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

concordanza

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The imposing architectonic and decorative structure of the organ of the parish church of S. Giovanni Battista in Vizzini, dating from the mid-eighteenth century (Illus. 4) creates a sensational scenographic effect above the main altar. The instrument stands in a splendid wooden gilded, mixed-profile cantoria; thirteen niches containing gilded wooden busts of the twelve apostles with that of Christ in the centre are inserted in the parapet. The niches are internally worked with shell motifs and enriched by an beaded border and adorned with carvings. There are also small protruding columns which reflect those of the case. The latter, placed against the wall, is completely gilded and decorated with damask motives over gilding on the lower part, corresponding to the keyboard. The prospect consists of two superimposed orders divided into seven fields: in the first they are delimited by eight protruding columns supported on voluted brackets. The bases of the columns are decorated with phytomorphic shapes and fluting in the upper part, crowned by composite capitals. The 51 facade pipes of the first order are subdivided in fields according to the following scheme: 6+5+9+11+9+5+6. The lateral fields are arranged ad ala; those in the centre a cuspide with alineated mouths and roman upper lips (all the facade pipes were replaced in the recent rebuild).

The particular arrangement of the pipes, with those at the sides being higher than those in the centre, recalls late medieval organbuilding, and creates a pleasing effect with all the covering decorations together delineating a descending movement which contrasts with the cuspidal movement of the pipes. The central field is enriched with a small niche containing a wooden statue of the Infant Jesus holding a globe.

The second order, divided from the first by a cut-out cornice, consists of seven organetti morti separated by pilasters; these are surmounted by a decorative frieze decorated in relief and by a cornice held up by dentellated brackets on which a cymatium is placed. This is illuminated in gold with the same damask motifs from the lower case, and decorated with a central niche which contains a statuette representing the Good Shepherd. The multi-linear profile of the cymatium is punctuated by six trophies decorated with lateral volutes and crowned with sculptural groups composed of two trumpeting angels who triumphantly hold a cross of Malta aloft.

The work is highly refined by elements of renaissance derivation, such as the modelling of the protruding columns and the shell-like decorations of the niches of the gallery which are echoed in the architectonic-decorative organisation; the elegant facade is rich in plastic values and notable chiaroscuro effects in baroque style.

The organ of the mother church of S. Gregorio of the same town (Illus. 5), dating from the first half of the eighteenth century may also be attributed to the same author. This instrument is also of a particular architectonic style with refined decoration. The organ is situated in the fifth intercolumnary space to the left of the central nave in a rectilinear wooden cantoria adorned with panels decorated in gold with phytomorphic motives in relief. These are supported by two wooden caryatids, with the crest of Pope Gregory in the central panel. The case has gilded floral decorations on a dark ground around the keyboard area. The prospect is divided into three fields of which the lateral ones are higher than the central one, which is surmounted by two organetti morti. The central field consists of a vaulted niche with gilded profiles in renaissance style, containing 19 pipes arranged ad ala, while the lateral fields contain 7 pipes each arranged a cuspide; the mouths are aligned horizontally, with upper lips a mitria.
The facade is ornamented with covering decorations which are present in the lateral fields and in the organetti morti, which in their turn are crowned with decorative friezes. The case is also enriched with pilasters which delimit the pipe-fields, ornamented with gilded floral motives and swirls of acanthus leaves, festoons and carvings at the sides. A dentellated border which contrasts with the rigorously-linear cornice under which it stands creates a pleasing decorative solution. A cymatium consisting of volutes and trophies which stand alongside an empty kiosk supporting a cross completes the prospect.