A Slice of Siracusa with a Side of Noto

If a 2,700 year-old city that is the birthplace of the mathematician and engineer Archimedes strikes your fancy, then Siracusa (Syracuse), Sicily is a place worthy of a visit. It is a UNESCO World Heritage Site that was founded by Greeks around 734 BC, has a rich Greek and Roman history and an amazing Greek Amphitheatre. The main attractions of Siracusa tend to be concentrated around two areas: Neapolis (Greek for New City) Archaeological Park and the Island of Ortigia. Both areas are easily explored on foot and worth a visit. Now honestly you cannot see and experience all that Siracusa offers in a day. We tried, failed, and added a quick stop in Noto just for the hell of it.

Greek Amphitheatre

The Neapolis Archaeological Park, situated in the northwest of Siracusa is home to several well-preserved Greek and Roman ruins, the jewel of which is the ancient Greek Theatre. The Neapolis is considered one of the most important archaeological and historical sites in the Mediterranean and includes the Greek Amphitheatre, the Sanctuary of Apollo Temenite, the Altar of Hieron II, the Roman amphitheatre, and the Latomie. 

The Greek Amphitheatre is situated on the southern slopes of Temenite Hill, originally built in the 5th century BC. It was rebuilt in the 3rd century BC and renovated during the roman period becoming one of the largest theatres of the Greek world with seating for 15,000 spectators. It ultimately fell into decline during the Middle Ages until it was rediscovered by modern archaeologists. Today, much of the originally semi-circular seating survives in fantastic condition, although it is often covered with wood to preserve its condition.  The INDA Foundation holds performances of Greek classics in an annual festival held there from May to June.

Latomie del Paradiso

Near the Greek Amphitheatre is the Latomie del Paradiso, an ancient quarry from the 6th century B.C featuring numerous caverns, fissures & cliffs. While today the Latomie (Ancient Greek for a quarry used as a prison) is a beautiful place, it was the original "hell on earth" for many as it was a place of detention and forced labour for prisoners of war and political prisoners. The 7000 survivors of the war between Syracuse and Athens in 413 BC were imprisoned here. It was out of this deep limestone quarry that stone for the ancient city was extracted, often by its prisoners.

Orecchio di Dionisio (Ear of Dionysius) is the ear-shaped artificial grotto dug out as a rock quarry and possibly later used as a sounding board for theatrical performances. The name of the cave was coined in 1608 by the painter Michelangelo da Caravaggio. Due to the particular shape of this grotto, legend has it that the town’s wicked and paranoid tyrant Dionysius used it to overhear his prisoners’ conversations from the top of the mine and then punish those who plotted against him.  

Exterior and Interior View of the Ear of Dionysius Grotto. 

The Paolo Orsi Regional Archaeological Museum of Syracuse was built in the park of Villa Landolina and opened in 1988. The museum is located approximately 300 metres from the Neapolis Archaeological Park. This uncrowded wonder displays 18,000 archaeological finds from the city of Syracuse and the eastern regions of the island. Our group of three had this wonderful small museum essentially to ourselves. it is worth a visit and can be seen in its entirety in several hours.  A separate blog will focus on this gem of a museum.  

“Paolo Orsi” Regional Archaeological Museum of Syracuse (photo credit Zde) 

The Fountain of Diana in Piazza di Archimede  

Throughout its history, Siracusa and the adjacent Island of Ortigia (which is the historical centre of Siracusa) has been part of several cultures; Arabs, Roman, Normans, Byzantines, Spaniards, and others. Ortigia was the site of an ancient Greek settlement founded by the Corinthians in 734 B.C. This over 2,700 year old city still bears witness to the art and culture that have flourished in it throughout the centuries. Ortigia derives its name from the ancient Greek ortyx meaning Quail. The island is fairly small (about 1km long and 600 meters wide) so the best way to see Ortigia is just to wander around. The main attractions in Ortigia are Ortygia market, Piazza Duomo, Maniace Castle and Eurialo Castle, Temple of Apollo, Fonte Aretusa, Piazza Archimede, and the Cathedral of Santa Maria delle Colonne.  

Piazza di Archimede was built in 1878 to honour the famous mathematician Archimedes, who was killed by the Romans in 212 B.C.. At the centre of the Piazza is the beautiful Fountain of Diana, the Roman goddess built in 1907 by the sculptor Giulio Moschetti.  The nymph Arethusa is depicted in the act of escaping from Alpheus who, with outstretched arms, tries to grab her. Diana, at the centre of the group, protects the young girl.

Noto is a city 32 kilometres (20 mi) southwest of the city of Siracusa at the foot of the Iblean Mountains. The medieval town of Noto was razed by an earthquake in 1693.  Noto was rebuilt at its present site and as a result has a unique architectural homogeneity, built over the next decades in a typical and highly preserved example of Sicilian baroque. Most of Noto’s notable buildings were constructed in the 18th century. The facade of some buildings in Noto was built with a tufa stone (a variety of limestone) of sandy colour which acquires a golden tone at times.

Noto Cathedral (1776)

Palazzio Ducezio (Noto's Town Hall)
Designed in 1746, completed in 1830 and second floor added in the 1950s. 

More Photos from Siracusa and Noto. 

The Altar of Hiero II

Monumental grand altar in the ancient quarter of Neapolis built by Hiero II for public sacrifices. It was built in the Hellenistic period between 241 and 215 BCE and is believed to have been dedicated to Zeus Eleutherios. 

The Roman Amphitheatre from the early Imperial period (3rd century BC), that was used for gladiator fights.

The Grotta del Ninfeo

An cave carved into the rock of Temenite hill, at Neapolis Archaeological Park. At the entrance they were statues dedicated to Muses. The fountain is inspired by Greek cult of the nymphs from which the cave derived its name.

Terrace of Temenite Hill and entrance to Sepulchral Street, with rock tombs, niches and epitaphs on each side.

The Cathedral of the Nativity of the Blessed Virgin Mary (Cathedral of Siracusa)

The cathedral in Siracusa was built in the 6th century by the Byzantines who converted the remains of the Temple of Athena (480 BC) into a church. The Temple had been a Doric temple whose columns and other remains were incorporated into the current church (see photo below). The facade of the Cathedral is a Sicilian-Baroque composition erected in 1728-54 after an earthquake in 1693 destroyed the Norman facade and bell tower (circa 12th century).  The exterior statues were sculptured by Ignazio Marabitti (1757).

 

Exterior wall of the Cathedral of Siracusa with columns from the Temple of Athena

Saint Peter at Siracusa Cathedral (1757 Ignazio Marabotti)

Santa Lucia alla Badia Church  (1696-1703)
Houses The Burial of Saint Lucia painted in 1608 by Caravaggio

Look Up, Way Up.
The Sicilian Spiderman by Domenico Pellegrino as part of MOA Exhibition

Church of Saint Francis Immaculate in Noto (1704-1775)

Via Camillo Benso Conte di Cavour in Noto

Sicilian Busker in Noto

The following websites and links in the blog provide additional information:

https://www.secretsiracusa.it/en/where-to-go/

https://www.visitsicily.info/en/10cosea/siracusa/

https://www.selectsicilyvillas.com/places-in-sicily/syracuse/

http://www.bestofsicily.com/siracusa.htm

http://www.bestofsicily.com/noto.htm

https://www.visitsicily.info/en/noto-the-sicilian-baroque/

Loppem Castle: A Flemish Neo-Gothic Masterpiece with a Hint of Political Intrigue

Kasteel van Loopem

Loppem Castle (Kasteel van Loppem) located just east of the town of Loppem, was built between 1858 and 1862 by Baron Charles van Caloen replacing an earlier 18th-century mansion. Architects Edward Welby Pugin and Jean-Baptiste de Béthune designed it with the latter giving it, its Flemish Gothic Revival appearance. The castle’s architecture, interior decoration, and furnishings were designed in the Flemish Neo-Gothic style and have been maintained in this style. This is unique as many Belgian castles (and honestly many castles worldwide) are often a mix of styles having been renovated by various architects and designers over the centuries. 

The next couple of paragraphs are my Coles Notes version of Castle Loppem's place in Belgium history. I would hazard a guess that no castle is a stranger to political intrigue including Loppem Castle. In 1830, as a result of the Belgian Revolution, the area known as the United Kingdom of Netherlands was split up into three countries: The Netherlands, Belgium, and Luxembourg.  A minor prince from the German House of Saxe-Coburg (boy did those Saxe-Coburg lads get around) was made King of Belgium in what was theoretically a constitutional monarchy. In reality, it was the king and a few oligarchs making all the rules. 

Welcome to Castle Loppem!

Fast forward to 1918, Loppem Castle had become the temporary home of King Albert I (October 24 - November 21).  The king would have been considered by most standards a liberal. That coupled with the political climate of the day suggesting change was essential to maintain the peace and unity of the country; King Albert met with a group of socialist and liberal politicians at Castle Loppem.  The result was the formation of a new government, numerous social reforms including trade union rights, and universal suffrage granted to men thereby breaking the hold of the oligarchy. This marked the beginning of modern Belgium. Of course, the oligarchs were a bit miffed. They noted that the procedures of the constitution had not been followed voicing complaints about what would become known as the “Loppem Coup”.  

The interiors and furnishings were designed to complement and enhance the castle's architecture. The furnishings were designed by Pugin with the stained glass, chandeliers, staircases and fireplaces designed by Bethune. All were executed with amazing skill by local craftsmen.  The interior touches contribute to the castle's authenticity and originality that reflects its design heritage while offering a glimpse into its past. 

I would like to thank the staff of Loppem Castle and the Jean van Caloen foundation for gracefully answering all my questions. The quick and detailed responses were very much appreciated  (http://www.kasteelvanloppem.be/en).

Stained Glass Windows 

Stain glass designed by Jean-Baptiste de Béthune and executed by locale artisans 1858-1862. 

Small Family Chapel Stain Glass

Staircases

The banister in the hall of the castle has 100 panels and each panel has a different design. The staircase was designed by Jean-Baptiste de Béthune and executed by locale artisans 1858-1862. 

Bannister Panels with Hunting Theme

Bannister Panel

Lion Newel Post Cap
(Lions are part of the van Caloen Coat of Arms)

Castle Interiors

Furniture by Pugin. Windows, chandeliers and fireplace by Bethune. Ca. 1860. 

Mural painting by Augustin Martin (1870)
Captions by the Flemish poet Guido Gezelle

Mural painting by Augustin Martin (1870)
Captions by the Flemish poet Guido Gezelle

Hooghuys and Sons Organ in Blue Room

Ceilings

Fireplace Mantle 

Works of Art

Pieta 1460
after Vrancke van der Stockt

Madonna and Child
Holland 15th-century

Mary
France or Maasland Netherlands 14th-century.

Portuguese Ivory
17th-Century

Male Saint 
France 13th-century

Saint Sebastian
Jan Borman Ca. 1520

Saint Margaret, crushing a devil or dragon under her feet
France (14th century)
 sculpted in natural stone, polychromed

The above figurine is based on a hagiography in the Legenda Aurea (compiled around the years 1259–1266) by Jacobus a Voragine; detailing the legend of Saint Margaret of Antioch (3rd century).  She was a Christian martyr who resisted a devil and pressed him to the ground with her right foot.

Virgin Mary with a book, a devil under her feet,
France (early 14th century)
 sculpted in natural stone, polychromed

Devi (goddess represents the universal Mother and the feminine element) 
sandstone from Chandella period 10th-11th century
 Madhya Pradesh, India,

Swooning of Mary
Antwerp Early 16th-century

The Bruges Burg Square
Anonymous, 17th century, oil on canvas

Saint Jerome in the desert, After P.P. Rubens
probably 17th century, oil on canvas

The above painting is an old copy (smaller format) of the Saint Jerome of Peter Paul Rubens (ca. 1612-’15), kept in the Dresden Gemäldegalerie. Rubens portrayed the episode of Saint Jerome’s life as told in the epistle of Saint Eusebius and as popularised by the 13th century, Legenda Aurea. St. Jerome spent several years meditating in the Syrian desert. The traditional attributes of Jerome are portrayed; the skull symbolizing mortification, his books, and the lion whom he befriended by pulling a thorn from its paw. 

The pose of the semi-naked, muscular male figure was inspired by a representation of St. Jerome by Titian, which Rubens had seen in Venice, and also by a statue known as the Dying Seneca (2nd century) in the Louvre, Paris. 

Jean van Caloen, a grandson of Charles van Caloen, bought this well-crafted copy in 1913 from a Bruges antique dealer. Before that, the painting was in the possession of the family Depuydt in Poperinge.

Time for a Nap, 17th century, oil on canvas
Gillis van Tilborgh (1625-1678), 

Gillis van Tilborgh (1625-1678), specialized in group portraits, paintings on the life of the lower class and elegant genre paintings. This painting has the monogram 'TB f(ecit)' which is how van Tilborgh signed his paintings. This painting is part of the van Ockerhout family legacy and was acquired as a result of the marriage of Albert van Caloen to Marie van Ockerhout. 

Saint Jerome (ca 1550)
copy of a painting by Joos van Cleve (ca 1485-1540) oil on canvas

Catharina Peussin
(Wife of Pieter Cassetta, alderman of the western district of the Franc of Bruges)
 2nd quarter of the 17th century, oil on canvas

Portrait of Charles van Caloen
 by Jean-Baptiste Anthony, autumn 1880, oil on panel

This portrait is of 65-year-old Baron Charles van Caloen (1815-1896) in his senatorial costume. Charles van Caloen was a senator for the catholic party from 1867 until 1878. He commissioned the construction of the Loppem Castle, which is shown in the background. Anthony also painted a similar portrait of Charles's wife Savina de Gourcy Serainchamps. 

Portrait of Joseph van Caloen
by Flori Van Acker, 1922, oil on canvas

Joseph van Caloen (1853-1932) was the oldest son of Charles van Caloen and Savina de Gourcy. In 1872 he entered the order of the Benedictines as 'dom Gérard'. He dedicated his life to missionary work. In 1893, the Pope charged him with the task of restoring the Benedictine order in Brazil. In 1906, he was appointed bishop in the mission area of the Rio Branco. In 1908 he became arch abbot of the Brazilian congregation. This portrait was painted by the well-known Bruges painter Florimond Van Acker (1858-1940), director of the Bruges art academy, a gifted painter of cityscapes, landscapes, genre scenes and portraits of notables and also an original designer of posters.

The Lamentation of Christ
Antwerp Mannerism early 16th- century

Antwerp Mannerism refers to an unidentified group of painters working primarily in Antwerp (but also in other Flemish cities) circa 1520 whose works bear certain characteristic features. Although attempts have been made to identify the individuals responsible for the several stylistic groups, most of the paintings remain attributed to anonymous masters. Characteristic of Antwerp Mannerism are works attributed to Jan de Beer, Jan van Dornicke, certain early paintings of Jan Gossart (1532) and Adriaen Ysenbrandt (1551).  https://www.britannica.com/topic/Antwerp-Mannerists

A view of the castle grounds.
For my fisher friends.