sostenido por un ángel de Antonello de Messina,” in Los tesoros ocultos del Museo del Prado, Madrid: Fundación Amigos del Museo del Prado; Crítica/Círculo de Lectores, 2017, 123-150.
    [Show full text]
  • Fra Tardogotico E Rinascimento: Messina Tra Sicilia E Il Continente
    Artigrama, núm. 23, 2008, 301-326 — I.S.S.N.: 0213-1498 Fra Tardogotico e Rinascimento: Messina tra Sicilia e il continente FULVIA SCADUTO* Resumen L’architettura prodotta in ambito messinese fra Quattro e Cinquecento si è spesso prestata ad una valutazione di estraneità rispetto al contesto isolano. L’idea che Messina sia la città più toscana e rinascimentale del sud va probabilmente mitigata: i terremoti che hanno col- pito in modo devastante Messina e la Sicilia orientale hanno probabilmente sottratto numerose prove di una prolungata permanenza del gotico in quest’area condizionando inevitabilmente la lettura degli storici. Bisogna aggiungere che i palazzi di Taormina risultano erroneamente retrodatati e legati al primo Quattrocento. In realtà in questi episodi (ed altri, come quelli di palazzi di Cosenza) il linguaggio tardogotico si manifesta tra Sicilia e Calabria come un feno- meno vitale che si protrae almeno fino ai primi decenni del XVI secolo ed è riscontrabile in mol- teplici fabbriche che la storia ci ha consegnato in resti o frammenti di resti. Il rinascimento si affaccia nel nord est della Sicilia con l’opera di scultori che usano il marmo bianco di Carrara (attivi soprattutto a Messina e Catania) e che sono impegnati nella realizzazione di monumenti, altari, cappelle, portali ecc. Da questo punto di vista Messina segue una parabola analoga a quella di Palermo dove l’architettura tardogotica convive con la scultura rinascimentale. L’influenza del classicismo del marmo, della tradizione tardogotica e il dibattito che si innesca nel duomo di Messina, un cantiere che si andava completando ancora nel corso del primo Cinquecento, sembrano generare nei centri della provincia una serie di sin- golari episodi in cui viene sperimentata la possibilità di contaminazione e ibridazione (portali di Tortorici, Mirto, Mistretta ecc.).
    [Show full text]
  • Presentazione Di Powerpoint
    2nd International Conference of Evidence-Based Health Care Teachers & Developers Sign posting the future in EBHC Utveggio Castle, Palermo (Italy) - September 10-14, 2003 Benvenuti in Sicilia © 1996-2003 - GIMBE The power of Internet Evidence-Based Health Discussion List Subject: conference on teaching ebm/ websites/ sources of materials/ collaboration/ & CATs (or Pearls) From: Martin Dawes ([email protected]) Date: 22 May 2000 - 11:28 BST © 1996-2003 - GIMBE • Some time ago I invited comments about such a meeting. • I received 21 replies all of whom were positive - with some helpful suggestions. • How long was agreed at 2-3 days. • Some interesting ideas: - developing methods to evaluate teaching performance - developing criteria to evaluate effectiveness of workshops • I suggest March 2001 is about practical • I have the e-mails of the people who responded initially and I will approach them to make up an organising committee - anyone else who wants to help Please take one step forward Martin Dawes © 1996-2003 - GIMBE Where ? The question of where was determined by the origin of the sender © 1996-2003 - GIMBE At the time my proposal was… Possibly in Europe, ideally in Italy, it would be fantastic in Sicily! © 1996-2003 - GIMBE What is Evidence-based Medicine? • Paradigm • Reference • Dogma • Neologism • Philosophy • New orthodoxy •… © 1996-2003 - GIMBE Guyatt GH Evidence-based Medicine ACP Journal Club 1991;Mar-Apr:A-16 © 1996-2003 - GIMBE September 2001.Ten years later EBM was the occasion for the irresistible wish
    [Show full text]
  • WRITING ABOUT EARLY RENAISSANCE WORKS of ART in VENICE and FLORENCE (1550-1800) Laura-Maria
    BETWEEN TASTE AND HISTORIOGRAPHY: WRITING ABOUT EARLY RENAISSANCE WORKS OF ART IN VENICE AND FLORENCE (1550-1800) Laura-Maria Popoviciu A dissertation submitted in fulfillment of the requirements for the degree of Doctor of Philosophy in Combined Historical Studies The Warburg Institute University of London 2014 1 I declare that the work presented in this thesis is my own _______________________________ Laura-Maria Popoviciu 2 ABSTRACT My dissertation is an investigation of how early Renaissance paintings from Venice and Florence were discussed and appraised by authors and collectors writing in these cities between 1550 and 1800. The variety of source material I have consulted has enabled me to assess and to compare the different paths pursued by Venetian and Florentine writers, the type of question they addressed in their analyses of early works of art and, most importantly, their approaches to the re-evaluation of the art of the past. Among the types of writing on art I explore are guidebooks, biographies of artists, didactic poems, artistic dialogues, dictionaries and letters, paying particular attention in these different genres to passages about artists from Guariento to Giorgione in Venice and from Cimabue to Raphael in Florence. By focusing, within this framework, on primary sources and documents, as well as on the influence of art historical literature on the activity of collecting illustrated by the cases of the Venetian Giovanni Maria Sasso and the Florentine Francesco Maria Niccolò Gabburri, I show that two principal approaches to writing about the past emerged during this period: the first, adopted by many Venetian authors, involved the aesthetic evaluation of early Renaissance works of art, often in comparison to later developments; the second, more frequent among Florentine writers, tended to document these works and place them in their historical context, without necessarily making artistic judgements about them.
    [Show full text]
  • Antonello Da Messina
    Seminar 8: Set Reading – Primary Source Giorgio Vasari on Antonello da Messina When I consider within my own mind the various qualities of the benefits and advantages that have been conferred on the art of painting by many masters who have followed the second manner, I cannot do otherwise than call them, by reason of their efforts, truly industrious and excellent, because they sought above all to bring painting to a better condition, without thinking of discomfort, expense, or any particular interest of their own. They continued, then, to employ no other method of colouring save that of egg tempera [a tempera] for panels and for canvases, which method had been introduced by Cimabue in the year 1250, when he was working with those Greeks, and had been afterwards followed by Giotto and by the others of whom we have spoken up to the present; and they were still adhering to the same manner of working, although the craftsmen recognized clearly that pictures in tempera were wanting in a certain softness and liveliness, which, if they could be obtained, would be likely to give more grace to their designs, loveliness to their colouring, and greater facility in blending the colours together; for they had ever been wont to hatch their works merely with the point of the brush. But although many had made investigations and sought for something of the sort, yet no one had found any good method, either by the use of liquid varnish or by the mixture of other kinds of colours with the tempera… This same desire was felt by many lofty minds that were devoted to painting beyond the bounds of Italy, namely, by all the painters of France, Spain, Germany, and other countries.
    [Show full text]
  • Regolamento Monumenti, Musei E Palazzi
    COMUNE DI FICARRA Provincia di Messina REGOLAMENTO PER LA DISCIPLINA DELLE TARIFFE E MODALITA’ D’USO PER L’ACCESSO AI MONUMENTI, MUSEI, PALAZZI ECC… Art. 1 Il Comune di Ficarra ,nell’ambito delle proprie competenze e finalità statutarie tese alla salvaguardia dei beni culturali, promuove e favorisce la tutela, la conservazione e l’utilizzazione dei monumenti appartenenti al proprio patrimonio, al fine di assicurarne un regolare diritto di accesso a tutti gli interessati. Art. 2 La gestione dei servizi effettuati (informazione ed accoglienza turistica, visite, mostre artistiche, eventi e manifestazioni, ecc..) è di competenza del Comune e viene attuata con proprio personale. Possono essere previste forme di collaborazione con Associazioni, altri Enti e privati. Art. 3 MODALITA’ DI VISITA Tutti i giorni dalle ore 9.00 alle ore 12.00 e dalle ore 16.00 alle ore 20.00 (da Giugno a Ottobre) dalle ore 9.00 alle ore 12.00 e dalle ore 15.00 alle ore 18.00 (da Novembre a Maggio) Per usufruire del servizio di accompagnatore è necessaria la prenotazione tramite fax (0941/582604-0941/582037) TICKET: Gruppi di 15 visitatori € 1,50 a persona Visitatori singoli € 2,50 Anziani (over 65) € 1,00 Bambini (fino a 10 anni) € == Gruppi scolastici max 50 alunni € 1,50 (gratuito per docenti max 4 per gruppo e per alunni disabili) Il pagamento del ticket deve essere effettuato in contanti il giorno stesso della visita o tramite bonifico bancario anticipato sul c.c.b. intestato a: Comune di Ficarra – tesoreria comunale c/o UNICREDIT S.p.A. Agenzia di Brolo – IBAN IT 65 S 02008 82080 000101194841.
    [Show full text]
  • Accorsi's Dream of the Eighteenth Century
    Accorsi's Dream of The Eighteenth Century The Dealer's idea of an Ambient: a Fantasy of Piedmont and French Art By Carmen Colomer (Master of Philosophy Faculty of Arts University of Glasgow) Christies s Education London Master's Programme September 2001-09-29 Copyright C. Colomer ProQuest Number: 13818854 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818854 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 'GLASGOW u n iv e r s it y LIBRARY: \lSOOl Contents Abstract Acknowledgements Structure of the Study List of Comparative Plates Chapter I. Introduction 1 1.1 Pietro Accorsi’s Early Years 2 1.2 The Effect of the Two World Wars on the Market of Antiques 3 Chapter II. Antique Dealers: Collecting, Distributing and Hoarding 4 II. 1 Historic Considerations 11.2 Types of Antique Dealers 5 11.3 The Socio-Economic Position of Antique Dealers in the 6 Twenty Century, with particular reference to Pietro Accorsi Chapter III. Structural divisions within the Antique Trade 7 III. 1 The Availability of Antiques to Sell in Turin 7 111.2 The Economic Situation in Turin Between and After the 8 Two World Wars 111.3 The Dictates of Fashion 8 Chapter IV.
    [Show full text]
  • La Pala Di San Cassiano Di Antonello Da Messina
    UNIVERSITÀ DEGLI STUDI DI PAVIA DIPARTIMENTO DI MUSICOLOGIA E BENI CULTURALI La pala di San Cassiano di Antonello da Messina Relatore: Prof. Francesco Frangi Correlatore: Prof.essa Sara Fontana Tesi di laurea triennale in Beni Culturali Carla Gerbino n° matr. 420100 Anno Accademico 2015/2016 1 Indice Introduzione Capitolo I - Antonello da Messina 1.1 Breve biografia 1.2 Il soggiorno a Venezia Capitolo II - La Pala di San Cassiano 2.1 Storia della chiesa dei santi Cassiano e Cecilia 2.2 La Pala di San Cassiano 2.2.1 La simbologia e il riconoscimento dei santi 2.2.2 Lo stile 2.2.3 La storia 2.2.4 La fortuna Introduzione Questa tesi nasce da un duplice interesse personale: da una parte la passione per la storia dell’arte in tutte le sue manifestazioni, dall’altra voler analizzare un artista mio conterraneo. Il presente elaborato è frutto di un’attenta ricerca in merito ad uno dei protagonisti del rinnovamento artistico nel Meridione il quale, con la sua tecnica e le sue innovazioni, ha maggiormente influito il gusto pittorico nel Quattrocento: Antonello da Messina. Ho voluto ricostruire il percorso artistico di Antonello da Messina, dalla sua formazione alla bottega di Colantonio a Napoli sino all’affermazione del suo genio nella città di Venezia. Lo scopo principale di questa tesi è offrire un’indagine esaustiva su una dei capolavori del pittore messinese, la Pala di San Cassiano la quale, purtroppo oggi frammentaria e inamovib ile dal museo di Vienna, all’epoca diventò tassello determinante per la formazione pittorica degli artisti coevi e successivi ad Antonello.
    [Show full text]
  • “Ecce Homo” by Antonello Da Messina, from Non-Invasive Investigations To
    www.nature.com/scientificreports OPEN “Ecce Homo” by Antonello da Messina, from non‑invasive investigations to data fusion and dissemination Fauzia Albertin1,2,3, Chiara Ruberto4,5*, Costanza Cucci6*, Marco Callieri7, Marco Potenziani7*, Eliana Siotto7, Paolo Pingi7, Roberto Scopigno7, Matteo Bettuzzi2,3, Rosa Brancaccio2,3, Maria Pia Morigi2,3, Lisa Castelli4, Francesco Taccetti4, Marcello Picollo6, Lorenzo Stefani6 & Francesca de Vita8 Scientifc investigations of artworks are crucial in terms of preservation since they provide a measurable evaluation of the materials and the state of conservation. This is the case of Antonello da Messina’s painting “Ecce Homo”: its delicate state of conservation, with the need for constant monitoring, required a broad and in‑depth diagnostic campaign to support the restorers. The project was carried out entirely in situ using non‑invasive cutting‑edge techniques and proposes a multimodal and data‑centric approach, integrating 3D and 2D methodologies. The surface irregularities and the support were analysed with a structured‑light 3D scanner and X‑ray tomography. The painting materials were investigated with X‑ray fuorescence scanning (MA‑XRF) and refectance hyperspectral imaging (HSI). Primarily, the data were jointly used for a scientifc scope and provided new knowledge of the painting in terms of materials and painting techniques. In addition, two web‑based interactive platforms were developed: one to provide restorers and experts with a new perspective of the hidden geometries of the painting, and the other targeted at the general public for dissemination purposes. The results of the Ecce Homo scientifc analysis were exhibited, using a touch‑screen interface, and developed for diferent user levels, from adults to kids.
    [Show full text]
  • Art and Archaeology of Sicily Wednesdays, 7:00 - 8:50 Pm - April 5 – June 7 Preliminary Syllabus and Course Outline
    ARTH 41 Dr. Patrick Hunt Spring 2017 Stanford Continuing Studies http://www.patrickhunt.net art and archaeology of Sicily Wednesdays, 7:00 - 8:50 pm - April 5 – June 7 Preliminary Syllabus and Course Outline Course Aims: The poet Goethe said that Sicily was the key to Italy and that one cannot understand Italy without Sicily. Sicily has long been known since the Greeks as Persephone’s Island. Greek poet Pindar said that Akragas (Agrigento, with its Vale of Temples), is the loveliest city in the world built by mortals. Goethe also claimed that the view from a high seat in Taormina’s Greco-Roman theater offered the best view in the world. Others claim the best Greek Temples, Roman mosaics and Byzantine biblical art are also in Sicily. How does Sicily rate these superlatives and could they be true? The instructor of this course has also written books of poetry in which his love of Sicily figures prominently. Sicily is the largest and loveliest island in the Mediterranean as well as the most culturally rich. It sits at the crossroads of many cultures that colonized it throughout the millennia, from the Phoenicians onward. Sicily’s art and architecture, not surprisingly, include some of the best surviving Greek temples and theaters, Roman villas and mosaics, Islamic structures, Byzantine churches, Norman palaces, Baroque cathedrals, and of course, remarkable Caravaggio and Antonella da Messina paintings. In addition, Sicily is likely one locus of Homeric myths: Scylla and Charybdis, the Cyclops Polyphemus on Mount Etna, and the nymph Arethusa. Some of the finest archaeological museums in the world are also found at Palermo, Siracusa, and Agrigento.
    [Show full text]
  • TIMELESS MASTERPIECES Edited by Elvira D’Amico
    TREASURE MAPS Twenty Itineraries Designed to Help You Explore the Cultural Heritage of Palermo and its Province Soprintendenza per i Beni culturali e ambientali di Palermo TIMELESS MASTERPIECES edited by Elvira D’Amico REGIONE SICILIANA Assessorato dei Beni culturali e dell’Identità siciliana PO FESR Sicilia 2007-2013 Linea d’intervento 3.1.1.1. “Investiamo nel vostro futuro” Project TREASURE MAPS Twenty Itineraries Designed to Help You Explore the Cultural Heritage of Palermo and its Province project by: Ignazio Romeo R.U.P.: Claudia Oliva Soprintendente: Maria Elena Volpes Timeless Masterpieces edited by: Elvira D’Amico texts by: Gaetano Bongiovanni, Elvira D’Amico, Evelina De Castro, Maddalena De Luca, Valeria Li Vigni, Alessandra Merra, Maria Emanuela Palmisano, Rosario Perricone, Costanza Polizzi, Maria Reginella, Alessandra Ruvituso, Giuliana Sarà photographs: Dario Di Vincenzo (cover, p. 5, 14, 15, 16, 18, 19, 27, 31, 35, 36, 38, 40, 41, 42, 44-49, 50, 52, 53, 57); Gero Cordaro (p. 21, 23, 25, 32); Archivio fotografico Museo Salinas (p. 7, 8, 11, 12); D’Aguanno/Civita Sicilia (p. 54); Archivi Guttuso (p. 58); Paola Verro (p. 60); Fabio Sgroi (p. 61); Enzo Brai (p. 62); Maria Antonietta Emma e Salvatore Bommarito (p. 63). editorial staff: Ignazio Romeo, Maria Concetta Picciurro collaborations: Maria Reginella, Girolamo Papa graphics and printing: Ediguida s.r.l. translations: Logoteum Language Services we would like to thank all the museums and institutions who grant us the reproduction of the works presented in this volume special thanks are due to Fondo Edifici di Culto del Ministero dell’Internoand Prefettura di Palermo, Arcidiocesi di Palermo; Archivi Guttuso and their Chairman Fabio Carapezza Guttuso Treasure Maps: Twenty Itineraries Designed to Help You Explore the Cultural Heritage of Palermo and its Province.
    [Show full text]