Europe and the Mediterranean as horizons

Parade wagon
19th century

Polychrome wood wagons have been a major feature in popular Sicilian art, as well as a symbol of the island’s identity, from the 19th century to the present day.

This beautiful example, for example, is decorated on all sides with motifs depicting the battle between the Moors and the Christians. The repertory of the portrayed scenes refers to the great writings of the Italian Renaissance: Jerusalem Delivered by Tasso, The Frenzy of Orlando by Ariosto and Orlando in Love by Boiardo.

Chest of drawers
Latter half of the 19th century

This Syrian chest of drawers is an example of the mutual influences that East and West exert on each other. Its decoration and materials are part of the long tradition in Syrian craftsmanship of building wood furniture inlaid with mother-of-pearl and ivory. Here, the plant motifs stand out against a background of geometric shapes. The bright iridescence of the ivory and mother-of-pearl provide a contrast with the gentle matte of the wood.

Its curved form is more inspired by European secretaires. In fact, the drawers only open when the side hinges are moved. In other words, this chest of drawers was undoubtedly designed for Europe, where a tasted for the Orient was all the rage in the 19th century.

Shiite portable altar
First half of the 20th century

This private portable altar opens like a box, within which two painted images face one another. An object of piety typical of the late 19th century, it was reserved for private use in the Iranian popular tradition, in which images play a key role in prayer and individual meditation.

On the left, Mohammed is shown giving the Quran to Ali. In the Shiite faith, the prophecy was not completed by Mohammed but instead extended to Ali, his cousin and son-in-law whose two sons, Hassan and Hussein, respectively became the second and third imams after him.

The figures’ faces are haloed and veiled, not out of modesty but because a believer’s gaze could not bear the radiance emanating from the imams, according to Shiite theology.

Nativity icon
19th century

This icon is a symbol of devotion in the Melchite faith. You can see the Nativity, where Baby Jesus is bathed in the light of the star shooting out of the Eye of God, a symbol that appeared in the 17th century.

Baby Jesus is bathed in the light of the star shooting out of the Eye of God, a symbol that appeared in the 17th century.

This icon bears the characteristic marks of the Jerusalem School in the 19th century: a pastel colour palette, simple style, preference for decorations and edges with colourful stripes.

Tile with the Three Hierarchs
1718 - 1719

Its decoration depicts the Three Hierarchs of Byzantine Christianity, but replacing Gregory of Nazianzus with Gregory the Illuminator, who converted Armenia, seated between St. Basil of Caesarea and St. John Chrysostom.

King Tiridates had Gregory tortured when he refused to make sacrifices to pagan idols. At the same time, he fell in love with St. Hripsime, shown here at the feet of the saint. But after she refused him, the king had her tortureHeaven then punished him by turning him into a boar, which is why he is portrayed here with the head of that animal.d in turn.

Funerary model of cows and drovers
-2000

Here, the layer of stucco covering the wooden figurines allowed the characteristic forms of the cattle (like their large necks, their well-defined posteriors and the shape of their hooves) to be moulded with great attention to detail, whilst the colours and the addition of real fabric loincloths – if genuine – reinforced the desired authenticity.

Through the magic of imagery, the models would replace the reality of this world in the hereafter. In this case, the purpose of the two cows, safely protected by their herdsmen, is to guarantee all the benefits of cattle farming to the deceased for all eternity: milk, meat, leather, horn and social prestige.