In 1693, there was a terrible earthquake in the south-eastern part of Sicily, and much of it was razed to the ground. The subsequent rebuilding of the cities followed the tenets of the Baroque style that had already taken hold during the Spanish reign.

In Noto, there are two churches facing each other, with the interesting characteristic of having being built to house Benedictine nuns. One of them, the church of Santa Chiara (Saint Clare), went on to become one of the most important examples of Baroque architecture in Sicily.

Palazzo Nicolaci di Villadorata is one of the largest private residences in all of Noto. Built in the eighteenth century in Baroque style, it was the urban residence of the noble Nicolaci family. Its splendid Baroque balconies, together with the façade of the Church of Montevergine, contribute to creating one of the most characteristic corners of all Noto.

There are a good ninety rooms in Palazzo Nicolaci. As on the outside of the building, symbolism pervades every space, as if there were the fear of emptiness. And, in true Baroque style, it was all created to amaze the eye of the beholder.

Our journey takes us to Modica, in Sicily, where the historic center of the city had to be rebuilt entirely because of an earthquake in 1693. There was also a great flood in the twentieth century, resulting in some other major changes in the layout of the city. It remains a beautiful Baroque city, full of wonders.

By observing the damage wrought by earthquakes, architects were able to figure out the best way to build churches to withstand future seismic events. So, in addition to the Baroque style present in cities like Ragusa, in Sicily, practical considerations were also at the source of certain architectural choices.

Our final stop in the Baroque south of Italy is the church of San Giorgio, a masterpiece of architecture, admired by the entire world. The cathedral appears in the opening credits of the Italian TV series "Inspector Montalbano," and it also features in some episodes.

What is chromotherapy? Marino, who is a chromotherapist, explains this fascinating branch of alternative medicine.

Me Ne Frego [I don't give a damn], was one of the mottoes of Fascism, coming originally from the writings of Gabriele d'Annunzio and employed by storm troops during World War One as a war cry for courage and daring, with the meaning, "I don't mind dying for freedom." The motto gives the title to this documentary about the influences of Italian Fascism on the Italian language. It was produced by the Istituto Luce Cinecittà, with materials from the historical Luce archives, and narrates the obscure attempt by the Fascist regime to create a new and unique language, a new “Italian” that fit the dogma of the dictatorship.

Mussolini forbade the use of dialects and the minority languages that were spoken in the regions bordering the countries to the north in favor of one language for all. Italians were bombarded by fascist propaganda and Mussolini's very frequent speeches.

In World War I, Italians who up until then had spoken their regional dialects, found themselves fighting side by side against a common enemy. But Mussolini was interested in fighting the internal enemy.

The segment looks at how Mussolini patterned his fiercely nationalist rhetoric after poet Gabriele D'Annunzio, while harkening back to the glory of Imperial Rome. The song in the segment refers to Balilla, an 18th century Genoese boy. In 1746, Balilla threw a stone at an Austrian official of the occupying Hapsburg Empire, which led to the War of the Austrian Succession.

A great deal of effort went into purging foreign words from the Italian language under the fascist regime. Newspapers, magazines, and book publishers were at the forefront of the effort and were tasked with finding Italian replacements for foreign words and expressions. Many fascist-era terms have fallen by the wayside, but some succeeded and are still in use today. As an example, the word manifesto [poster] was successfully introduced to replace the French term affiche.

Mussolini continues to get rid of any traces of foreign words, and even mounts an exhibit against the use of the common formal second person singular address "Lei" (you) in favor of "Voi." See this lesson about "Voi" to get some background.

We can see that the battle against using "Lei," the common, formal, second-person form of address, was taken very seriously by the fascists. In fact they went too far when it came to a popular women's magazine called "Lei" (she, her).