ancient crafts between past and future - unipa.itancient crafts between past and future 1 maria...

Ancient Craftsbetween past and future

FINAL EXHIBITION OF THE PROJECT

“TECNICHE ARTISTICHE DELL’OREFICERIA SICILIANA”


FINAL EXHIBITION OF THE PROJECT

“TECNICHE ARTISTICHE DELL’OREFICERIA SICILIANA”

Palermo, Oratorio dei Bianchi

15-30 | 06 | 2013Opening time: 9.00 - 12.30 Monday closed

Inauguration

14 | 06 | 2013

17 pm

Title of the Project“Tecniche artistiche dell’oreficeria siciliana”Regione Sicilia P.O. FSE 2007/2013 Avviso 6/2009 “Antichi Mestieri”Assessorato Regionale dell’Istruzione e della Formazione professionaleDipartimento dell’Istruzione e della Formazione professionale

Project SupervisorMaria Concetta Di Natale

Academic CoordinatorMaurizio Vitella

Orientation and evaluation managerAlida Lo Coco

TeachersMaria AlberghinaNicoletta BonacasaMaria Concetta Di NataleSanto GiuntaSergio IntorreRosalia MargiottaUgo Porzio PeraltaMassimo ValentiMaurizio Vitella

Tutor Roberta DenaroGiorgia Licata

Administrative officeConcetta CerauloGiuseppe PiazzaLuciano TropeaMassimo Valenti

Project plannersGiuseppe PiazzaLuciano Tropea

Financial monitoring managerLuciano Tropea

StudentsMartina Veronica Alessi Giuliana Ammoscato Grazia Calascibetta Vitalba Craparo

Giovanna Emmola

Ludovica La Monica Gaetana Rezza Marina Tancredi

Hand-craft companiesAmato Antonino Argenteria, Palermo Cosentino Gioielli, PalermoGioielleria Fiorenza, TrapaniBenedetto Gelardi Argenti, PalermoNocito Gioielli, Sciacca

Exhibition organizational officeMaria Laura CelonaCristina CostanzoRoberta Cruciata

TranslationsCristina CostanzoRoberta Cruciata

Graphic project and layoutSergio Intorre


1

Maria Concetta Di NataleProject Supervisor

Decorative arts, just conventionally called “minor”,

represented in the past centuries the most signifi-

cant feature of the Sicilian art production.

The history of Decorative Arts, in their different

sectors, has remote origins in the island and espe-

cially in medieval and modern periods since the fa-

bulous factory of the Norman Royal Palace of

Palermo. Thanks to the Normans in Sicily there was

not only a Western acculturation of the various po-

pulations living in the island, but also a positive fu-

sion of all the cultural forms including the artistic

ones which hadtheir own style. The Norman and

Swabian artworks showed taste for the chiaroscuro

of light and for the bright polychromy which will

characterize always all the artworks of the Sicilian

sunny land from jewelry to fabric. Pearls, enamel,

2

gems, gold filigree re-shine in rare and fine jewelry,

precious furnishings, sophisticated

embroideries.Furthermore, the Gothic and late Go-

thic decorative repertoire, full of Iberian and Cata-

lan elements emerging in different ways in Sicily, is

grafted onto the Italian cultural influences privile-

ging those of Siena and Pisa. So in Sicily, at that

time the center of culture in the Mediterranean

area, there were artists coming from the Iberic and

the Italian Peninsula or just their artworks.

After “Li Capituli facti per la Universitari di la felici

chitati di Palermu” presented to the viceroy Nicola

Speciale in 1426, we have to wait for 1447 and Al-

fonso ilMagnanimo to have “I Capitoli”of the first

Maestranza of goldsmiths and silversmiths in Pa-

lermo to guarantee the legal use of the silver alloy

Gioacchino Di Marzo in 19th century and Maria Ac-

cascina in 20th century did the first pioneering stu-

dies on the subject. So only after the half of 15th

century we had the brand of goldsmiths and silver-

smiths of Palermo: the eagle with wings facing down

and the initials “RUP (RegiaUrbsPanormi)”. The

gold, however, was not marked until 1758 following

a precise notice. In the artistic production of gol-

dsmiths and silversmiths the caprice of Mannerism

is followed by the articulated and complex vitality

of the Barocco which is characterized with a sophi-

sticated wealth despite the overabundant, but never

excessive, ornamentation.

In 1715 the eagle wings punch of the workers of Pa-

lermo changed and became top flight probably re-


3

ferring to the emblem of the new king Vittorio Ame-

deo of Savoy, King of Sicily from 1713. This datum

was deepen from Silvano Barraja in occasion of the

exhibition “Ori e argenti di Sicilia”, organized by the

Faculty of Letters and Philosophy of the University

of Palermo in 1989 and promoted by the Depar-

tment of Cultural Heritage and Environmental and

P.I., which was held at the Museo RegionalePepoli in

Trapani.

The artistic production of goldsmiths and silversmiths gets

its French inspired peculiarity in the Rococo period subse-

quently adhering to the Neoclassical art with great styli-

stic mastery.

The craftsmen that bloom in Sicily during the years are se-

veral, the oldest goldsmiths and silversmiths operate in

Messina, Catania, Siracusa and the most recent in Trapani

and Acireale as analyzed by Maria Accascina who studied

the different brands.

Among the workers who distinguish themselves for the

high quality of their artistic production in Sicily emerge

the “corallari” (art workers of coral) from Trapani, the “Ars

et corallariorum sculptorum corals”, whose works are fa-

mous and appreciated throughout the world from 16thto

18th century, but especially in 17th, when they become

characterized with special technical and artistic features.

Antonio Daneu and Angela Daneu Lattanzi dedicated their

studies to the coral art of Trapani and the 1986 exhibition

was titled to the art of coral, the first exhibition of a series

organized by the Faculty of Letters and Philosophy of the

University of Palermo and promoted by the Department

of Cultural Heritage and Environmental and P. I., which was


4

held at the MuseoRegionalePepoli in Trapani, whose Cura-

tor was Vincenzo Abbate.

The revolutionary movements of the late 18th century

led to the abol i t ion of the workforce in 1822.

On Apri l 1826, 14th Francesco I with a Royal De-

cree establ ished the new rules to mark gold

and si lver stopping the glorious art tradit ion in

which Sici ly was a protagonist.

The suppression of the workers in Sici ly is the

beginning of the decay of the decorat ive arts

in general , and in particular the jewelry and si l -

verware; in Trapani , s imilar and other reasons

had several t imes already caused the diaspora

of “maestri coral lari” , whose production, so wi-

despread throughout the Island, later on migra-

ted to Campania.

In spite of the diffusion of Liberty, the handicrafts

had in Sicily a slow and progressive almost total ex-

tinction, although it had been for centuries a strong

sector of the local economy. When in 1689 Vincenzo

Nobile wrote his hymn to the Madonna of Trapani, Il

Tesoro nascoso, he asserted that around the vene-

rated image there was a productive circuit which

constituted Trapani’s wealth: “non viene in Trapani

forestiero che non riporti seco alla patria qualche

statuetta di corallo o di alabastro di Nostra Signora

per provvedere alla devozione sua e de’ paesani”.

It is no coincidence, therefore, that the University

of Palermo, thanks to the Regional Department of

Education and Training, wanted to recover the “An-

cient Crafts”, hoping for their insertion in the arti-


5

stic, cultural and economic realities of our society,

characterized by the overwhelming technological

progress.

The course “Artistic techniques for the Sicilian je-

welry”, organized by the University of Palermo and

funded by the Regione Siciliana (Regional Depar-

tment of Education and Training), had these motiva-

tions. Aiming to promote female employment, it

refers unconsciously to the local tradition of women

artists. For the decorative arts, we remember Anna

Fortino and her fine works in wax; she was a pupil

of the painter Rosalia Novelli, daughter of PietroNo-

velli, the greatest painter of 17th century in Pa-

lermo.

The lectures focused on the decorative arts’ history

in Sicily, with particular reference to jewelry, silver-

ware and coral art. They were given by professors

of the University of Palermo and specialists coordi-

nated by Maria Concetta Di Natale and Maurizio Vi-

tella; the apprenticeship period took place at the

“botteghe” still active in Palermo (Antonino Amato,

Guido Cosentino and Benedetto Gelardi), in Trapani

(PlatimiroFiorenza), and in Sciacca (Laura Di Gio-

vanna).

So the students acquired the basis of “Ancient

Crafts” which were disappearing and that now may

find not only continuity, but also new life. Providing

biographical notes of the masters and of students

and to present their works is not only a sign of the

results achieved, but also gives new job opportuni-

ties for example in the “botteghe” where students


6

did their internships (like it will happen for some of

them) and the possibility of new working experien-

ces.

The exhibition presents the masters and students’

works in gold, silver and coral. The students are:

Martina Veronica Alessi, Giuliana Ammoscato, Gra-

zia Calascibetta, Vitalba Craparo, Giovanna Emmola,

Ludovica La Monica, Gaetana Rezza, Marina Tan-

credi. The exhibitionis housed in the prestigious

Oratorio dei Bianchi in Palermo, belonging to the

Galleria Interdisciplinare Regionale della Sicilia Pa-

lazzo Abatellis, thanks to the active collaboration of

the Department and Regional Department of Cultu-

ral Heritage and to Giovannella Cassata, Curator of

Palazzo Abatellis. The University of Palermo, the

Department and Regional Department of Cultural

Heritage are collaborating to promote a tourist cir-

cuit in the monumental complex of Piazza Marina,

including Palazzo Steri and Palazzo Abatellis. The

exhibition presents these works not only to show

the masters’ artistic level and the students’ pro-

gress, but also desiring to bring attention to the

knowledge and appreciation of the decorative arts

which, like in the past, may give light to the whole

Sicily in the future.


7

Maurizio Vitella

Academic Coordinator

The teaching, introductory to the internship at the

goldsmiths’ botteghe, consisted in nine modules of

lectures and one on field, for a total of 120 hours.

Aimed to support employment in the craftsector

through the recovery and enhancement of “Ancient

Crafts”, the course was based on knowledge of the

history of the goldsmith’s art, with particular atten-

tion to the Sicilian production. The lectures, in ad-

dition to a module of 12 hours by Massimo Valenti

on the prevention of risks and safety in workplace

in accordance with Legislative Decree no. 81 of April

2008, 9th focused on the local goldsmiths and sil-

versmiths’ production in the centuries with specific

modules given by Maria Concetta Di Natale (history

of jewellery), Maurizio Vitella (history of silverware),


8

Rosalia Francesca Margiotta (history of coral and

precious materials) and Sergio Intorre (history of

artistic techniques). Nicoletta Bonacasa was respon-

sible for visits in which students admired fine exam-

ples of Sicilian decorative arts known all over

Europe, works from important private collections

and today in public museums.

In addition, some lectures are aimed at providing

specific expertise in the goldsmith’s craft: Ugo Por-

zio Peralta explained to the students what are the

precious stones and the techniques for their diagno-

sis and characterization, while Maria Alberghina ex-

plained the techniques for metals’ diagnosis and

characterization. Santo Giunta was responsible for

a module dedicated to the artifacts’ design, thanks

to which the students expressed graphically them-

selves designing jewels. The teachers were profes-

sors of the University of Palermo, postdocs,

research fellows and experts, whose skills have con-

tributed to a specialist training.

Therefore, the course has combined a critical histo-

rical approach to the Sicilian history of the goldsmi-

th’s art and the knowledge of precious materials

which, together with the concept of artifacts’ de-

sign, provided the students with solid basis for ad-

dressing to the apprenticeship at the botteghe

provided by the project.


Masters and students

12

Antonino Amatoby Maria Laura Celona

Master Antonino Amato, born in 1941, is among the sil-

versmiths still active in Palermo, guarantors of the con-

tinuity of Sicilian silverware’s noble tradition. He

learned his art when he was twelve, at his grandfather’s

bottega: his name was Antonino Siddiolo, and he wor-

ked in the street so called Argenteria vecchia, near the

famous church of St Eligius, the patron saint of gol-

dsmiths and silversmiths. At the age of fourteen he was

engaged in his cousin Giuseppe Siddiolo’s bottega, and

after the merger between Siddiolo and Di Cristofalo he

worked for twelve years in the manufacture of serial

silverware. In the 60’s he opened his first bottega in via

Ambra 3, specializing in liturgical silver artifacts. In

1974 he obtained the license and the trademark, a star

followed by the number 102 PA. In 1976 Amato opened

a new bottega at Palazzo Pantelleria (Piazza Giovanni


13

Meli 5), in the historical

center of Palermo. Today

he is helped by his two

daughters, Angela and

Maria Maddalena, born

from the marriage with

Rosaria Saccone on July

1941, 22th: Angela works

in the laboratory, Maria

Maddalena sales the crea-

tions. Antonino Amato

and his art, which combi-

nes the ancient techni-

ques with the latest

technological innovations,

are very well known all

over Sicily and beyond.

His creations are testi-

mony of the changes of

techniques and materials,

even the light that he

uses has changed, with

the passage of time.

Amato tells, in fact, that

originally they used a

glass bowl, supported by

a pole placed on a wooden

support, filled with water

to direct the light beam

where it needed.

Technological progress


14

has changed the traditional handicrafts to the point

that now the working tools: gravers, dies, hollow pun-

ches and matrices, previously made by hand, are pro-

duced by specialized industries. The cuttle-fish bone

technique was replaced by the microfusione one, but

there is still need for skilled hands to create the ever-

green tools of the trade. These are unique pieces that

give personality accompanying the craftsman’s expert

hand in the implementation of special techniques such

as the damask, filigree, granulation, engraving, embos-

sed work, and chasing.

UNESCO enrolled master Amato on the list “Living

Human Treasures” in the Book of Knowledge of the Re-

gister of Immaterial Heritage, because of his ancient

and prestigious tradition of craftsman. He is today ac-

credited to the Soprin-

tendenze ai Beni Cultu-

rali della Sicilia, and he

is engaged in the resto-

ration of sacred silver-

ware.

The organization of the

representations and the

execution of the arti-

facts still produced are

examples of the various

styles’ revival so dear to

the Sicilian ecclesiastical

patrons; it is an alterna-

tion of a decoration

which is inspired by Sici-


15

lian baroque with its exu-

berant abundance, and by

a rococo or by other neo-

classical inspirations.

The artistic production of

Antonino Amato, linked to

the patronage of liturgical

works of art, looks at the

past and at forms and sty-

les traditionally wide-

spread in Sicily so dear to

the priests and to the be-

lievers.

His ability is also evident

in the domestic silver-

ware, characterized by a

simplicity and linearity

more suited to the con-

temporary art and to the

modern furnishings’ useful-

ness.

The greatest charm of An-

tonino Amato’s silver

works is the ability to

enter in his bottega and

see tools and activities

able to combine the the-

mes of the past with the

modern reality.It is only

thanks to the continuous

and important work of si-


17

milar masters that we can hope to revalue the Sicilian

handicrafts, with unique products focusing on quality

and to recover of a more or less recent past. Master

Amato is now working as a teacher at the goldsmith

school of the Collegio Universitario Arces, a role that

allows him to pass his precious artistic recipes to young

students.


18

Students

Martina Veronica Alessi

Born in Palemo in 1991. She graduated at the Liceo Socio-Psy-

cho-Pedagogical and Linguistic "DaniloDolci”.

Gaetana Rezza

Born in Palemo in 1995. She graduated at the Institute of Se-

condary Professionale "Gaetano Salvemini" - Tourism sec-

tion.


2020

Guido Cosentinoby Roberta Cruciata

The goldsmith Guido Cosentino from Palermo, born in 1950,

learned his art when he was young at the bottega founded

by his father Ernesto in 1936. After his father’s death, in the

70’s he took over the parent running the company, and today

is joined by his son Ernesto.

Cosentino, for his handmade creations, always follows the cri-

teria of quality and refinement at all stages of production,

from smelting the gold until the finished jewel. When he talks

about his art, he loves to specify that each stage of gold’s

processing has several variations and steps: “when we talk

about the finish it should be clarified that, after the drawing,

the gold is still raw; it need to be shaped with pincers and cut

exactly (possibly it need to be welded and then deoxidized

with the whitening) and, after that we have the item to which

we are working, we have to start a careful and complex phase

so called rough-shaping with coarse grain files and then with


21

finer grain files, before using

of abrasive paper to smooth

the gold as better is possible.

Then there is the cleaning,

having two steps: the first

one with abrasive brushes

and then the polishing with a

soft brush, followed by the

degreasing presumably with

ultrasonic waves and by the

sawdust drying in order not

to leave scratches and signs

on the finished work”.

His elegant jewels have va-

rious models and sources of

inspiration, especially the Si-

cilian goldsmith’s art and its

polychrome richness: pearls,

coral, gemstones and the

diamonds so dear to the Sici-

lian tradition over the centu-

ries are still the favorite

materials in master Cosenti-

no’s works of art. His trade-

mark is GC in italic letters,

while the beginning of his

craft business dates back to

20th December 1982.

Cosentino family boasts

among the most important


22

works carried out over the years the Tiara in gold and dia-

monds for a Princess Chiaramonte.

Guido Cosentino has made the Pectoral cross in chased gold

commissioned by the Municipality of Palermo for Cardinal

Paolo Romeo, later his appointment as Metropolitan Archbi-

shop of Palermo granted by Pope Benedict XVI (December

2006, 19th); the work was donated by the mayor of Palermo

in February 2007. He also created another Pectoral cross in

chased gold commissioned also by the City for Mgr. Carmelo

Cuttitta, Auxiliary Bishop and Vicar General of the Archdio-

cese of Palermo (July 2007, 7th).


23


24

Students

Giovanna Emmola

Born in Erice in 1987. She obtained her BA in Science and

Technology of Art, and now she is enrolled in the second

year of the Master's Degree in History of Art.

Ludovica La Monica

Born in Palermo in 1988. She obtained her BA in Science

and Technology of Art, and now she is enrolled in the se-

cond year of the Master's Degree in History of Art.


26

Laura Di Giovannaby Cristina Costanzo

Laura Di Giovanna was born in Sciacca in 1980. Thanks to her

experience in the creation of jewels and in the coral craftman-

ship, she is considered an important reference in jewellery

for her production based on tradition and innovative design.

Laura Di Giovanna studied at the “Scuola d’Arte e Mestieri”

and at the “Istituto Callegari” in Vicenza and in 2008 she gra-

duated in decoration at the Art Academy “Eleonora d’Ara-

gona” of Sciacca.

Between 2001 and 2002 she was a trainee at the goldsmith’s

workshop “Geraci” of Palermo and a designer trainee at the

“J. & G. di Jotti Melania” in Vicenza. Between 2002 and 2004

she repeated this experience at the coral workshop of the Ma-

ster Platimiro Fiorenza in Trapani, where she studied more

deeply the ancient jewellery techniques and in particular the


27

ture of jewelry with the

Hallmark Goldsmith “AG *

23”, issued by the State

Mint. The “Goldsmith No-

cito” is also accredited by

the University of Palermo

and Training Institutions

for internships and ap-

prenticeships and it wel-

comes many young

scholars interested in le-

arning the secrets of art

of gold and coral, which

boast an important tradi-

tion in Sciacca.

Laura Di Giovanna’s exqui-

site production is a fusion

of the best artistic Sicilian

tradition and the contem-

porary taste. Her crea-

tions are appreciated in

Italy and abroad and espe-

cially in Japan, where she

has presented important

artistic events.

Her sophicated collections

include “Esprit d’Artiste”,

precious and unique pie-

ces, “Sicily”, inspired by

the old and modern Sici-

coral and ivory techniques and

the restoration and reproduc-

tion of ancient jewels.

Since 2005 she has been arti-

stic director and co-owner

with her brother Mario and her

sister Velia, of the “Laborato-

rio Orafo Nocito”, that has an

old family tradition for jewel-

lery. The “Laboratorio Orafo

Nocito” has a high level te-

chnological structure and is le-

gally recognized as a

laboratory for the manufac-


29

lian tradition, and “Legami”, coral art works as tribute

to the magic relationship, tipically Sicilian, between na-

ture, sea and art.

Laura Di Giovanna partecipated in several international

events and fairs such as the “Fiera del Tarì”, the “Fiera Oro

di Vicenza” (2010-2013), “The Hong Kong Jewellery Show”

(2010-2013) and the “Gala Evening Jewels of Italy”, at the

Central Plaza of Hong Kong. She also took part in national

and international competions such as “The International

Jewel Design Competition” (1999-2000), promoted by Auri-

talia for the creation of a jewel combining the Western tradi-

tion taste and the United Arab Emirates taste, the “Concorso

Oroscuola Vicenza 2001”, organized by Confindustria Vicenza

and dedicated to the innovative jewelry design, where she re-

ceived the first prize. She distinguished herself in the resto-


30

ration field and we must cite the restoration of two gold

crowns of the “Madonna del Soccorso” of Sciacca.

She is often invited as a Visiting Professor to several schools

and art institutes and international conferences about the

coral craftmanship and the restoration of antique jewels and

religious art works.


31

Students

Vitalba Craparo

Born in Sciacca in 1984. She obtained her BA in Science and

Technology of Art, and the Master's Degree in History of Art.

Marina Tancredi

Born in Sciacca in 1983. She obtained her BA in Modern Lite-

rature and the Master’s Degree in Modern Philology.


33

Platimiro Fiorenzaby Cristina Costanzo

Platimiro Fiorenza was born in Trapani in 1944. Son of a gol-

dsmith craftsman of the coral, he was raised in his father’s

workshop and at seven years old he started working on gold,

silver and coral; he also appreciated stones and soon started

his first engravings attracting the attention of Domenico Li

Muli, a sculptor and painter from Trapani. In his career Fio-

renza devoted himself not only to the art of coral but also to

painting, sculpture, restoration and poetry.

At the age of twenty he left Trapani to go to Milan where he

started the collaboration with the famous sculptor Giò Pomo-

doro. During his career Fiorenza met prestigious protagonists

of the art world such as Michele Canzoneri, Mario Cassisa,

Dino Manfrè and Ludovico Corrao.From 1970 to 1975 Master

Platimiro Fiorenza while exhibiting his art works in Trapani


34

and in Sicily, went to partici-

pate successfully in many in-

ternational competitions

such as the “Asward Dia-

mond” of New York. In the

early 80s he was invited to

teach at ECAP in Trapani. In

1982 he received the Certifi-

cate of Merit from “Soropti-

mist” as an authentic

example of industriousness

and a continuer of the best

handcraft tradition of Tra-

pani.

In 1988 he made one of his

most important works: a 33

cm chalice made of gold,

coral and gemstones for the

Cathedral of Monreale. He

made important gold and sil-

ver art works for “Misteri of

Trapani” as well. Moreover,

he is often quoted in several

decorative arts books and

catalogues.

In 1993 he made his master-

piece commissioned by the

Episcopate of Trapani and

exhibited in the Vatican Mu-

seums: the 34 cm statue of


35

the “Madonna of Trapani” made of gold, coral and precious

stones. He also made a stoup made of gold, coral and pre-

cious stones commissioned by the Province of Trapani for His

Holiness Pope John Paul II. Moreover, he made a silver and

coral pastoral for the election of the Bishop Francesco Micci-

chè.

In 1994 and 2001 he exhibited a coral crib in the “Cento Pre-

sepi” exhibition in Rome. In 1997 he was invited from the Pro-

vince of Siracusa to exhibit his art works in Glasgow, Scotland.

In 2003 he was invited by the Province of Trapani to exhibit

at Palazzo Riccio di Morana for the World Fencing Champion-

ship. In 2005 he exhibited his art works at the America’s Cup

Foredeck Club and he was commissioned by “Porto Ossuna”

committee to make a Carrara marble sculpture, which we can

admire in Via Serisso in Trapani. In 2007 he exhibited in San


37

Casciano and in Düsseldorf (Germany), invited by the Pro-

vince of Trapani. In 2008 he was invited to the exhibition “Il

presepe e il corallo”. In 2010 he took part in the exhibition “Il

fascino del presepe” organized by the Diocesan Museum of

La Spezia. In 2011 the Province of Trapani commissioned Pla-

timiro Fiorenza a silver, gold and coral pectoral cross for An-

tonino Raspanti as Bishop of Acireale. In 2012 the exhibition

“Platimiro Fiorenza. Rosso Corallo tra sogno e materia”, cu-

rated by his daughter Rosadea, took place in the Torre di

Ligny Museum in Trapani.

Platimiro Fiorenza received several important awards: “Sa-

turno - artigiano del mare” by the Economic Development De-

partment of Trapani (2003); the “Trapani Club UNESCO

award” for his skills in the coral workmanship (2004); a gol-

den medal by the Chamber of Commerce of Trapani for his


loyalty to work and to economic progress (2011); the “Catania

Lions Club award” (2013). In 2013 the UNESCO places him in

the “R.E.I. Registro delle Eredità Immateriali della Sicilia” (Re-

gister of Intangible Heritage of Sicily).

Platimiro Fiorenza made restorations for famous antiqua-

rians from Palermo, Rome, Florence, London and New York

and he contributed in restoring the “Misteri of Trapani” scul-

ptures. He is a visiting professor in several Universities, Art

Institutes and Regional Courses and his workshop is open to

young trainees, visitors and scholars.

38


39

Students

Giuliana Ammoscato

Born in Alcamo in 1988. She graduated at the Primary School

Teaching Institute “Vito Fazio Allmayer” in Alcamo - Lingui-

stic Section. She attended for a year the School of Fine Arts

in Palermo, Section Fashion Design.


41

Benedetto Gelardiby Maria Laura Celona

The art of chisel - once practiced by the Egyptians and then by the

Cretans, Greeks and Romans - has ancient origins and maintains

its importance during the centuries. Benedetto Gelardi approaches

to this great art in adolescence.

Born in 1958 in Palermo, he began his career as an apprentice sil-

versmith attending the workshop of Maestro Lopes, thanks to

whom he learned the ancient techniques for silver production. He

became a skilled chiseller and around the end of the 70s he deci-

ded to start his own business and founded his current laboratory,

located at the Palazzo Pantelleria in Piazza Giovanni Meli, in the

old town of Palermo. In 1992 he obtained the license and brand,

229PA, and for several years he has been working with great ma-

ster silversmiths in Sicily such as the Formusa G.e.a and Master

Amato. With the latter he has collaborated for twenty years in the

field of restoration of ancient artefacts including the Manto del-

l’Immacolata di Caltanissetta. Gelardi restored, in accordance with

the updated techniques, the precious Ostensorio monumentale of

Paolo Gili, the Urna di S. Nicolò Politi of Arcara Li Fusi, the Urna di

San Giusto in Misilmeri, the furnishings Mitria e Pastorale di San


42

Biagio in Militello Rosmarino.

His talent as a skilled chiseller

also allowed him to make signi-

ficant and complex works such

as the Fercolo processionale

della chiesa di Maria SS. delle

Grazie in Isola delle Femmine,

the mezzo Busto d’argento raf-

figurante Padre Pio, for a pe-

riod hosted in the Basilica of

Santa Maria Maggiore in Rome.

As a complete artist he stands

out not only in the art of chisel

but also in designing his crea-

tions. These skills allow him to

create artifacts characterized

by light ornaments as if they

have their own life. Indepen-

dently of the metal used ran-

ging from gold to silver and

bronze, he manages with grace

and skill to create, through a

delicate balance of embossing

and sculpting, a singular move-

ment on the metal, creating a

play of light and shadows with

reliefs and hollows on different

planes.

He achieves these results using

chisels, seemingly similar, but

actually absolutely different, by

himself created as every true

chiseller. Inspired by the Fercolo

of Sant’Agata he made ex novo


43

with his son Mauro the Macchina processionale di San Filippo

d’Agira in San Filippo d’Agira using the ancient techniques, gained

in the course of his intense experience as a craftsman. According

to the Master, working the material has the precise meaning “to

leave a mark, a trace that is recognizable over time”. In recent

years Master Gelardi, aware of the changing of the times and the

techniques for the acquisition and transmission of knowledge, is

engaged as a lecturer at the “scuola orafa del Collegio Universita-

rio Arces” - which since 1995 operates in the training of expert

craftsmen to protect the vast movable heritage in Sicily - to divulge

his technical ability of chiseller and continue the tradition of a pro-

duction that stand out in quality and not in quantity, hoping to re-

store the crafts the prominent place that it deserves. His workshop

is attended by talented young people such as Grazia Calascibetta,

who had the opportunity, for a period of three months, to carry

out an internship in the laboratory of Master Gelardi. The young

apprentice has created a collection of floral arrangements that re-

call the flowered branches so often used as a ecclesiastical deco-rative element, very popular in Palermo and Southern Italy inthe 17th and 18th centuries.


45

Students

Grazia Calascibetta

Born in Palermo in 1989. She graduated at the Primary School

Teaching Institute Camillo Finocchiaro”.


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