Abstract

The novel Candido ovvero un sogno fatto in Sicilia is a major example of Leonardo Sciascia’s intertextual way of writing. Over the years, critical studies have emphasised the relationships between this book and literary texts to promote an investigation of the «heretic» nature of Candido, the novel’s hero, and to point out the author’s critical rewriting. However, it seems that Sciascia, to define the candour of Candido, stresses a second intertextual path, related to image and visual arts. Approaching this side of the novel, the essay focuses on the images of two sculptures that open and close the text and it studies their intertextual links and relationships with Sciascia’s critical essays on fine arts. Thus, this work outlines and analyses a visual layer involved in the building of the character’s sensitive and «heretic» way of life.