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The short version

  • Thieves stole three panels from a famous altarpiece and a separate devotional painting during a crowded festival in Messina.
  • The stolen works by Antonello da Messina were the only pieces by the artist remaining on display in his hometown.
  • Police are investigating the breach, hoping that bystanders captured images of the incident despite no alarms being triggered.

A major art theft occurred in Messina, Italy, this past weekend as thousands of residents participated in the annual Procession of the Vara. While crowds filled the streets for the religious festival, which features elaborate floats and ceremonial fanfare, criminals took advantage of the noise and distraction to breach the Regional Museum of Messina. The heist was executed with precision, allowing the unknown number of perpetrators to enter the facility without triggering any security alarms.

Inside the museum, the thieves targeted specific works by Antonello da Messina, a pivotal figure in southern Italian Renaissance art. They focused on the Polyptych of San Gregorio, an altarpiece created in 1473 that depicts the Virgin Mary and Jesus surrounded by saints. The criminals removed five surviving panels from the structure but managed to escape with only three. Two of the panels were discovered later, leaning against a fence outside the building, suggesting they may have been discarded during a hurried exit.

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In addition to the altarpiece components, the thieves smashed a display case to steal a smaller devotional painting by the same artist. This work features the Madonna and Child alongside a Franciscan monk on one side and an adult Christ on the reverse. These stolen items represented the entirety of Antonello’s work that remained on public display in his native city. The altarpiece had never previously left Messina, making its partial removal a unique and severe blow to local cultural heritage.

The significance of the loss extends beyond the immediate monetary value of the pieces. Antonello da Messina is widely regarded as one of the most important painters from the region, known for integrating Flemish oil painting techniques into Italian art. Although recent scholarship debates the extent of his direct influence on introducing these methods, he remains a central figure in the artistic history of Sicily. The stolen works are considered to hold enormous symbolic and artistic importance for the city and the wider region.

The Polyptych of San Gregorio has a history of survival against destruction. Originally composed of six panels, one was lost during the devastating 1908 earthquake that killed more than forty percent of Messina’s population at the time. The remaining five panels had survived for over a century before this recent theft. The devotional painting also carries historical weight, having sold at auction in 2003 for approximately $410,000. Earlier this year, the Italian government demonstrated its commitment to preserving Antonello’s legacy by purchasing his painting Ecce Homo for $14.9 million just before it was set to be auctioned in New York.

Museum officials and city leaders have expressed deep concern over the incident. Marisa Mercurio, the director of the Regional Museum of Messina, described the theft as an extremely serious loss, emphasizing that the stolen works are vital not only for Messina but for Sicily as a whole. Vincenzo Caruso, the city’s chief cultural official, noted that Antonello serves as the greatest ambassador for the city, given his name is synonymous with Messina. Mayor Federico Basile stated that the heritage belonging to all people of Messina had been violated and vowed that the city would not allow its history to be stolen.

Law enforcement agencies have opened an investigation into the break-in. Police are hopeful that the large crowds present during the festival may have inadvertently assisted in gathering evidence. Some passers-by reportedly noticed a commotion inside the museum and may have taken photographs or videos of the activity. Authorities are reviewing potential footage to identify suspects and track the movement of the stolen artworks.

This incident occurs shortly after Italian officials celebrated the recovery of three paintings stolen from the Magnani-Rocca Foundation outside Parma in March. Those works, created by Pierre-Auguste Renoir, Paul Cézanne, and Henri Matisse, were worth more than $10 million collectively. The contrast between the recent recovery in Parma and the fresh loss in Messina highlights the ongoing challenges museums face in protecting valuable collections from sophisticated theft operations.

The investigation continues as officials work to locate the missing panels and the devotional painting. The absence of these works leaves a significant gap in the public’s ability to engage with Antonello da Messina’s art in his hometown. While the two recovered panels have been secured, the fate of the three taken away remains uncertain. The incident has sparked renewed discussions about security measures at cultural institutions during large public events.

As the search for the stolen art proceeds, the community grapples with the violation of a shared historical treasure. The theft underscores the vulnerability of even well-known museums when faced with coordinated criminal activity masked by public celebration. Officials remain hopeful that the combination of police work and potential civilian evidence will lead to the recovery of the remaining pieces and the apprehension of those responsible.

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Go to the original reporting

  • Smithsonian Magazine↗As Sicilians Flocked to a Religious Festival, Thieves Broke Into a Nearby Museum and Stole Four Renaissance Paintings