NICOSIA
Founded
in the Byzantine age when it acquired its eastern sounding name
(possibly a corruption of “Città di San Nicolò”),
the little town clusters around the castle (now reduced to ruins)
that once dominated the highest crag. Nicosia shares the same fate
as the rest of Sicily, having been occupied by the Norman, Swabian,
Aragonese, Castillian and then Bourbon. A long rivalry has faced,
most in the past centuries, the upper and lower parts of the town,
with each faction clinging fiercely to their respective church (San
Nicolò and Santa Maria); the predicament, also facing other
towns in Sicily (Ragusa and Modica being two examples), here assumed
an unusual level of determination and aggression with even scuffles
broken out in the street, during religious processions. A gate was
finally set up to mark the official division of the town into two.
Even as recently as 1957, two Crucifixes were borne through the
town in separate processions celebrating Good Friday.
The
historical centre is formed by a network of cobbled streets which
narrow and then widen, go up and down with the lie of the land in
a typically medieval way, sometimes revealing cave-houses (now often
converted into stores or garages) – now a mere reminder of
the troglodyte cave-dwellings that were widespread in former times,
particularly in south-eastern Sicily. The town contains a number
of interesting buildings and monuments, especially churches and
palazzi, albeit most closed due to staff-shortages or restoration
works.
Piazza
Garibaldi – The piazza at the heart of the little town, becomes
especially atmospheric in the evening when it is suffused with artificial
light. It is lined with distinguished-looking buildings, including
San Nicolò and the 1800’s Palazzo di Città which
encloses an elegant internal courtyard ornamented with a fine wrought-iron
lamp.
Cattedrale
di S. Nicolò – The cathedral was originally built in
the Gothic style (conceived in 1340 as an extension to a chapel),
but has undergone several changes through the centuries. Evidence
of its original splendor, however, can be found in the elegant main
doorway decorated with flowers, acanthus leaves and palmettes, and
the bell-tower which, although much altered, retains enough on its
second level to suggest the impact of two and three arched openings
enclosed within elaborate ogive arches. The left flank of the cathedral
overlooking Piazza Garibaldi has an entrance ornamented with pointed
arches, also from the Gothic period. Further up towards the apsed
east end, carved into the external walls are a set of sample weights
and measures. The interior results from many alterations undertaken;
not least the ceiling completed in the 19th century and crowned,
in the dome, by an unusual statue of St. Nicholas “suspended”
from on high. This 1600’s figure is by Giovan Battista Li
Volsi, who, with his son Stefano, also built the choirstalls out
of walnut (1622), and finely decorated it with flowers and putti.
The first stalls harbour four scenes depicting Christ entering Jerusalem
(first on the left) and, opposite, the Coronation of the Virgin
(note, in the lower section, a representation of Nicosia before
the landslide of 1757 which seriously affected the higher part of
the town), while the Martyrdom of St. Bartholomew (second on the
left) has as its pennant the Miracle of St. Nicholas.
The
roof of the church, however, holds a secret: above the vault spans
another earlier trussed and painted wooden ceiling from the 14th-15th
century; sadly this is no longer accessible to the public, although
a virtual recreation has been instigated at the Centro Civico in
Palazzo Nicosia (opposite the Town Hall). Attached to the inside
wall of the main façade is an organ by Raffaele della Valle
installed in a wooden loft by Stefano Li Volsi. The church preserves
examples of Gagini workmanship (baptismal font and pulpit), a sculptural
arrangement of Christ in Glory between the Virgin and John the Baptist,
attributed to Antonello Gagini (second chapel on the left), while
the chapter house is hung with three fine 1600’s paintings,
such as “Madonna and Child between John the Baptist and Santa
Rosalia” by Pietro Novelli, a St. Bartholomew by Giuseppe
de Ribera, known as the “Spagnoletto”, in which the
flayer and other onlookers are animated by intense realism, and
a Martyrdom of St. Sebastian by Salvator Rosa.
Find,
then turn up Salita Salomone between buildings from a more splendid
age; continue along Via Ansaldi to Chiesa di San Vincenzo Ferreri
which is frescoed by Guglielmo Borremans, and then on to Santa Maria
Maggiore, strategically situated with glorious views of the hills
and the lower part of the town.
S.
Maria Maggiore – In 1757, a landslide swept away the upper
part of the town including Santa Maria Maggiore. Very soon after,
work was initiated on a replacement church, slightly taller than
its predecessor while all the local residents set to work in order
to meet the cost. The noble La Via family gave a lovely 1600’s
doorway from their palazzo, that now adorns the main front. Inside,
the eye is immediately caught by the Cona, a large marble composition
in six tiers illustrating scenes from the life of the Virgin, crowned
with a figure of St. Michael, a work by Antonello Gagini and his
pupils. At the end of the south aisle is the throne of Charles V,
so called since the Emperor used it when he passed through the town
in 1535.
Atop
the steep rocks behind the church stood the castle, now reduced
to a mere ruin. This is accessible by car along Via San Simone,
a road leading uphill from just outside.
Castle
– Little remains of the castle other than a pointed entrance
archway, in a bastion, and the paltry vestiges of a tower. From
here, a wonderful view extends over the town and the mountains all
around.
Returning
towards Piazza Garibaldi, take Via Fratelli Testa. On a rise off
to the right sits the Chiesa del Santissimo Salvatore.
SS.
Salvatore – The church, graced by a portico, stands on a rise
enjoying a fine view over the town.
Continue
along Via Fratelli Testa, then Via GB Li Volsi; at the intersection
with Via Umberto I, turn left uphill.
Chiesa
dei Cappuccini – Inside nestles a fine 18th century wooden
tabernacle attributed to Bencivinni and a prized series of paintings
by the so-called “Zoppo di Gangi” (the lame man of Gangi)
Gaspare Bazzano, depicting the Madonna of the Angels, St. Barbara
and St. Lucy. |
Enna
Agira
Aidone
Assoro
Barrafranca
Calascibetta
Catenanuova
Centuripe
Cerami
Gagliano Castelferrato
Leonforte
Nicosia
Nissoria
Piazza Armerina
Pietraperzia
Regalbuto
Sperlinga
Troina
Valguarnera Caropepe
Villarosa
Monti
Erei
Morgantina
Pergusa
Villa Romana Del Casale
Testi
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Scivoletto e Michelin Italia. Le foto sono di proprietà
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