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Santuario della Madonna del Piano

Sanctuary of the Madonna of the Plan

Chiesa Maria Santissima Immacolata

Church Immaculate Maria Santissima

Cristo alla colonna

Cristo to the Column

Palazzo Comunale e Chiesa Madre

Town Building and Mother Church

CHIESE — MUSEO CIVICO — PARCO ARCHEOLOGICO

— MERIDIANE SOLARI — PIAZZA E PIAZZETTE

Museo civico — Reperti archeologici

Civic Museum — Archaeological repertoire

DEMETRA, V sec. a.C. (Museo Archeologico Paolo Orsi, Siracusa) Demetra è la dea della terra coltivata, soprattutto del grano, e della fecondità. Il panneggio a fitte pieghe parallele, la gravità del volto, il sorriso stilizzato, l'eleganza del costume e la minuzia arcaicizzante dell'acconciatura mostrano il trionfo dello spirito ionico.Con la mano destra tiene appoggiato al petto un oggetto di cui si conserva solo la base, mentre porta l'avambraccio sinistro in avanti. Reperti in ceramica (Museo Civico, Grammichele) Questi reperti appartengono alla fase finale dell'età del bronzo; alcuni di essi sono stati ritrovati all'interno di una grande capanna rettangolare. Kylikes attiche (Museo Civico, Grammichele) Fanno parte dei corredi funerari della necropoli di Casa Cantoniera. La prima, nella parete esterna della vasca, raffigura un satiro che rapisce una menade; nella seconda, è raffigurato un giovane incedente che conduce un cavallo.   Di un'altra tomba della stessa necropoli fanno parte queste ceramiche indigene e locali realizzate ad imitazione di quelle greco-coloniali   Dall'abitato provengono questi oggetti di uso comune: oscilla fittili, lucerne, pesi da telaio ( Museo Civico di Grammichele) Il Santuario di Poggio dell'Aquila Dalla collina di Poggio dell'Aquila giunsero nel 1894 sul mercato antiquario di Siracusa alcuni lotti di terrecotte votive rinvenute, nel corso di lavori di miglioria agricola, all'interno di ingrottature usate in antico come depositi votivi (favisse). Nel 1895 Paolo Orsi effettuò sul colle una campagna di scavi che, pur non restituendo tracce di edifici gli consentirono tuttavia di mettere in luce, all'interno di una fossa scavata e protetta da pietre, una grande statua di divinità seduta, dalle fattezze grossolane, opera probabilmente di artigiani locali e databile alla seconda metà del VI secolo a.C.; egli ipotizzò che potesse trattarsi della statua di culto di un santuario a struttura lignea ma con copertura di elementi fittili per il rinvenimento di una sima di rivestimento (terracotta architettonica). Il materiale votivo portato alla luce in grande quantità, comprendeva maschere femminili, statuette sedute, statuette stanti con vari attributi (fiore di loto, fiaccola e porcellino), busti, qualche raro esemplare di recumbente (figura sdraiata) e di kourotrophos (statuetta con bambino in braccio o sulla spalla) ed alcune paterette di bronzo. Il santuario si data in un arco di tempo che va dalla fine del VII secolo a.C. al IV secolo a.C., ed è relativo al culto di Demetra e Kore; per analogia con il Santuario di Bitalemi a Gela si può pensare, anche per questo luogo di culto, ad un Tesmophorion, cioè ad un tipico santuario extraurbano sorto in un area sacra già per le popolazioni indigene, ma contemporaneo poi per un lungo periodo al Santuario che doveva sorgere all'interno dell'abitato arcaico e classico di Terravecchia, il cui materiale votivo è conservato al Paolo Orsi di Siracusa. Il carattere indigeno del Santuario di Poggio dell'Aquila è provato, oltre che dalla presenza di alcuni oggetti fittili di antica fattura locale, anche dalla peculiarità delle offerte votive datate intorno alla metà del V secolo a.C. In questo periodo, contemporaneamente cioè al "risveglio siculo" nella zona della Piana di Catania a opera di Ducezio (460-440 a.C. circa), si datano alcuni fra i migliori esemplari rinvenuti, in particolare le statuette delle peplophoroi con fiaccole e porcellino, ovvero con ceste di offerte, e i busti di notevoli dimensioni. Queste terrecotte di pregevole fattura furono probabilmente realizzate da artigiani locali per una committenza elevata. Si può quindi ipotizzare (anche se non si possiedono testimonianze delle fonti antiche) che il Tesmophorion di Poggio dell'Aquila fosse un luogo di culto frequentato e forse privilegiato dall'aristocrazia locale o da gruppi di origine sicula che conobbero un momento di particolare vitalità proprio in contemporanea con l'azione di Ducezio.

S. Michele Arcangelo

Statua, e meridiana solare, situata nella Piazza di S. Giuseppe.

Meridiana solare più  piccola d’Italia, situata al centro della Piazza di San Rocco.

Le Meridiane Solari

The solar sundials

Gnomone

Statua, e meridiana solare più grande d’Italia, situata al centro della Piazza Carlo Maria Carafa.

Principe Carlo Maria Carafa

Statua situata al centro della Piazza Carlo Maria Carafa.

Uscita dei SS Patroni di Grammichele, S. Michele Arcangelo e S. Caterina, dalla Chiesa Madre - 8 maggio.

Chiesa Sant’Anna

Sant’Anna Church

Chiesa Spirito Santo

Spirito Santo Church

Galleria fotografica

Photo gallery

La Croce (situata al Santuario della Madonna del Piano)

The Cross (situated at the Sanctuary of the Madonna of the Plan)

Bosco di Marineo

Wood of Marineo

Piazza Carlo M. Carafa

Carlo M. Carafa Square

Chiesa di San Rocco

Church of Saint Rocco

Gnomone e meridiana solare

Gnomone and solar sundials

Alcune piazzette di Grammichele

Any squares of Grammichele

Piazza G. Attaguile

G. Attaguile Square

Piazza San Giuseppe

San Giuseppe Square

Piazza A. Manzoni

A. Manzoni Square

Piazza G. Mazzini

G. Mazzini Square

The Mother Church possesses paintings of the '600 and of the '700 among which those are found of S. Caterina of Alexandria (coming from Occhiolà) and the Madonna of the Rosary. The dedication of the church to S. Michael Arcangelo is tied up to the fact that, to the epoch of the foundation, the cult of Michael was introduced what protecting from the earthquakes. To his/her inside he can also admire: the stately dome istoriata, the decorated marmoreal altars elegantly and the original prospectus, drawn by the architect Carlo Sada.

CHURCHES - CIVIC MUSEUM - ARCHAEOLOGICAL PARK - SOLAR SUNDIALS - SQUARES

Spirito Santo Church. Church of notable artistic importance, was destroyed from the waters rain of it and it suffered, beginning from 1822, a series of works of reconstruction that you/they had term in 1886. The external façade, of sober and severe style, you/he/she has been completed only in 1970. The inside, entirely decorated by nineteenth-century plasters, it is to form of Latin cross. To notice the half fanlights set in the arcs among two columns and representing the gifts of the Spirit Saint. The columns and the capitals are of Corinthian style. The church entertains original pictures as the picture of S. Francis from 1830 Paola painted by Michelangelo Selva says "the lame one of Hooks." Of relief they are also the pictures of the Barberis, representing Jesus' apparition to S. Maria the Coque and the purgative souls. Of unknown author is the marvelous statue secentesca in cartapesta of the Christ to the column, that is brought in procession for the streets of the city on Wednesdays of the Week Saint.

Other Churches

Behind the Church of the Spirit Saint and to the center of the homonym sestiere (one of the most ancient of the city), the Church of Saint is found Rocco, that introduces an eighteenth-century plant and a façade of the first ones of the '900.

The Church of the Calvary, preceded by a suggestive stairway, show a façade closed by an elegant order for the lodging of the bells and preserve to his/her inside a Deposition, datable at the end of the '700. In the assistant (visible on the right) body they have center the Town Library, The office of Economic Development and a geodetic structure for lectures.

The Church of Saint Rocco was among the first ones of Grammichele to be built.

The Church of St. Leonardo, adjacent to the zone absidale of the Mother Church, was, as this last, initiated at the end of 1700 and completed around 1850. It preserves to his/her inside a jewel Crucifix coming from Occhiolà, attributed to among' Humble from Petralia (1580-1693).

The Church of Sant'Anna is of mannered Baroque style. Its construction had beginning toward the end of the XVII sec. and you/he/she was completed in 1774. The inside is articulated in an only aisle; artistic plasters enrich the wall. To notice the representing central medallion the crowning of S. Ann, work of Bongiovanni, painting in 1782.

In the Church of the Immaculate one we find a 800 picture realized by the Vaccaro author of the altar of the Sanctuary of the Madonna of the Plan.

The Church of S. Giuseppe has a construction of scarce architectural interest; the inside is decorated to plasters and in the time copies of teachers of the they camp '700.

Of recent construction I am he/she Asked her of Jesus Adolescente and of the Madonna of Lourdes.

Of particular symbolic value for the population of Grammichele, as well as destination of pilgrimages and center of an ancient popular party it is, finally, the Sanctuary of the Madonna of the Plan, only building of Occhiolà to have been saved by the 1693 earthquake.

 

DEMETRA, V sec. to.C.

(Museum Archaeological Paul Orsi, Syracuse) Demetra is the goddess of the cultivated earth, above all of the wheat, and of the fertility. The I drape to sharp pains parallel folds, the gravity of the face, the stylized smile, the elegance of the custom and the trivial detail arcaicizzante of the hair style they show the triumph of the ionic spirit.With the right hand it holds supported an object of which he preserves only the base to the breast, while is handing the left forearm in before.

 

Finds in ceramics

(Civic museum, Grammichele) These finds belong to the final phase of the age of the bronze; some of them have been found again inside a great rectangular hut.

 

Kylikes attiche

(Civic museum, Grammichele) they Belong to the funeral outfits of the necropolis of House Cantoniera. The before, in the external wall of the tub, it represents a satyr that abducts a menade; in the second, a young is represented incedente that conducts a horse.

 

Of another grave of the same necropolis they make part these native and local ceramics realized to imitation of those Greek-colonial

 

From the inhabited area these objects of common use originate: fittili oscillates, oil lamps, loom weights (Civic Museum of Grammichele)

 

The Sanctuary of Knoll in the Aquila

From the hill of Knoll in the Aquila they came in 1894 on the antiquarian market in Syracuse some lotteries of terrecotte recovered votive, during jobs of agricultural improvement, inside ingrottature used in ancient as you deposit dedicate (favisse).

In the 1895 Paul Orsi it effected on the hill a country of excavations that, also not returning traces of buildings they allowed him nevertheless to show, inside a dug pit and protected by stones, a great statue of sat divinity, from the coarse features, work probably of artisans local and datable to the second halves the You century to.C.; he hypothesized that you/he/she could treat him of the statue of cult of a sanctuary to wooden structure but with coverage of elements fittili for the recovery of a sima of covering (architectural terracotta).

The material votivo brought to the light in great quantity, included female masks, sat figurines, figurines stale with various attributes (flower of lotus, torch and piglet), busts, some rare sample of recumbente (stretched out figure) and kourotrophos (figurine with child in arm or on the shoulder) and some bronze paterettes.

The sanctuary is dated in an arc of time that goes from the end of the VII century to.C. to the IV century to.C., and it is related to the cult of Demetra and Kore; for analogy with the Sanctuary of Bitalemi to it Freezes you/he/she can be thought, also for this place of cult, to a Tesmophorion, that is in a typical sanctuary extraurbano already risen in a sacred area for the populations native, but contemporary then for a long period in the Sanctuary that had to rise inside the archaic and classical inhabited area of Terravecchia, whose material votivo is preserved to the Paul Orsi of Syracuse.

The native character of the Sanctuary of Knoll in the Aquila is tried, over that from the presence of some objects fittili of ancient local invoice, also from the peculiarity of the offers votive dated around halves the V century to.C. In this period, contemporarily that is to the "awakening siculo" in the zone of the Plain one in Catania to work of Ducezio (460-440 to.C. around), some are dated among the best recovered samples, particularly the figurines of the peplophorois with torches and piglet, or with baskets of offers and the busts of notable dimensions. These terrecottes of valuable invoice were probably realized by local artisans for an elevated committenza.

 

January 11 th 1693 a dreadful earthquake destroys Occhiolà, Charles' Maria Carafa feud, prince of Butera and Roccella, baron of Occhiolà, heir of one of the hugest feudal patrimonies of Sicily and the Calabrian estates of the Carafas. The suburb won't be reconstructed anymore, perlomeno not in its native site, having preferred the prince rifondare a new city in the plan of S. Michael, some more kilometer to south.

The origin of the medieval suburb and its toponimo is a little clear; in the XVI century the Fazello furnished the first news on you stay more ancient vestigia that was found in the countries of Terravecchia; to them Cluverius, few later, it will connect the toponimo of Echetla, identification to that the has actually been more diffusedly approved today.

In the XVI century the installation is already well organized in its functional parts: residential areas, religious, public, administrative. The first ones are developed through micro-districts that are inserted only strongly in a homogeneous building system for the presence of the type to band; the religious areas break the monotonous profile of the city decidedly conferring an urban tone. The public and administrative areas become the reflex of the partner-economic power practiced by the Prince and they clearly detach him from the general urban fabric.The first urban nucleus goes up again to the medieval period and is presumably born for defensive and strategic purposes as it seems to attest the geographical position. Occhiolà typically introduces a medieval morphological structure some type to fused, with wrappings seed-ring fingers, to terrazzamento in the part north; where the ground introduces small level zones, as in the south part of the city, the urban form does him more regular, purchasing him/it scheme ortogonale.

The building structure is leveled and flattened only for the prevailing presence of a building type: that to team, that rarely succeeds only to evolve in the type duplex.

 

The Archaeological Park

of Occhiolà

Galleria fotografica

del Parco Archeologico di Occhiolà

Photo gallery

of the Archaeological Park of Occhiolà

Smaller solar sundial of Italy, situated to the center of the Plaza of St. Rocco.

S. Michael Arcangelo

Statue and solar sundial, situated in the Plaza of S. Joseph.

Statue and greater solar sundial of Italy, situated to the center of the Carlo Maria Carafa Square.

Statue situated to the center of the Carlo Maria Carafa Square.

Exit of the SSs Patroni of Grammichele, S. Michael Arcangelo and S. Caterina, from the Mother Church.

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