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Ancient Craftsbetween past and future
FINAL EXHIBITION OF THE PROJECT
“TECNICHE ARTISTICHE DELL’OREFICERIA SICILIANA”
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Ancient Craftsbetween past and future
FINAL EXHIBITION OF THE PROJECT
“TECNICHE ARTISTICHE DELL’OREFICERIA SICILIANA”
Palermo, Oratorio dei Bianchi
15-30 | 06 | 2013Opening time: 9.00 - 12.30 Monday closed
Inauguration
14 | 06 | 2013
17 pm
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Title of the Project“Tecniche artistiche dell’oreficeria siciliana”Regione Sicilia P.O. FSE 2007/2013 Avviso 6/2009 “Antichi Mestieri”Assessorato Regionale dell’Istruzione e della Formazione professionaleDipartimento dell’Istruzione e della Formazione professionale
Project SupervisorMaria Concetta Di Natale
Academic CoordinatorMaurizio Vitella
Orientation and evaluation managerAlida Lo Coco
TeachersMaria AlberghinaNicoletta BonacasaMaria Concetta Di NataleSanto GiuntaSergio IntorreRosalia MargiottaUgo Porzio PeraltaMassimo ValentiMaurizio Vitella
Tutor Roberta DenaroGiorgia Licata
Administrative officeConcetta CerauloGiuseppe PiazzaLuciano TropeaMassimo Valenti
Project plannersGiuseppe PiazzaLuciano Tropea
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Financial monitoring managerLuciano Tropea
StudentsMartina Veronica Alessi Giuliana Ammoscato Grazia Calascibetta Vitalba Craparo
Giovanna Emmola
Ludovica La Monica Gaetana Rezza Marina Tancredi
Hand-craft companiesAmato Antonino Argenteria, Palermo Cosentino Gioielli, PalermoGioielleria Fiorenza, TrapaniBenedetto Gelardi Argenti, PalermoNocito Gioielli, Sciacca
Exhibition organizational officeMaria Laura CelonaCristina CostanzoRoberta Cruciata
TranslationsCristina CostanzoRoberta Cruciata
Graphic project and layoutSergio Intorre
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Ancient Craftsbetween past and future
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Maria Concetta Di NataleProject Supervisor
Decorative arts, just conventionally called “minor”,
represented in the past centuries the most signifi-
cant feature of the Sicilian art production.
The history of Decorative Arts, in their different
sectors, has remote origins in the island and espe-
cially in medieval and modern periods since the fa-
bulous factory of the Norman Royal Palace of
Palermo. Thanks to the Normans in Sicily there was
not only a Western acculturation of the various po-
pulations living in the island, but also a positive fu-
sion of all the cultural forms including the artistic
ones which hadtheir own style. The Norman and
Swabian artworks showed taste for the chiaroscuro
of light and for the bright polychromy which will
characterize always all the artworks of the Sicilian
sunny land from jewelry to fabric. Pearls, enamel,
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gems, gold filigree re-shine in rare and fine jewelry,
precious furnishings, sophisticated
embroideries.Furthermore, the Gothic and late Go-
thic decorative repertoire, full of Iberian and Cata-
lan elements emerging in different ways in Sicily, is
grafted onto the Italian cultural influences privile-
ging those of Siena and Pisa. So in Sicily, at that
time the center of culture in the Mediterranean
area, there were artists coming from the Iberic and
the Italian Peninsula or just their artworks.
After “Li Capituli facti per la Universitari di la felici
chitati di Palermu” presented to the viceroy Nicola
Speciale in 1426, we have to wait for 1447 and Al-
fonso ilMagnanimo to have “I Capitoli”of the first
Maestranza of goldsmiths and silversmiths in Pa-
lermo to guarantee the legal use of the silver alloy
Gioacchino Di Marzo in 19th century and Maria Ac-
cascina in 20th century did the first pioneering stu-
dies on the subject. So only after the half of 15th
century we had the brand of goldsmiths and silver-
smiths of Palermo: the eagle with wings facing down
and the initials “RUP (RegiaUrbsPanormi)”. The
gold, however, was not marked until 1758 following
a precise notice. In the artistic production of gol-
dsmiths and silversmiths the caprice of Mannerism
is followed by the articulated and complex vitality
of the Barocco which is characterized with a sophi-
sticated wealth despite the overabundant, but never
excessive, ornamentation.
In 1715 the eagle wings punch of the workers of Pa-
lermo changed and became top flight probably re-
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ferring to the emblem of the new king Vittorio Ame-
deo of Savoy, King of Sicily from 1713. This datum
was deepen from Silvano Barraja in occasion of the
exhibition “Ori e argenti di Sicilia”, organized by the
Faculty of Letters and Philosophy of the University
of Palermo in 1989 and promoted by the Depar-
tment of Cultural Heritage and Environmental and
P.I., which was held at the Museo RegionalePepoli in
Trapani.
The artistic production of goldsmiths and silversmiths gets
its French inspired peculiarity in the Rococo period subse-
quently adhering to the Neoclassical art with great styli-
stic mastery.
The craftsmen that bloom in Sicily during the years are se-
veral, the oldest goldsmiths and silversmiths operate in
Messina, Catania, Siracusa and the most recent in Trapani
and Acireale as analyzed by Maria Accascina who studied
the different brands.
Among the workers who distinguish themselves for the
high quality of their artistic production in Sicily emerge
the “corallari” (art workers of coral) from Trapani, the “Ars
et corallariorum sculptorum corals”, whose works are fa-
mous and appreciated throughout the world from 16thto
18th century, but especially in 17th, when they become
characterized with special technical and artistic features.
Antonio Daneu and Angela Daneu Lattanzi dedicated their
studies to the coral art of Trapani and the 1986 exhibition
was titled to the art of coral, the first exhibition of a series
organized by the Faculty of Letters and Philosophy of the
University of Palermo and promoted by the Department
of Cultural Heritage and Environmental and P. I., which was
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held at the MuseoRegionalePepoli in Trapani, whose Cura-
tor was Vincenzo Abbate.
The revolutionary movements of the late 18th century
led to the abol i t ion of the workforce in 1822.
On Apri l 1826, 14th Francesco I with a Royal De-
cree establ ished the new rules to mark gold
and si lver stopping the glorious art tradit ion in
which Sici ly was a protagonist.
The suppression of the workers in Sici ly is the
beginning of the decay of the decorat ive arts
in general , and in particular the jewelry and si l -
verware; in Trapani , s imilar and other reasons
had several t imes already caused the diaspora
of “maestri coral lari” , whose production, so wi-
despread throughout the Island, later on migra-
ted to Campania.
In spite of the diffusion of Liberty, the handicrafts
had in Sicily a slow and progressive almost total ex-
tinction, although it had been for centuries a strong
sector of the local economy. When in 1689 Vincenzo
Nobile wrote his hymn to the Madonna of Trapani, Il
Tesoro nascoso, he asserted that around the vene-
rated image there was a productive circuit which
constituted Trapani’s wealth: “non viene in Trapani
forestiero che non riporti seco alla patria qualche
statuetta di corallo o di alabastro di Nostra Signora
per provvedere alla devozione sua e de’ paesani”.
It is no coincidence, therefore, that the University
of Palermo, thanks to the Regional Department of
Education and Training, wanted to recover the “An-
cient Crafts”, hoping for their insertion in the arti-
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stic, cultural and economic realities of our society,
characterized by the overwhelming technological
progress.
The course “Artistic techniques for the Sicilian je-
welry”, organized by the University of Palermo and
funded by the Regione Siciliana (Regional Depar-
tment of Education and Training), had these motiva-
tions. Aiming to promote female employment, it
refers unconsciously to the local tradition of women
artists. For the decorative arts, we remember Anna
Fortino and her fine works in wax; she was a pupil
of the painter Rosalia Novelli, daughter of PietroNo-
velli, the greatest painter of 17th century in Pa-
lermo.
The lectures focused on the decorative arts’ history
in Sicily, with particular reference to jewelry, silver-
ware and coral art. They were given by professors
of the University of Palermo and specialists coordi-
nated by Maria Concetta Di Natale and Maurizio Vi-
tella; the apprenticeship period took place at the
“botteghe” still active in Palermo (Antonino Amato,
Guido Cosentino and Benedetto Gelardi), in Trapani
(PlatimiroFiorenza), and in Sciacca (Laura Di Gio-
vanna).
So the students acquired the basis of “Ancient
Crafts” which were disappearing and that now may
find not only continuity, but also new life. Providing
biographical notes of the masters and of students
and to present their works is not only a sign of the
results achieved, but also gives new job opportuni-
ties for example in the “botteghe” where students
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did their internships (like it will happen for some of
them) and the possibility of new working experien-
ces.
The exhibition presents the masters and students’
works in gold, silver and coral. The students are:
Martina Veronica Alessi, Giuliana Ammoscato, Gra-
zia Calascibetta, Vitalba Craparo, Giovanna Emmola,
Ludovica La Monica, Gaetana Rezza, Marina Tan-
credi. The exhibitionis housed in the prestigious
Oratorio dei Bianchi in Palermo, belonging to the
Galleria Interdisciplinare Regionale della Sicilia Pa-
lazzo Abatellis, thanks to the active collaboration of
the Department and Regional Department of Cultu-
ral Heritage and to Giovannella Cassata, Curator of
Palazzo Abatellis. The University of Palermo, the
Department and Regional Department of Cultural
Heritage are collaborating to promote a tourist cir-
cuit in the monumental complex of Piazza Marina,
including Palazzo Steri and Palazzo Abatellis. The
exhibition presents these works not only to show
the masters’ artistic level and the students’ pro-
gress, but also desiring to bring attention to the
knowledge and appreciation of the decorative arts
which, like in the past, may give light to the whole
Sicily in the future.
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Maurizio Vitella
Academic Coordinator
The teaching, introductory to the internship at the
goldsmiths’ botteghe, consisted in nine modules of
lectures and one on field, for a total of 120 hours.
Aimed to support employment in the craftsector
through the recovery and enhancement of “Ancient
Crafts”, the course was based on knowledge of the
history of the goldsmith’s art, with particular atten-
tion to the Sicilian production. The lectures, in ad-
dition to a module of 12 hours by Massimo Valenti
on the prevention of risks and safety in workplace
in accordance with Legislative Decree no. 81 of April
2008, 9th focused on the local goldsmiths and sil-
versmiths’ production in the centuries with specific
modules given by Maria Concetta Di Natale (history
of jewellery), Maurizio Vitella (history of silverware),
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Rosalia Francesca Margiotta (history of coral and
precious materials) and Sergio Intorre (history of
artistic techniques). Nicoletta Bonacasa was respon-
sible for visits in which students admired fine exam-
ples of Sicilian decorative arts known all over
Europe, works from important private collections
and today in public museums.
In addition, some lectures are aimed at providing
specific expertise in the goldsmith’s craft: Ugo Por-
zio Peralta explained to the students what are the
precious stones and the techniques for their diagno-
sis and characterization, while Maria Alberghina ex-
plained the techniques for metals’ diagnosis and
characterization. Santo Giunta was responsible for
a module dedicated to the artifacts’ design, thanks
to which the students expressed graphically them-
selves designing jewels. The teachers were profes-
sors of the University of Palermo, postdocs,
research fellows and experts, whose skills have con-
tributed to a specialist training.
Therefore, the course has combined a critical histo-
rical approach to the Sicilian history of the goldsmi-
th’s art and the knowledge of precious materials
which, together with the concept of artifacts’ de-
sign, provided the students with solid basis for ad-
dressing to the apprenticeship at the botteghe
provided by the project.
Ancient Craftsbetween past and future
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Masters and students
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Antonino Amatoby Maria Laura Celona
Master Antonino Amato, born in 1941, is among the sil-
versmiths still active in Palermo, guarantors of the con-
tinuity of Sicilian silverware’s noble tradition. He
learned his art when he was twelve, at his grandfather’s
bottega: his name was Antonino Siddiolo, and he wor-
ked in the street so called Argenteria vecchia, near the
famous church of St Eligius, the patron saint of gol-
dsmiths and silversmiths. At the age of fourteen he was
engaged in his cousin Giuseppe Siddiolo’s bottega, and
after the merger between Siddiolo and Di Cristofalo he
worked for twelve years in the manufacture of serial
silverware. In the 60’s he opened his first bottega in via
Ambra 3, specializing in liturgical silver artifacts. In
1974 he obtained the license and the trademark, a star
followed by the number 102 PA. In 1976 Amato opened
a new bottega at Palazzo Pantelleria (Piazza Giovanni
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Meli 5), in the historical
center of Palermo. Today
he is helped by his two
daughters, Angela and
Maria Maddalena, born
from the marriage with
Rosaria Saccone on July
1941, 22th: Angela works
in the laboratory, Maria
Maddalena sales the crea-
tions. Antonino Amato
and his art, which combi-
nes the ancient techni-
ques with the latest
technological innovations,
are very well known all
over Sicily and beyond.
His creations are testi-
mony of the changes of
techniques and materials,
even the light that he
uses has changed, with
the passage of time.
Amato tells, in fact, that
originally they used a
glass bowl, supported by
a pole placed on a wooden
support, filled with water
to direct the light beam
where it needed.
Technological progress
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has changed the traditional handicrafts to the point
that now the working tools: gravers, dies, hollow pun-
ches and matrices, previously made by hand, are pro-
duced by specialized industries. The cuttle-fish bone
technique was replaced by the microfusione one, but
there is still need for skilled hands to create the ever-
green tools of the trade. These are unique pieces that
give personality accompanying the craftsman’s expert
hand in the implementation of special techniques such
as the damask, filigree, granulation, engraving, embos-
sed work, and chasing.
UNESCO enrolled master Amato on the list “Living
Human Treasures” in the Book of Knowledge of the Re-
gister of Immaterial Heritage, because of his ancient
and prestigious tradition of craftsman. He is today ac-
credited to the Soprin-
tendenze ai Beni Cultu-
rali della Sicilia, and he
is engaged in the resto-
ration of sacred silver-
ware.
The organization of the
representations and the
execution of the arti-
facts still produced are
examples of the various
styles’ revival so dear to
the Sicilian ecclesiastical
patrons; it is an alterna-
tion of a decoration
which is inspired by Sici-
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lian baroque with its exu-
berant abundance, and by
a rococo or by other neo-
classical inspirations.
The artistic production of
Antonino Amato, linked to
the patronage of liturgical
works of art, looks at the
past and at forms and sty-
les traditionally wide-
spread in Sicily so dear to
the priests and to the be-
lievers.
His ability is also evident
in the domestic silver-
ware, characterized by a
simplicity and linearity
more suited to the con-
temporary art and to the
modern furnishings’ useful-
ness.
The greatest charm of An-
tonino Amato’s silver
works is the ability to
enter in his bottega and
see tools and activities
able to combine the the-
mes of the past with the
modern reality.It is only
thanks to the continuous
and important work of si-
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milar masters that we can hope to revalue the Sicilian
handicrafts, with unique products focusing on quality
and to recover of a more or less recent past. Master
Amato is now working as a teacher at the goldsmith
school of the Collegio Universitario Arces, a role that
allows him to pass his precious artistic recipes to young
students.
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Students
Martina Veronica Alessi
Born in Palemo in 1991. She graduated at the Liceo Socio-Psy-
cho-Pedagogical and Linguistic "DaniloDolci”.
Gaetana Rezza
Born in Palemo in 1995. She graduated at the Institute of Se-
condary Professionale "Gaetano Salvemini" - Tourism sec-
tion.
Ancient Craftsbetween past and future
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2020
Guido Cosentinoby Roberta Cruciata
The goldsmith Guido Cosentino from Palermo, born in 1950,
learned his art when he was young at the bottega founded
by his father Ernesto in 1936. After his father’s death, in the
70’s he took over the parent running the company, and today
is joined by his son Ernesto.
Cosentino, for his handmade creations, always follows the cri-
teria of quality and refinement at all stages of production,
from smelting the gold until the finished jewel. When he talks
about his art, he loves to specify that each stage of gold’s
processing has several variations and steps: “when we talk
about the finish it should be clarified that, after the drawing,
the gold is still raw; it need to be shaped with pincers and cut
exactly (possibly it need to be welded and then deoxidized
with the whitening) and, after that we have the item to which
we are working, we have to start a careful and complex phase
so called rough-shaping with coarse grain files and then with
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finer grain files, before using
of abrasive paper to smooth
the gold as better is possible.
Then there is the cleaning,
having two steps: the first
one with abrasive brushes
and then the polishing with a
soft brush, followed by the
degreasing presumably with
ultrasonic waves and by the
sawdust drying in order not
to leave scratches and signs
on the finished work”.
His elegant jewels have va-
rious models and sources of
inspiration, especially the Si-
cilian goldsmith’s art and its
polychrome richness: pearls,
coral, gemstones and the
diamonds so dear to the Sici-
lian tradition over the centu-
ries are still the favorite
materials in master Cosenti-
no’s works of art. His trade-
mark is GC in italic letters,
while the beginning of his
craft business dates back to
20th December 1982.
Cosentino family boasts
among the most important
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works carried out over the years the Tiara in gold and dia-
monds for a Princess Chiaramonte.
Guido Cosentino has made the Pectoral cross in chased gold
commissioned by the Municipality of Palermo for Cardinal
Paolo Romeo, later his appointment as Metropolitan Archbi-
shop of Palermo granted by Pope Benedict XVI (December
2006, 19th); the work was donated by the mayor of Palermo
in February 2007. He also created another Pectoral cross in
chased gold commissioned also by the City for Mgr. Carmelo
Cuttitta, Auxiliary Bishop and Vicar General of the Archdio-
cese of Palermo (July 2007, 7th).
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Students
Giovanna Emmola
Born in Erice in 1987. She obtained her BA in Science and
Technology of Art, and now she is enrolled in the second
year of the Master's Degree in History of Art.
Ludovica La Monica
Born in Palermo in 1988. She obtained her BA in Science
and Technology of Art, and now she is enrolled in the se-
cond year of the Master's Degree in History of Art.
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Laura Di Giovannaby Cristina Costanzo
Laura Di Giovanna was born in Sciacca in 1980. Thanks to her
experience in the creation of jewels and in the coral craftman-
ship, she is considered an important reference in jewellery
for her production based on tradition and innovative design.
Laura Di Giovanna studied at the “Scuola d’Arte e Mestieri”
and at the “Istituto Callegari” in Vicenza and in 2008 she gra-
duated in decoration at the Art Academy “Eleonora d’Ara-
gona” of Sciacca.
Between 2001 and 2002 she was a trainee at the goldsmith’s
workshop “Geraci” of Palermo and a designer trainee at the
“J. & G. di Jotti Melania” in Vicenza. Between 2002 and 2004
she repeated this experience at the coral workshop of the Ma-
ster Platimiro Fiorenza in Trapani, where she studied more
deeply the ancient jewellery techniques and in particular the
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ture of jewelry with the
Hallmark Goldsmith “AG *
23”, issued by the State
Mint. The “Goldsmith No-
cito” is also accredited by
the University of Palermo
and Training Institutions
for internships and ap-
prenticeships and it wel-
comes many young
scholars interested in le-
arning the secrets of art
of gold and coral, which
boast an important tradi-
tion in Sciacca.
Laura Di Giovanna’s exqui-
site production is a fusion
of the best artistic Sicilian
tradition and the contem-
porary taste. Her crea-
tions are appreciated in
Italy and abroad and espe-
cially in Japan, where she
has presented important
artistic events.
Her sophicated collections
include “Esprit d’Artiste”,
precious and unique pie-
ces, “Sicily”, inspired by
the old and modern Sici-
coral and ivory techniques and
the restoration and reproduc-
tion of ancient jewels.
Since 2005 she has been arti-
stic director and co-owner
with her brother Mario and her
sister Velia, of the “Laborato-
rio Orafo Nocito”, that has an
old family tradition for jewel-
lery. The “Laboratorio Orafo
Nocito” has a high level te-
chnological structure and is le-
gally recognized as a
laboratory for the manufac-
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lian tradition, and “Legami”, coral art works as tribute
to the magic relationship, tipically Sicilian, between na-
ture, sea and art.
Laura Di Giovanna partecipated in several international
events and fairs such as the “Fiera del Tarì”, the “Fiera Oro
di Vicenza” (2010-2013), “The Hong Kong Jewellery Show”
(2010-2013) and the “Gala Evening Jewels of Italy”, at the
Central Plaza of Hong Kong. She also took part in national
and international competions such as “The International
Jewel Design Competition” (1999-2000), promoted by Auri-
talia for the creation of a jewel combining the Western tradi-
tion taste and the United Arab Emirates taste, the “Concorso
Oroscuola Vicenza 2001”, organized by Confindustria Vicenza
and dedicated to the innovative jewelry design, where she re-
ceived the first prize. She distinguished herself in the resto-
Ancient Craftsbetween past and future
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ration field and we must cite the restoration of two gold
crowns of the “Madonna del Soccorso” of Sciacca.
She is often invited as a Visiting Professor to several schools
and art institutes and international conferences about the
coral craftmanship and the restoration of antique jewels and
religious art works.
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Students
Vitalba Craparo
Born in Sciacca in 1984. She obtained her BA in Science and
Technology of Art, and the Master's Degree in History of Art.
Marina Tancredi
Born in Sciacca in 1983. She obtained her BA in Modern Lite-
rature and the Master’s Degree in Modern Philology.
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Platimiro Fiorenzaby Cristina Costanzo
Platimiro Fiorenza was born in Trapani in 1944. Son of a gol-
dsmith craftsman of the coral, he was raised in his father’s
workshop and at seven years old he started working on gold,
silver and coral; he also appreciated stones and soon started
his first engravings attracting the attention of Domenico Li
Muli, a sculptor and painter from Trapani. In his career Fio-
renza devoted himself not only to the art of coral but also to
painting, sculpture, restoration and poetry.
At the age of twenty he left Trapani to go to Milan where he
started the collaboration with the famous sculptor Giò Pomo-
doro. During his career Fiorenza met prestigious protagonists
of the art world such as Michele Canzoneri, Mario Cassisa,
Dino Manfrè and Ludovico Corrao.From 1970 to 1975 Master
Platimiro Fiorenza while exhibiting his art works in Trapani
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and in Sicily, went to partici-
pate successfully in many in-
ternational competitions
such as the “Asward Dia-
mond” of New York. In the
early 80s he was invited to
teach at ECAP in Trapani. In
1982 he received the Certifi-
cate of Merit from “Soropti-
mist” as an authentic
example of industriousness
and a continuer of the best
handcraft tradition of Tra-
pani.
In 1988 he made one of his
most important works: a 33
cm chalice made of gold,
coral and gemstones for the
Cathedral of Monreale. He
made important gold and sil-
ver art works for “Misteri of
Trapani” as well. Moreover,
he is often quoted in several
decorative arts books and
catalogues.
In 1993 he made his master-
piece commissioned by the
Episcopate of Trapani and
exhibited in the Vatican Mu-
seums: the 34 cm statue of
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the “Madonna of Trapani” made of gold, coral and precious
stones. He also made a stoup made of gold, coral and pre-
cious stones commissioned by the Province of Trapani for His
Holiness Pope John Paul II. Moreover, he made a silver and
coral pastoral for the election of the Bishop Francesco Micci-
chè.
In 1994 and 2001 he exhibited a coral crib in the “Cento Pre-
sepi” exhibition in Rome. In 1997 he was invited from the Pro-
vince of Siracusa to exhibit his art works in Glasgow, Scotland.
In 2003 he was invited by the Province of Trapani to exhibit
at Palazzo Riccio di Morana for the World Fencing Champion-
ship. In 2005 he exhibited his art works at the America’s Cup
Foredeck Club and he was commissioned by “Porto Ossuna”
committee to make a Carrara marble sculpture, which we can
admire in Via Serisso in Trapani. In 2007 he exhibited in San
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Casciano and in Düsseldorf (Germany), invited by the Pro-
vince of Trapani. In 2008 he was invited to the exhibition “Il
presepe e il corallo”. In 2010 he took part in the exhibition “Il
fascino del presepe” organized by the Diocesan Museum of
La Spezia. In 2011 the Province of Trapani commissioned Pla-
timiro Fiorenza a silver, gold and coral pectoral cross for An-
tonino Raspanti as Bishop of Acireale. In 2012 the exhibition
“Platimiro Fiorenza. Rosso Corallo tra sogno e materia”, cu-
rated by his daughter Rosadea, took place in the Torre di
Ligny Museum in Trapani.
Platimiro Fiorenza received several important awards: “Sa-
turno - artigiano del mare” by the Economic Development De-
partment of Trapani (2003); the “Trapani Club UNESCO
award” for his skills in the coral workmanship (2004); a gol-
den medal by the Chamber of Commerce of Trapani for his
Ancient Craftsbetween past and future
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loyalty to work and to economic progress (2011); the “Catania
Lions Club award” (2013). In 2013 the UNESCO places him in
the “R.E.I. Registro delle Eredità Immateriali della Sicilia” (Re-
gister of Intangible Heritage of Sicily).
Platimiro Fiorenza made restorations for famous antiqua-
rians from Palermo, Rome, Florence, London and New York
and he contributed in restoring the “Misteri of Trapani” scul-
ptures. He is a visiting professor in several Universities, Art
Institutes and Regional Courses and his workshop is open to
young trainees, visitors and scholars.
38
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39
Students
Giuliana Ammoscato
Born in Alcamo in 1988. She graduated at the Primary School
Teaching Institute “Vito Fazio Allmayer” in Alcamo - Lingui-
stic Section. She attended for a year the School of Fine Arts
in Palermo, Section Fashion Design.
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Benedetto Gelardiby Maria Laura Celona
The art of chisel - once practiced by the Egyptians and then by the
Cretans, Greeks and Romans - has ancient origins and maintains
its importance during the centuries. Benedetto Gelardi approaches
to this great art in adolescence.
Born in 1958 in Palermo, he began his career as an apprentice sil-
versmith attending the workshop of Maestro Lopes, thanks to
whom he learned the ancient techniques for silver production. He
became a skilled chiseller and around the end of the 70s he deci-
ded to start his own business and founded his current laboratory,
located at the Palazzo Pantelleria in Piazza Giovanni Meli, in the
old town of Palermo. In 1992 he obtained the license and brand,
229PA, and for several years he has been working with great ma-
ster silversmiths in Sicily such as the Formusa G.e.a and Master
Amato. With the latter he has collaborated for twenty years in the
field of restoration of ancient artefacts including the Manto del-
l’Immacolata di Caltanissetta. Gelardi restored, in accordance with
the updated techniques, the precious Ostensorio monumentale of
Paolo Gili, the Urna di S. Nicolò Politi of Arcara Li Fusi, the Urna di
San Giusto in Misilmeri, the furnishings Mitria e Pastorale di San
Ancient Craftsbetween past and future
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42
Biagio in Militello Rosmarino.
His talent as a skilled chiseller
also allowed him to make signi-
ficant and complex works such
as the Fercolo processionale
della chiesa di Maria SS. delle
Grazie in Isola delle Femmine,
the mezzo Busto d’argento raf-
figurante Padre Pio, for a pe-
riod hosted in the Basilica of
Santa Maria Maggiore in Rome.
As a complete artist he stands
out not only in the art of chisel
but also in designing his crea-
tions. These skills allow him to
create artifacts characterized
by light ornaments as if they
have their own life. Indepen-
dently of the metal used ran-
ging from gold to silver and
bronze, he manages with grace
and skill to create, through a
delicate balance of embossing
and sculpting, a singular move-
ment on the metal, creating a
play of light and shadows with
reliefs and hollows on different
planes.
He achieves these results using
chisels, seemingly similar, but
actually absolutely different, by
himself created as every true
chiseller. Inspired by the Fercolo
of Sant’Agata he made ex novo
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with his son Mauro the Macchina processionale di San Filippo
d’Agira in San Filippo d’Agira using the ancient techniques, gained
in the course of his intense experience as a craftsman. According
to the Master, working the material has the precise meaning “to
leave a mark, a trace that is recognizable over time”. In recent
years Master Gelardi, aware of the changing of the times and the
techniques for the acquisition and transmission of knowledge, is
engaged as a lecturer at the “scuola orafa del Collegio Universita-
rio Arces” - which since 1995 operates in the training of expert
craftsmen to protect the vast movable heritage in Sicily - to divulge
his technical ability of chiseller and continue the tradition of a pro-
duction that stand out in quality and not in quantity, hoping to re-
store the crafts the prominent place that it deserves. His workshop
is attended by talented young people such as Grazia Calascibetta,
who had the opportunity, for a period of three months, to carry
out an internship in the laboratory of Master Gelardi. The young
apprentice has created a collection of floral arrangements that re-
call the flowered branches so often used as a ecclesiastical deco-rative element, very popular in Palermo and Southern Italy inthe 17th and 18th centuries.
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Students
Grazia Calascibetta
Born in Palermo in 1989. She graduated at the Primary School
Teaching Institute Camillo Finocchiaro”.
Ancient Craftsbetween past and future