Abstract
The paper examines Vincenzo Consolo’s works as a group of parallel structural, symbolic and semantic elements, and analyses proper names – anthroponyms and toponyms – fìrst in Retablo (1987), and then in other novels by the Sicilian author in an attempt to clarify how onomastics fìts in with this interpretati on. In Retablo the underlying homonymy of the main characters, Clerici and Cricchio, the duplicity of lights and tastes of the false compound Rosalia (recurring so often that it becomes just another word), and various other stylistic features are like tiles in parallel mosaics carefully arranged by the author.