This small sculpture was at Pirandello’s tomb, representing his concept of the mask exiting both in his writing and as a real-life framework for social interaction. One of his greatest contributions, and something that has resonated with me to understand my own life a little differently.

This temple was the only one we saw to have its cella intact, showing more accurately (relative to other temples we saw) the full structure and function of a temple.

Some terms I learned: peripteral hexastyle, capital, metope, triglyph, Doric (Corinthian, Ionic)

The one fact I like to share about older churches that have these depictions of Christ: one can determine the type of church by observing Jesus’ benediction (his right hand). As seen below, his ring finger, pinky, and thumb are touching, representing a Catholic benediction because this formation reflects the Trinity. Orthodox benedictions (the other predominant church) have only the ring finger and thumb together.

Side note: this is my favorite church I have ever been to

The fact that Tomasi’s home is considered a palace immediately connotes his social status, but seeing his multiple libraries suggested education as a privilege perhaps more noteworthy and important than any other material representation of his wealth. The exquisite range of literature in these libraries give a better understanding to the influences of Il Gattopardo, demonstrating the uncommon access to information (and the world) that Tomasi truly had.

After our walking tour during the first full day in Palermo, I spotted one of the “no pizzo” stickers that our guide had told us about. Before this tour I hadn’t really thought about the still-present influence of the mafia, especially in the depth in which it was described by our guide (territories, politics). The mafia has always been portrayed to me as a group that can not be countered or fought, but this sticker and the “no pizzo” movement show that there is indeed an active refusal of the mafia’s presence.