Placed in a site of exceptional beauty, guard of
the straits, appearing like a magic lake surrounded by the sloping mountains of Sicily and
Calabria, Messina is world known through the backgrounds of the paintings of Antonello,
who was the extraordinary ambassador of Messina. The key of Sicily, as defined by medieval
chroni cles, Messina has lived its bimillenial vicissitude around its port which is
among the most welcoming natural har bours in the Mediterranean. It is set in a
strategic position both for economics and war and was founded around the middle of the 8th
century B.C. by a Chalcidian pirate by 3 the name of "Zancle", perhaps a
suggestion derived from the form of the port which appears to be a scythe ('zanclon' in
the Sicilian language). It was renamed 'Messina' by Messeni colonists, who repopulated it
in the 5th century B.C., and prospered in the Greek and Roman ages, so much so it was
defined by Cicerone "Civitas maxima et locupletissima", (the biggest and richest
of cities). The Arabs conquered in 843, which was one of the darkest moments in its
history, because every activity in the port ceased and the centre became almost
depopulated. Christianity was recovered in 1061 with the Normans and a new life rose
again, becoming one of the most frequented Empires of the Mediterranean and welcoming
within its walls a population composed of workers directed by an elite which was formed by
minor nobles and bureaucrats. From 1500 Messina became a seat of a flowring silk industry,
commercialised during the mid-August festival, and rose to a European dimension, but it
rebelled against Spain in 1674-78 and was severly punished. The economic, social and civil
recovery was halted by the epidemic of 'the pest' in 1743 and especially by the earthquake
in 1783 that claimed thousands of victims. In the 19th century Messina was reconstructed
and a new impetus was given to the port It was almost totally destroyed by the earthquake
in 28th December 1908, which killed more than 70,000 of its 160,000 inhabitants and
between the years of 1910 and 1930 it was rebuilt on the base of a rational plan. The
economy of the city became redefined by a transformation: the activities of the port
underwent a reshaping and the city addressed itself progressively towards the tertiary.
During the second world war the furious bombardments of 1943 disfigured the face of
Messina and yet again Messina was forced to suffer another reconstruction. Today the
inhabitants of Messina are more than 250,000.
The
city presents a modern urban design in which the architecture that survived the earthquake
and bombing is set. The architecture of the reconstruction after the earthquake of 1908
had long been considered as an expression of minor art and devoid of value. Today it is
realised that the buildings in the 'liberty' (art noveau) or 'eclectic' style offer a
testimony to an architectural civilization to be respected. Many buildings in the Via
Garibaldi and the Corso Cavour,
the villini Drago, the Palazzo di Giustizia and the Camera di Commercio, the Municipio,
the Galleria, the Dogana are very dignified.
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In fact the architects that worked for the 'resurrection'
of Messina, Basile, Coppedè Piacentini and many others, were among the most important of
their era. One can admire the work of Ernesto Basile in the building Cassa di Risparmio,
in Via Garibaldi, with its splendid salon in art noveau style. Among the antique monuments
the most noteworthy is the Duomo (the Cathedral), built in the Norman era and consecrated
in the presence of the Emperor Henry VI in 1197. It has been destroyed and rebuilt more
than once and today presents a very different aspect to its original one. The inferior
part of the façade, characterised by the polychrome marble bands, date back to 14th and
15th century in a late gothic style. Inside there is a basilical plan, on T form, of three
naves and one can admire, among others, the Sepulcral Monument of Archibishop Guidotto de
Tabiatis by Goro di Gregorio (1333). The
Belltower,
rebuilt after 1908, was given a mechanical device in 1933 by the company Ungerer of
Strasburg, which included a perpetual calender, an astronomic and varied representation of
the historical and religious life of the city, which moves at midday accompanied by sacred
music.
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