her environs and menaced her with siege. In any case, the privileges, which up to 1678 made a kind of
free city of her, and a centre of national opposition against foreign domination, date from that period.
The Abbey and the old parts of the Cathedral date from Norman times. At the restoration of the latter
in the twelfth century, three naves were added and as has always been the case in rich cities and in mother
churches, the work of centuries and the additions required for new expressions of faith and art and other
changes have transformed and ornamented it in a thousand ways.
if The baptismal font is XIV* century work, and is attributed, we know not why, to Gaddo Gaddi; the
tomb of Guidotto dei Tabiatis is by Goro di Gregorio, a native of Siena, and a follower of the Pisan
School. The mosaics in ’ the three apses hitherto considered to be of great antiquity, have now been ascertained
to be the work of the same date as Tabiatis. In that century the principal door, rich in old time
sculpture, was also begun. It is a marvel of pure harmonious design.
The floor, the date of which is about 1400, was laid down by Salvo d Antonio, and the stalls in the
choir were carved by Giorgio Veneziano. There are also to be seen here various sculptures by Mazzola,
among which are the magnificent pulpit and the tomb of Archbishop Bellorado, rich in statuary sculpture.
There are twelve large altars over each of which is a statue of one of the apostles, by Montorsolo. In the
XVII century, the colossal baldachino was erected from a design by Simone Gulli, of Messina, the carving
being by Giacomo Serpotta.
But the most noted artist of that day was Giovanni Angelo of Montorsolo, who lived at Messina and
executed many important works, both in sculpture and architecture: churches, the lighthouse, fountains and
statues. The fountain of Neptune is simple yet imposing. The figure of the god (replaced by a recent
copy) with its back turned towards the sea, stretches one hand forward in the act of calming, not the
waves but the earth; whilst near the sea horses, the two sirens Scylla and Charibdis are entwined, one
sad, the other shrieking! The whole fountain, still safe, has thus stood amidst menace of disaster for three
and a half centuries.
<1 The fountain of Orione, in front of the Cathedral, is still more beautiful. It is rich in mythological sculpture:
conches, Medusae, dolphins, and cherubs, the whole forming a delighitful vision of pleasing shapes, well
proportioned and light.
<][ Amongst the more remarkable works of the XV IIlh century we may mention the church of S. Nicolo
with its five naves, the convent of Monte Vergine, S. Pietro dei Preti and S. Paolo, S. Francesco- delle
Stimmate, and the Annunziata dei Teatini, one of the largest churches in Messina, this last built by Guarino
Guarini. In nearly all of the above mentioned churches, there are great treasures of inlaid marble work and
a wealth of paintings, generally not the work of strangers as in the case of the sculpture but executed for
the most part by natives of Messina. Among the latter, shines Antonello, whom legend says was a pupil
of Van Eyck. Certainly he learnt technique from a Flemish painter, without, however, losing the Italian forms
and designs. His greatest merit appears in portrait painting. The perfect fusion of colour, obtained with the
lightest half-tones, gives form and life to his pictures, which might well have inspired the imitation of contemporary
painters. His influence completed the work begun by Giovanni Bellini, who launched the Venetian
HHIP school on its triumphant career. Antonello’s son Jacobello, and Antonello da Saliba |= |
steps, whilst Salvo d’Antonio followed the Venetian school . . .
.................................................................................C CORRAIX) R t i W t l ^ M
followed in his