Castle (XII-XIII century)
Existing since 1260, expanded in 1380 and edited from 1652 to 1668. Renovated and plastered from 1738 to1815. Partially demolished and rebuilt from 1954 until today, you can notice from the outside the mighty walls. Rooms on the ground floor are very interesting with the original tower, today turned into a chapel. During the Second World War the castle was bombarded by the Allies artillery because it gave home to a radio station transmitter.
Palazzo Minneci (XVII century)
Built in the 17th century and enlarged in the 18th century, recently some of the collapses have partly ruined the building. However you can still capture the majesty of the building. It is called by the inhabitants ” casi ranni ” (big households).
Torremuzza tower (XIII century)
Coastal tower located in the sea side of the village, built during mid 1400. The tower was discovered untreated in 1580 by Camillo Camilliani and repaired at the end of ‘500 upon the original project. In the 18th century an extra wall was added on which was placed the artillery and during the Second World War, for its strategic visual, two watchtowers were on duty.
It is part of the three outside altars, commonly known as the three crosses, placed in the highest points of the territory. During the parade of the Crucifix of May 3rd is performed by these altars the blessing of the village and its countryside.
Church of “Madonna delle Grazie”
Built in 1649, edited in 1823 and restored in 1987. There is a painting by Giuseppe Cinisi Brusca depicting the Madonna delle Grazie at whose feet lies an old image of the upper part of the village (1823) and the statue of SS. Virgin.
Church of Maria SS. Annunziata
Known as the Chiesa del Convento, built in 1850 with the adjoining convent to host the monks who had left the abbey of Santa. Maria di Sparto. It was completely renovated in 1965. Inside you notice the marble statue of the Virgin of Grace sculpted by Vincenzo Gagini in 1569 and the majestic statue of St. Luke the Evangelist, the patron saint of the village.
Church of Sant’Antonio Abate
Built in 1549, enlarged in 1811 with the construction of a semi-circular apse, plastered with neoclassical decoration in 1852. Inside the statue of St. Anthony. Today is a music studio.
Church of San Pietro
Built around 1380, is located in the same square of the castle. Renovation works started since 1778 with the construction of the momumental ramp, the addition of the portal of the sculptor Mariano Zappala, the new chapel apse and barrel vault.
Church of San Rocco
Built in 1657, is dedicated to the Preserver saint of Motta. The monumental door of G. D’Avijeni is from 1697 while the transept and the dome were made from 1712 to ’16 along with the works of plastering. In 1764 works began on the new facade and the bell tower, completed only in 1776. Andrea Gigante developed a plastering project realized in 1783. Clemente Lo Cascio in 1818 finished grouting the church and in 1843 started to built the main altar. On the two smaller doors, corresponding to the two aisles, you can read the sentence that is the pride and faith of Motta inhabitants (mottesi) towards “their” Preserver saint ” O FOELIX PATRIA DIGNA, TALI TANTO QUE PATRONO“, in English “Happy the home of such and so great preserver”. Inside there is a statue of San Rocco (1613-20) of Antonio Pellegrino.
Church of Santa Croce
It is a rural church located a few kilometers away from the village. The church is characterized by its simplicity both outside and inside and host a venerated wooden crucifix. Every second Sunday of September takes place the parade of the Holy Cross.
Built at the end of ‘300. Refunded in 1453. Enlarged in 1647, in 1706 was built the Chapel of the Crucifix designed by G. D’Avijeni and in 1712 the presbytery. In 1765 was made the vault and in ’73, was fully grouted by Giovan Francesco D’Alessandro. The main façade was built from 1812 to 1814, one of the latest works of the great architect Giuseppe Venanzio Marvuglia. From 1831 he began to build the bell tower, completed only in 1895.
Convent of Santa Maria di Sporto or San Cataldo
The convent is in a state of neglect in the district of San Cataldo; it is identified with the Byzantine monastery of Santa Maria di Sparto and then passed to the Benedictine order and abandoned in the 18th century. The building has the very same form taken in the mid ‘700 when it passed to the Lords of Motta.
Oratory of San Filippo Neri
Built around 1575 after a violent plague. Turned into headquarters of the Confraternita delle anime del Purgatorio after the construction of a new church on the site adjacent (1657). The presbytery was plastered in 1718 by Pietro Antonio Aversa collaborator of Serpottas, while the classroom in 1742. Vito D’Anna painted the altarpiece representing “L’estasi di San Filippo Neri.” The painting was commissioned by the Brotherhood of the Souls of Purgatory in Vito D’Anna, excellent exponent of the Sicilian painting of the eighteenth century, a pupil of Conca and maker of prestigious figurative cycles in major churches in Palermo and in the palaces of the island. The painting depicts San Filippo Neri in ecstasy before the apparition of the Virgin holding the Child Jesus on his knees. The effects of light and shadow, the wise and vibrant color combinations, the return of proportions and the compositional dynamism make this painting a valuable record of the 18th century figurative art.
Contemporary work of art
Sculpture by A. Di Palma, 1990. A few simple lines in a blue wave that ideally connects the mountains to the sea, a flash of energy in the wilderness.A large wave of cement, colored with an intense blue klein, as inflated by the wind, surrounded by a white wall engraved with the outline of the mountains of the landscape, a sign of water in the mountains.
Pyramid 38th Parallel
Monumental sculpture by Staccioli of 2010, located in the district of Belvedere, extraordinary high ground overlooking the sea, which coincides with the 38th parallel. “The work is an hollow tetrahedron made of Corten steel; partially sunk in the rocky terrain, has a slit along the western edge that makes its collocation in the cosmic space even more precise. Like a beacon introverted, aware witness of the cyclic and irreversible flow of time, the pyramid captures the sunlight through the slot and reminds with its shape the shiny echoes from sunrise till sunset” [I. Elmo 2008].