Aidone

Lake Ogliastro was built for irrigation purposes between 1963 and 1972 on the Gornalunga, Belmontino, and Rio Secco streams, all tributaries of the Simeto River. The lake basin is enclosed by a zoned earth dam resting on Tortonian clay and marl. Willows and tamarisk dominate the landscape in the upstream part of the reservoir, interspersed with citrus groves. Over time, the lake has triggered a process of ecological succession of great natural interest, attracting many resident and migratory bird species.

One of the largest and best-preserved archaeological sites in the Mediterranean, referred to as the ‘Pompeii of Sicily’ by Paolo Orsi, rises atop a syncline of sand and sandstone underlain by marly clay. This clay once served as a water reservoir and still nourishes the lush vegetation and sweeping panoramic views for which the site is renowned.

Originally a Sicilian-Greek city founded as an indigenous centre, it was Hellenised between the end of the 7th and the beginning of the 6th century BC and taken by the Sicilian king Ducezio in the middle of the 5th century BC. It then flourished magnificently during the Hellenistic period, with the construction of the agora, the theatre, public buildings, and houses decorated with precious mosaics, such as the ‘House of Ganymede’, located above the agora. This house owes its name to a figurative mosaic, which is one of the oldest and most significant examples of its kind in the Mediterranean.

The 3rd century BC saw the town reach its peak of splendour, as it was located on the western border of Hiero II of Syracuse’s sphere of influence. Having been abandoned during the 1st century BC and never reoccupied, Morgantina is a rare example of an island town that has not been continuously inhabited, thus preserving its original characteristics.

Morgantina therefore offers the most evocative and coherent image of a large Hellenistic city in inland Sicily. Its regular streets delimit neighbourhoods of important houses with mosaic floors and walls covered in painted plaster. These are located on a vast, two-level Agora surrounded by spacious porticoes, granaries, and kilns. The two thermal baths, significantly older than the Roman ones, also display exceptional craftsmanship. In particular, Archimedes is thought to have been involved in the vaulted roof of the northern baths.

Ongoing open-air excavations make the visit even more interesting, and the archaeological area hosts theatre and music events in the summer, such as the Barbablù Fest. These include classical and participatory theatre performances with Morgantina rivive, enhancing enjoyment of the site and creating a deeper connection between the audience and the site’s cultural history, as well as between the people of Aidone and their heritage.

The Castle of Pietratagliata – named in reference to the sculpted rock forms it vividly evokes – is also known as the Castle of Gresti, a name commonly used in popular tradition due to its proximity to the Gresti rock.

The remains of the castle suggest earlier occupation, evidenced by underground chambers, known as hypogea, that were later incorporated into the structure, as well as various cave-like dwellings (known locally as aggrottamenti). In the Greco-Roman era, the castle also served a defensive and surveillance function, owing to its strategic position near the ancient and fertile site of Morgantina. The visible part of the castle – particularly the tower and rooms incorporating pre-existing cavities – dates back to the Arab-Norman period. Further downstream of the tower, a large warehouse complex was constructed to store and process goods from the feudal estate. This area was surrounded by stables and modest rural dwellings.

Housed in the former Capuchin monastery, this elegant and evocative museum showcases artefacts from Morgantina that were returned from renowned international museums following their theft in the 1970s and 1980s.

The most striking feature is the extraordinary cultural heritage on display, including the mesmerizing pair of acroliths from the end of the 6th century BC: two statues, slightly larger than life-size, seated side by side and identifiable as Demeter and Kore. They are the earliest and most prized examples of this technique, as well as of Greek sculpture with distinctly insular influences. Other highlights include the majestic statue of a goddess from the end of the 5th century BC, which was also created using the pseudo-acrolithic technique typical of Sicilian sculpture (with marble used for the naked parts and limestone for the draped clothing); the treasure of Hellenistic silverware, likely used during public banquets held in the city’s prytaneum; and the multicoloured terracotta head of Hades from the 4th century BC. The collections provide significant documentation of the cult of Demeter, the goddess of harvests, female fertility and agriculture – a central element of the archaeological heritage in the area of the Rocca di Cerere UNESCO Global Geopark. In Greek Sicily (6th – 5th century BC), the cult of Demeter was politically appropriated by the Dinomenids – the tyrants of Gela and later Syracuse – who proclaimed themselves hierophants of the goddess.

Over time, certain aspects of the ancient cult of Demeter – linked to fertility, spring and the harvest – have been integrated into the Christian religion. In particular, elements of these pagan rites have been incorporated into the festivals dedicated to the Madonna and patron saints, celebrated in spring or to give thanks for the harvest. Although religion has changed, the connection with Demeter has not completely disappeared: her spirit lives on in the most ancient folk traditions, especially in those areas that have always been linked to the cultivation of wheat.

However, the archaeological museum reveals another story worthy of recognition: behind the return of the various artefacts lies the mobilisation of a community that acknowledges and reclaims its cultural heritage through petitions, expert reports and statements from remorseful tomb raiders.

This movement began with the acroliths of Demeter and Kore. In March 1994, in Aidone, two middle school teachers and their students wrote a letter to Maurice Tempelsman, a businessman who had acquired the statues. This letter planted the seeds of a movement that would grow and ultimately lead to the return of the masterpieces stolen from Morgantina.

The head of Hades, a powerful identitary symbol which was returned years later, is directly linked to scientific research carried out by archaeologists on site, focusing on four terracotta locks of hair recovered in previous excavations. A colleague who had curated the Greek terracotta collection at the Getty Museum for years hypothesised that the locks of hair in the Aidone museum’s archives were from the head of Hades on display in Malibu.

However, the most emblematic return was that of the Goddess of Morgantina, which had been stolen and sold to the Getty Museum in Los Angeles. When the time came for its return, the community of Aidone firmly opposed its transfer to other museums in Rome, Palermo or Enna, insisting on its return to its place of origin in order to preserve its context, history and meaning. The Getty Museum also recognised the symbolic value of this action: the goddess would be reassembled, in her place of origin, once and once only, to mark not only the formality of its homecoming but also its real significance.

Finally, there is the story of the valuable silver treasure of Eupolemos. Initially, the agreement was for a four-year rotation between the Aidone museum and the Metropolitan Museum in New York. However, the people of Aidone, as well as scholars and administrators, insisted on revising the agreement, which only took place after several years of intense negotiations.

This legume has recently regained recognition for its flavour and nutritional benefits. However, due to cultivation methods that require the exclusive use of manual labour, its production has declined significantly in recent years, to the point of almost disappearing. In Aidone, a traditional local dish called frasquatul is made with grass pea polenta.

Piacentinu ennese is a hard cheese made from the raw milk of native Sicilian sheep, such as the Comisana, Pinzirita and Valle del Belice breeds, as well as their crossbreeds.

There is documentary evidence of its production in the Enna area dating back to the late 17th century, reflecting its widespread and early diffusion. Folk tales, however, place its origin in the 11th century, when Roger II of Sicily commissioned local cheesemakers to make a cheese for his wife, Queen Adelasia, which would also serve as a remedy for her melancholy. 

Its distinctive character comes from the addition of local saffron, which gives it an intense yellow colour, and black pepper grains that are first soaked in water. The production process involves heating the curd and precisely measuring the salt, making it one of the mildest pecorino cheeses on the island. After a minimum maturation period of 60 days, the cheese develops a delicate flavour of sheep’s milk and a distinctive smell, thanks to α-terpineol, an aromatic terpene found in local forage herbs. The wrinkles on the rind are caused by moulding in rush baskets. It is a key ingredient in traditional Enna cuisine, used to stuff ciarbiddùzzu abbuttunàtu, a dish of stuffed kid.

Recognised as a traditional Sicilian agri-food product, the Aidone biscuit is made with flour, sugar and eggs.

During Holy Week in Aidone, the Giunta (the meeting between the Madonna and the Risen Christ at noon on Easter Sunday) is celebrated, featuring the Santuni (Santui in the local Gallo-Italic dialect): hollow wooden or papier-mâché statues representing the twelve apostles. Imposing in size – about three metres high – they are carried by men called santari, who wear brightly coloured tunics and cloaks over the wooden frames they support. Each statue has specific features and holds symbolic objects and flowers that express the link between the ritual and the natural cycles. The Santoni lead the procession with rhythmic, dance-like steps, which require poise and skill from the bearers as they dance to the rhythm of lively, exultant marches.

The festival, which honours the miracle-working saint, is held on 1st May. For centuries, it has attracted thousands of pilgrims, who walk or travel by other means to the sanctuary, carrying candles either to request a miracle or fulfil a vow.

Aidone’s carnival celebrations, especially those held in private homes, still feature the ancient figurative dance known as the scotz. This dance is performed by individual pairs or in groups, with partner exchanges, twirls and leaps, accompanied by a melody evoking the rhythm of the polka.