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Sicilian Baroque is the distinctive form of Baroque architecture which evolved on the island of Sicily, off the southern coast of Italy, in the 17th and 18th centuries. The style is recognizable not only by its typical Baroque curves and flourishes, but also by its grinning masks and putti and a particular flamboyance that has given Sicily a unique architectural identity. The Sicilian Baroque style came to fruition during a major surge of rebuilding following the massive earthquake in 1693. Previously, the Baroque style had been used on the island in a naïve and parochial manner, having evolved from hybrid native architecture rather than being derived from the great Baroque architects of Rome. After the earthquake, local architects, many of them trained in Rome, were given plentiful opportunities to recreate the more sophisticated Baroque architecture that had become popular in mainland Italy; the work of these local architects — and the new genre of architectural engravings that they pioneered — inspired more local architects to follow their lead. Around 1730, Sicilian architects had developed a confidence in their use of the Baroque style. Their particular interpretation led to further evolution to a personalised and highly localised art form on the island. From the 1780s onwards, the style was gradually replaced by the newly fashionable neoclassicism. The highly decorative Sicilian Baroque period lasted barely fifty years, and perfectly reflected the social order of the island at a time when, nominally ruled by Spain, it was in fact governed by a wealthy and often extravagant aristocracy into whose hands ownership of the primarily agricultural economy was highly concentrated. Its Baroque architecture gives the island an architectural character that has lasted into the 21st century. ==Characteristics== Baroque architecture is a European phenomenon originating in 17th-century Italy; it is flamboyant and theatrical, and richly ornamented by sculpture and an effect known as chiaroscuro, the strategic use of light and shade on a building created by mass and shadow. The Baroque style in Sicily was largely confined to buildings erected by the church, and palazzi built as private residences for the Sicilian aristocracy. The earliest examples of this style in Sicily lacked individuality and were typically heavy-handed pastiches of buildings seen by Sicilian visitors to Rome, Florence, and Naples. However, even at this early stage, provincial architects had begun to incorporate certain vernacular features of Sicily's older architecture. By the middle of the 18th century, when Sicily's Baroque architecture was noticeably different from that of the mainland, it typically included at least two or three of the following features, coupled with a unique freedom of design that is more difficult to characterise in words. # Grotesque masks and putti, often supporting balconies or decorating various bands of the entablature of a building; these grinning or glaring faces are a relic of Sicilian architecture from before the mid-17th century (Illustrations 2 and 9). # Balconies, often complemented by intricate wrought iron balustrades after 1633 (Illustrations 2 & 9), and by plainer balustrades before that date (Illustration 6). # External staircases. Most villas and palazzi were designed for formal entrance by a carriage through an archway in the street façade, leading to a courtyard within. An intricate double staircase would lead from the courtyard to the piano nobile. This would be the palazzo's principal entrance to the first-floor reception rooms; the symmetrical flights of steps would turn inwards and outwards as many as four times. Owing to the topography of their elevated sites it was often necessary to approach churches by many steps; these steps were often transformed into long straight marble staircases, in themselves decorative architectural features (illustration 19), in the manner of the Spanish Steps in Rome. # Canted, concave, or convex façades (Illustrations 1 and 6). Occasionally in a villa or palazzo, an external staircase would be fitted into the recess created by the curve. # The Sicilian belfry. Belfrys were not placed beside the church in a campanile tower as is common in Italy, but on the façade itself, often surmounting the central pediment, with one or more bells clearly displayed beneath its own arch, such as at Catania's Collegiata (Illustration 1). In a large church with many bells this usually resulted in an intricately sculpted and decorated arcade at the highest point of the principal façade (Illustration 3). These belfries are among the most enduring and characteristic features of Sicilian Baroque architecture. # Inlaid coloured marble set into both floor and walls especially in church interiors. This particular form of ''Intarsia'' developed in Sicily from the 17th century (see the floor of illustration 14). # Columns that are often deployed singularly, supporting plain arches and thus displaying the influence of the earlier and much plainer Norman period (Illustration 3). Columns are rarely encountered, as elsewhere in Europe, in clustered groups acting as piers, especially in examples of early Sicilian Baroque. # Decorated rustication. Sebastiano Serlio had decorated the blocks of ashlar in his rustication; by the end of the 16th century, Sicilian architects were ornamenting the blocks with carvings of leaves, fish-scales, and even sweets and shells; shells were later to become among the most prevalent ornamental symbols of Baroque design. Sometimes the rustication would be used for pillars rather than walls, a reversal of expectations and almost an architectural joke (illustration 2). # The local volcanic lava stone that was used in the construction of many Sicilian Baroque buildings, because this was the most readily available. Many sculptors and stone-cutters of the period lived at the foot of Mount Etna, making a diversity of objects, including balustrades, pillars, fountains and seats for buildings. Shades of black or grey were used to create contrasting decorative effects, accentuating the Baroque love of light and shade as demonstrated in (illustration 2). # The Spanish influence. The architectural influence of the ruling Spanish (Illustration 13), although this was a milder influence than that of the Normans. The Spanish style, a more restrained version of French renaissance architecture, is particularly evident in eastern Sicily, where — owing to minor insurrections — the Spanish maintained a stronger military presence. Messina's monumental Porta Grazia, erected in 1680 as the entrance to a Spanish citadel, would not be out of place in any of the towns and citadels built by the Spanish in their colonies elsewhere. The style of this arched city gate, with its ornate mouldings and scrolls, was widely copied all over Catania immediately following the quake. While these characteristics never occur all together in the same building, and none are unique to Sicilian Baroque, it is the coupling together which gives the Sicilian Baroque its distinctive air. Other Baroque characteristics, such as broken pediments over windows, the extravagant use of statuary, and curved topped windows and doors are all emblematic of Baroque architecture, but can all be found on Baroque building all over Europe. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Sicilian Baroque」の詳細全文を読む スポンサード リンク
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