Giusy Larinà    Towards a typology of decorative façades in 18th-century Sicilian organs

concordanza

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The aesthetic analysis of the prospects of the organ-galleries often enriched by rich architectonic solutions, adorned by images and sculptural decoration which frequently emulate the structure of the façades of the churches, the architectonic cornices of altar retables and tabernacles, forms an interesting aspect of the study of the organ.

In order to put forward a hypothesis about the typology of the decorated cases of eighteenth-century Sicily ^[1], I have considered eight organ cases from the Diocese of Caltagirone ^[2], which demonstrate common features in spite of their compositional diversity.

The structural design of the case is in a typical chalice form, created by a narrowing towards the keyboard, which thus determines the movement of the prospect towards the top. This feature, peculiar to the Sicilian organ, together with other technical characteristics such as the pedalboard with small pedals protruding from the case (Illus. 1) and the singular disposition of the pipes in the facade of some instruments, with the largest pipes placed in the fields at the side and the smaller ones in the centre (Illus. 4-5), represent a remnant from late mediaeval organ-building.^[3]

The facades of the organs in question are divided into three fields, with the exception of that of the organ of S. Maria Maggiore in Mineo, whose prospect, renewed towards the mid-eighteenth century, shows the original late Renaissance arrangement with five fields. The notable architectonic and decorative expression of the prospects of such instruments blend well with the artistic manifestation of the Sicilian baroque, in which schemes still tied to the late renaissance are freely blended with innovations and tendencies of roman and spanish baroque, fused with a genuine Sicilian imprint. In other instruments of the late 18th century other solutions become apparent - more sober designs of typical neo-classical taste which reflect the affirmation of the new artistic tendency which arrived in Sicily considerably later.

The "covering decorations" (so called because they were realised in order to decorate and cover the space left empty by the progression of the facade pipes with each field) are particularly interesting: they are formed by pierced wooden carvings, nearly always gilded, of phytomorphic motives which create a pleasing chiaroscuro effect, at the same fulfilling functional requirements in relation to the musical effect of the instrument. In the same way the so-called festoni di legatura [supporting festoons], consisting of a wooden carving placed in front of the facade pipes which served to cover the cotton tapes which hold the pipes upright; these elements were common to the various types of renaissance and baroque facades which began to disappear towards the start of the eighteenth century when supports at the back of the pipes began to be used which facilitated the removal of the pipes, accompanied by a new facade layout in a single field which utilised the new method of supporting the pipes.^[4]
In the organs analysed here it is possible to note that the supporting festoons remain for the entire 18th century, thus differentiating them from the common model - perhaps because of the loss of the tripartite facade.

Another interesting characteristic is represented by the crowning of the cases of the serlian type - thus defined by Oscar Mischiati because "... the line of the crown follows the pipe-fields in such a way that the central portion protrudes noticeably with respect to the upper level of the lateral fields (analogous to the so-called serlian window)."^[5]
Finally, the extreme shallowness of the cases, which develop width-ways, promoting particular brilliance in the sound, should be noted. In the description of the architectonic and decorative structure of the cases I have attempted to follow a chronological sequence, even if the frequent absence of historic documentation does not assist with a precise dating of the instruments.

Notes

[1] The choice of period is unfortunately conditioned, especially for eastern Sicily, by the fact that the major part of its historic instruments dates from the eighteenth century when they were rebuilt following the disastrous earthquake of 1693. I would like to thank Dr Oscar Mischiati and Dr Luciano Buono for their collaboration.
[2] See "Arte organaria in Sicilia - Censimento degli antichi organi della Diocesi di Caltagirone", Centro di Studi Musicali per il Meridione, Caltagirone, 1987. This research has brought the technical characteristics of the instruments to light and contributed to an interesting catalogue of historic organs existing in the diocese.
[3] This arrangement of facade pipes is seen in the organ of the mother church of Mistretta (ME), in the 17th-century organs of the cathedral of Cefalù, the large organ of the church of S. Nicolò la Rena in Catania and in the instrument of the mother church of Comiso. Similar typologies are also found in France in the organ of the parish church of Perpignan (1503) and that of the church of Nogent-sur-Seine (1577). Cfr. G. Servieres, La decoration artistique des buffets d'orgues, Paris, 1928, plates 25-26. I would like to thank Dr. O. Mischiati for the information.
[4] O. Mischiati, "Contributo a una tipologia storica del prospetto d'organo toscano", in Arte nell'Aretino - Catalogo della seconda mostra di restauri dal 1975 al 1979, Firenze 1980, pp32-35.
[5] Ibidem.

Thanks to Dr Luciano Buono for clarification of technical terms (Tr.)