The church of Santissimo Salvatore in Palermo, featuring an elongated dodecagonal plan and an elliptical dome, stands as a primary achievement in the career of Paolo Amato. A practitioner of Baroque and Rococo styles, he held the position of official architect to the Senate of Palermo, where his responsibilities extended from permanent construction to ephemeral stage design.
Early Career and Education
Born in 1634 in Ciminna, Amato pursued an architectural path that took him to Palermo. His training included studies under the guidance of Angelo Italia. Later in his career, he passed on his technical knowledge to Giacomo Amato. His influence in his birthplace remains visible today, as both the local town hall and a section of the piazza carry his name.
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Amato executed several significant designs across Sicily. His work on the church of Santissimo Salvatore commenced in 1682. Other religious commissions included the church of San Giuliano and its associated monastery, which were eventually demolished in the late 19th century to facilitate the construction of the Teatro Massimo. He also contributed the Baroque facade for the church of San Giovanni Battista in Ciminna and the chapel of Nostra Signora della Soledad situated within the church of San Demetrio in Palermo.
Theatrical and Ornamental Projects
The architect served the Senate of Palermo by designing stage sets and elaborate floats for Saint Rosalia's day. In 1681, he created a marble theatre intended for music festivals at the site of the present-day Foro Italico. Much of this structure was dismantled during the 19th century to accommodate works by Carlo Giachery and Domenico Lo Faso Pietrasanta. Additionally, he designed the 1698 marble Genio del Garraffo niche and funerary monuments for the Duke of Pietratagliata and the Baron of Fontana Salsa, housed in the Santissimo Crocifisso chapel.
Documentation and Collaboration
Amato maintained active professional collaborations, notably with Antonio Grano on late 17th-century drawings that survive today in the Galleria regionale della Sicilia at Palazzo Abatellis. These include designs for a monstrance and a sacristy cupboard. Furthermore, he worked with Andrea Palma between October and December 1713 to produce temporary architecture and stage machinery for the coronation celebrations of Victor Amadeus II of Sardinia and Anne Marie d'Orléans. He authored the treatise La Nuova Pratica di Prospettiva, published posthumously in 1732.
Fast facts
- Born: 1634, Ciminna
- Died: 1714, Palermo
- Field: Classical Architecture
- Notable treatise: La Nuova Pratica di Prospettiva
- Burial site: Santa Ninfa dei Crociferi church, Palermo
- Major project: Santissimo Salvatore, Palermo
- Collaborators: Angelo Italia, Antonio Grano, Andrea Palma
Questions readers ask
Where is Paolo Amato buried?
He is buried alongside his brother, Vincenzo, in the Santa Ninfa dei Crociferi church in Palermo.
What was his role with the Senate of Palermo?
He served as the official architect, tasked with designing stage sets and floats for festivities, including those for Saint Rosalia's day.
