PALERMO
Palermo,
Sicily’s main port, nestles in the middle of a wide bay enclosed,
to the north, by the Pellegrino Mount and, to the south, by Capo
Zafferano. It lies on the edge of a very fertile plain that was
called in the 15th century Conca D’Oro (meaning the golden
shell or horn of plenty) on account of its lush citrus plantations,
palm trees and olive-groves. At one time it was a favorite haunt
of writers, poets and artists, who were enraptured by its eastern
atmosphere and beauty.
Built
and grown over the course of centuries, Palermo conveys a range
of diverse cultures and traditions. It suffered heavy damages during
the Second World War bombings, its old quarters destroyed and never
been completely rebuilt. Also, the construction of large modern
crumbling buildings in the suburbs has done nothing to improve the
city’s image. Nevertheless, it has preserved much of the priceless
heritage handed down by the peoples who populated it. They left
indelible traces not only in its artistic patrimony but in its very
vital rhythm of life.
Palermo
becomes particularly lively in July during the Festival of the Patron
Saint Rosalie, celebrated with a programme of events lasting five
whole days.
An
endearing place – Many writers have dipped their
pen into an inkwell with the intention of encapsulating the elusive
spirit of Palermo or of using the city as the backdrop to their
stories. Here is an excerpt from a Sicilian text by a writer who
transforms Sicily into a dream, evoking images, smells and sounds
through words that are sometimes lyrical, sometimes nostalgic and
sometimes crude:
“To
Palermo the red, Palermo the child ... Palermo which we might imagine
the likes of Tyre or Sidon, perhaps Carthage, like the purple of
the Phoenicians; of rich red earth, with springs of water wind where
the palm grove rises tall and slender, creating sweet shade, bending
with the comfort and prayer, image of the eternal garden of the
Koran. A child because she is sleeping and still, content with her
own beauty, having always had to be subservient to foreigners, obedient
in particular to her mother, her own natural mother who locks her
children in an eternal adolescence. She settles down, relaxed and
happy, in the gentle hollow of a shell ...”
From
La Sicilia Passeggiata (Strolling through Sicily) by Vincenzo Consolo.
EXPERIENCE
PALERMO
Access
– The most direct way of getting to Palermo is undoubtely
by plane. But it is also easily reachable by car, train, boat or
bus.
Plane
– The city airport, Punta Raisi (or Falcone-Borsellino as
it is was re-christened after the two judges were murdered by mafia),
is located some 20km north of Palermo. Buses provide a shuttle service
to the city centre, running every 30 minutes; these stop at Via
lazio, Piazza Ruggero Settimo, in front of the Politeama theatre
and at the Stazione Centrale, in front of the Hotel Elena; tel.
091 580457. 091/580457.
By
sea – National ferry companies provide services from
Genoa, Naples, Livorno, Cagliari and the smaller islands (Ustica,
Pelagian, Egadi, and Aeolian Islands); international services operate
from Malta and Tunis. For information contact a travel agent.
By
coach – A direct bus service between Palermo and
Rome is provided by the Segesta Bus company; coaches departing from
Stazione Tiburtina in Rome arrive at Piazza Balsamo (no. 26), in
Palermo; they also stop at 3 Via Turati. Journey time is about 12
hours; tel. 091 6167919 or 6169039. A parallel service is provided
by Sais Trasporti from Rome (Stazione Tiburtina) to Palermo, changing
at Caltanissetta; tel. 091 6171141.
EXPLORING
THE CITY
Around
town – It is advisable to avoid exploring Palermo
by car as streets quickly get snarled up with traffic and parking
places are in short supply. There are some large car parkings, however,
situated outside the city centre (look for the Ps on the map), and
there are often spaces along Via Lincoln, right by the Botanical
Gardens and closest to the Kalsa. The best way of going about Palermo
is on foot; buses or taxis are recommended for crossing town or
anywhere further afield. A slower, yet nonetheless enjoyable way
to experience Palermo is to take one of the horse-drawn carriages
that are to be found litering outside the central station or hailed
elsewhere among the historical monuments. It is advisable to secure
a price before setting off.
Radio
taxi - Autoradio Taxi 091/512727 and Radio Taxi Trinacria
091/225455.
Buses
– There are two types of bus tickets: valid for up to an hour
or for a full day (these are worth-considering if public transport
is likely to be used more than three times in the course of the
day).
Guided
tours – The CST (Compagnia Siciliana Turismo) organizes
visits to several of the main sights in combination with the Duomo
at Monreale every Saturday morning. On other days of the week, it
also arranges accompanied day-trips to Segesta, Erice and Trapani;
Mount Etna and Taormina; Agrigento and Piazza Armerina; Monte Pellegrino
and Capuchin Catacombs (morning visits only) in Palermo via Emerico
Amari, 124 091 582294. The AMAT (Azienda Municipale dei Trasporti)
organizes seven different bus tours (bilingual guides) around the
sights of the city, including two scheduled in the evening (Palermo
by Night leaves at 8pm) with a stop for dinner in Piazza Marina.
Others take place in the morning (departing at 9pm) or in the afternoon
(departing at 3pm). Every tour lasts approx 3hr 45min and costs
about 10€; tel. 091 350415.
100
open churches – This excellent initiative, although
still in its early stages, hopes to provide access to a number of
buildings hitherto closed to the public. At present these number
some thirty buildings, but the aim is to open up at least one hundred.for
the time being they are accomodated within/at present/for the presentto/fall
of roman empire to barbarians/falled to.this initiative, although
still in its early stages, hopes to provide accessthe initiative
is still in its early stage. The idea is to appoint groups of willing
hands to administrate and oversee opening times (approx 9am to 5pm)
and provide guided tours. Those buildings to have benefited from
the scheme so far include Palazzo Marchesi (Vicolo alla Chiesa Sant’Orsola)
complete with its two Scirocco rooms (camere dello Scirocco), that
are vaulted and well-ventilated rooms underground equipped with
small taps where people could shelter away from the burning heat
and oppressive sultriness that prevails when the Scirocco wind blows
in from Africa. So does the Chiesa di Santa Maria Valverde (Piazzetta
Valverde) which encloses a Neo-Classical-cum-Baroque interior. For
additional information contact Cooperativa Azzurra 091 6161091.
Where
to shop – The most elegant shops are concentrated
in the new part of the town along Via Libertà and the main
streets of the city (Via Roma and Via Maqueda). Via Principe di
Belmonte has been pedestrianised to facilitate window shopping.
The central section has been planted with trees to provide shade
for the tables spilling from such bars as the Antico Caffè,
the Gelateria Liberty, Au Domino (crêperie and bistrot) and
the Café de Paris. Opening hours – Most shops remain
closed on Monday mornings (food shops close on Wednesday afternoons).
Shops open between 9am to 1pm and from 3.30pm to 7.30pm (4pm to
8pm on Saturday afternoons).
Local
markets – The most colourful and picturesque markets
are, without doubt, those selling food with their array of multicoloured
awnings, their brightly painted stalls decked with assortments of
fruit, vegetables or fish, lit with bare light-bulbs. The Vucciria
market is certainly Palermo’s most famous, always bustling
with colour and noise (which possibly gave rise to its name), stacked
high with food supplies. It trades every morning (except Sunday)
until 2pm, set back from the waterfront in Via Cassari-Argenteria
and the surrounding area (stretching as far as Piazza San Domenico).
The origin of its name is controversial: some maintain that it comes
from the French term boucherie (meat), whereas for others it refers
to the deafening clamour of the voices of the traders drawing attention
to their wares. The other lively food markets include the Ballarò
which is held in the area around Piazza del Carmine, and the Capo
(the first, more picturesque section is round Piazza Beati Paoli;
the clothing stalls congregate in Via Sant’Agostino and Via
Bandiera). The principle clothes markets, however, are those known
as Casa Professa and Lattarini (between Piazza Borsa and Piazza
Revoluzione). A flea market (located in Piazza Peranni-Papireto)
proffers antique and modern bric-a-brac, while the Calderia market,
in the street of the same name, sells hand-made metal objects and
artefacts.
SOMETHING
TO EAT
Typical
restaurants – The Tonnara Florio, accommodated in
the Florio villa, an attractive liberty-style building now sadly
in need of repair, has a beautiful garden and various out-buildings
in which tuna was once prepared and fishing-boats were repaired.
Today, one section accommodates a discotheque, another houses a
pizzeria (note the fishing equipment and the odd relic belonging
to the Florio family decorating the rooms once used for tuna-processing).
This is located in the Arenella district, at no. 4 Discesa Tonnara.
The Gourmands, at 37 Via della Libertà, and Santandrea, in
Piazzetta Sant’Andrea, prepare classical Sicilian dishes,
while Trattoria Biondo at 15 Via Carducci cooks a more rustic, country
food. At Mondello, the Vecchia Tonnara, no 76 Via Mondello, was
used for processing tuna; today it houses a restaurant that specialises
in fish and seafood.
For
a quick bite – The most traditional ways of quelling
those hunger pangs on the hoof include sfincione (thick slab of
pizza with tomato, anchovy, onions, artichokes and bread-crumbs),
panino con la milza (true Palermo fare: bread roll filled with slices
of boiled spleen and melted cheese) and panelle (deep-fried chickpea
fritters); these are often offered for sale in local markets. At
the Antica Focacceria San Francesco, right in the heart of the medieval
quarter – opposite the church of the same name – they
sell across an old cast-iron stove-cum-counter in an old-fashioned
setting with marble tables such goodies as focaccia farcita (flat
pizza-dough baked with various fillings). arancini riso (deliciously
moist, deep-fried rice balls sometimes with tomatoes and peas stuffed
with meat-sauce; otherwise filled with melted mozzarella), torte
salate (Sicilian savoury “cake”), fried ricotta cheese,
and sfincione. If you are in the vicinity of Viale della Libertà,
try one of the panini (sandwiches) from Di Martino (Via Mazzini,
54), while sitting at a table outside.
For
the sweet tooth – Two names stand out from the myriad
of excellent pasticcerie offering sinful treats: Oscar, at 39 Via
Mariano Migliaccio, boasts about its best-known specialty the Torta
Devil (devil’s cake); while Bar Costa, at 15 Via G. D’Annunzio,
specialises in a variety of delicate biscuits, cakes and pastries
– particularly orange and lemon mousses. Other places of repute
include:
Pasticceria
Mazzara, 15 Via Generale Magliocco, on the corner of Piazza Ungheria.
Once frequented by Giuseppe Tomasi di Lampedusa, author of The Leopard.
Mouth-watering cakes and pastries;
Caffè
Ateneo, 170 Via Maqueda. Pasticceria Alba, 7 Piazza Don Bosco.
Palermo’s
historic hotels – two names come to mind in a conversation
about hotels that have witnessed the colourful life and history
of Palermo: The Grand Hotel et des Plames and the Villa Igiea.
This
is particularly the case with the Grand Hotel which came to prominence
in the mid-1800s when it was used as a residence by Ben Ingham,
the Englishman who played a key role in the history of Marsala wine.
Soon converted into a hotel, it has provided hospitality to all
the people of note passing through the city: musicians (Wagner finished
his Parsifal here – his stool is still there), painters (sketches
by Guttuso and Fiume furnish one of the salons), writers, politicians
of past and present, great names from the theatre world and countless
numbers of aristocrats have silently passed through its corridors
over the years. It has provided an objective context for important
political occasions, newsworthy events, inexplicable and mysterious
incidents linked to the world of spies, omertà (tacit complicity
demanded by the Mafia), and intrigues which might be more typical
of a royal court rather than a hotel. It was here, in 1957, that
a secret dinner was held for the top henchmen of the italian and
American mafia; that a secret agent died in mysterious circumstances
(and disappeared), having fallen from the seventh floor straight
through the sky-light of the great hall of mirrors (before being
immediately rushed to hospital by two equally mysterious figures
on stand-by); it was here that Vittorio Emanuele Orlando, a famous
politician, gave a sumptuous twelve-course dinner; here too that,
in 1933, a French poet ended his dissolute and tragic life by committing
suicide (or overdosing on Hallucinogenics). Another strange story
involves the Baron of Castelvetrano who lived hidden away in his
suite on the first floor for more than half a century; allegedly,
this enforced exile was levied upon him for having killed, so it
is said, a boy guilty of petty theft; the sentence, pronounced by
the father of the unfortunate victim, seems to epitomise the high
respect for dignity and a word of honour so typical of a bygone
age. An atmosphere of times past still lingers in the hotel’s
great hall – designed by Basile – in the great hall
of mirrors, the room with the fireplace, the restaurant where people
still request to dine “at the table” or at the bar,
where many a client has made his “confession” to the
barman over a drink or two.
Villa
Igiea, on the other hand, is a much larger building, scenically
positioned on the slopes of Monte Pellegrino. It began life as a
nursing home for Igiea Florio (who suffered from tyberculosis),
adapted from a pre-existing neo-Gothic biulding to designs by Ernesto
Basile for a exotically luxurious home. The dining-room in particular,
now the Sala Basile (accessible by request and subsequent permission
from the hotel staff, who are always most kind), was completely
renovated: lovely wooden paneling was installed, and the interior
decoration, with beautiful female figures surrounded by delicate,
long-standing flowers, was commissioned from Ettore de Maria Bergier,
a well-known Liberty-style painter. On the walls of the corridor
are photographs depicting illustrious guests who stayed here in
the past, including many European kings and queens.
An
intermission by a special performance – Teatro dei
Pupi – The name synonymous with the ancient tradition of the
puppet theatre in Palermo, is that of the Cuticchio family. For
generations not only have these highly-skilled puppeteers put on
performances, but they have themselves made the actual puppets.
Alas, puppet shows no longer attract the same large crowds they
used to, for at one time they were the talk of the day, followed
by everyone and, as much, provided work not only for puppeteers
(of which there were many companies in business), but also for many
a skilled craftsman who specialized in giving form to their fabulous
creations, ever attentive to every detail and so complex as to demand
several days in the making. A sample suit of armour, for example,
might comprise some 35 to 36 individual parts before being assembled
by hand. The family continues to be quite numerous among whom some
members devote themselves to inventing new shows while others concetrate
on constructing the puppets.
Working
puppets – Opposite the Teatro Di Mimmo Cuticchio
(95 Bara all’Olivella, tel. 091 323400) is the workshop (visits
welcome) where the puppets and stage machinery are kept (for producing
wind and rain). The puppets are hung on the walls according to category;
just inside on the left, are little Orlando and his companions (used
for shows for children of nursery and Saracens below). At one time,
puppet shows were so popular that members of the audience immediately
recognized the different characters on looking at the shields. Orlando’s
bears a cross, those of Rinaldo and Bradamante (who has long hair)
have a lion. A little further on is the workshop of the famous puppet-maker
Nino Cuticchio. The workshop and theatre of Girolamo Cuticchio is
in Via dei Benedettini. The Ippogrifo, belonging to Anna Cuticchio,
is situated in Vicolo Ragusi ai Quattro Canti di Città, tel.
61329194. The workshop is at 14 Via Orologio.
MONUMENTAL
QUARTER
Palazzo
dei Normanni – The Norman Palace is located at the
heart of the original town, probably on a site occupied in Punic
times by a fortress. The earliest documents, however, date from
the Arab occupation, these confirm this to be where the Qsar (hence
the name of the quarter, Il Cassaro) was situated; the castle was
abandoned later following the Emir’s decision to move into
the Kalsa (see below); the area returned to favour when the Normans
re-established a royal seat there, having extended and embellished
the place. Life in the palace revolved around the green hall, an
ample space in which regal ceremonies, assemblies and banquets were
held. The building comprised various wings, each assigned to different
people and functions, inter-connected by a terrace or a lush garden
ornamented with pools of water and fountains. Four towers punctuated
the corners: the Greek , the Pisan, the Joaria (from the Arabic
for airy) and the Kirimbi. Sadly, only the central part of the original
complex survives today, together with the massive Pisan tower, although
the dome is a later addition dating from when an observatory was
installed there in 1791. The palace then endured a period of abandonment
and decline (all, that is, save the Palatine Chapel) that lasted
well into the 17th century when, under the Spanish viceroys, it
was restored. It is then that the impressive south front and the
beautiful internal courtyard with its three storeys of loggias were
inserted. Today, the palace serves as the seat of the Sicilian Parliament
(or ARS, that is Assemblea Regionale Siciliana). The entrance hall,
graced by a monumental staricase (where a beautiful senator’s
carriage is displayed), dates from 1735.
Cappella
Palatina – Up on the first floor (take the staircase
on the left). Before entering the Palatine Chapel, it is worth pausing
a moment to admire the superb courtyard enclosed by three superimposed
loggias. Set into the wall on the left is an incription in Latin,
Greek and Arabic; this would originally have come from the base
of a bell-tower that once stood before the chapel on the right.
The inscription sings the praises of a water-clock that was made
during the reign of Roger II. The actual chapel was built by the
king between 1130 – the year of his coronation, and 1140.
In the beginning it would have stood alone, with the apse at the
east end in accordance with Byzantine tradition. Then, through the
course of time, it became incorporated into a complex of other buildings
which now conceal it completely. Currently, the entrance is via
the narthex that precedes the chapel. What can still be seen is
the exterior of the side wall (corresponding to the north aisle)
with its two-tier decoration. The lower section echoes the decorative
arrangement at the same level inside: slabs of white marble surrounded
by pietra dura decoration (inlay of semi-precious stones). The upper
tier, meanwhile, comprises composite panels dating from the 19th
century, depicting scenes from the life of David. At the rear, next
to the entrance, Roger II is represented handing a decree instituting
the royal ecclesiastic body to the ciantro (literally a singer,
but, in this case, the person in charge of the chapel). Once inside,
attention is immediately drawn to the fabulous Arabo-Norman interior
decoration of blazing gold set off by the marble.
Structure
– The internal space, with a rectangular ground plan, is divided
into two parts: the first section is articulated into three aisles
by 10 granite columns; the second, up five steps, comprises the
chancel which is contained within a marble balustrade. On the right,
near the division of the two haives, is the double ambo, supported
by four beautiful columns and two small pilasters, with integrated
lecterns borne by the eagle of St. John and the lion of St. Mark.
To one side is the fine Paschal candlestick (12th century), a wonderful
piece of sculpture, tall, slender and richly decorated: its square
pedestal is formed by four lions intent on mauling two men and two
animals; a braid of plant-like branches intertwines the figures
of wild beasts and an armed man preparing to defending himself.
Above, Christ sits in a mandorla supported by angels, holding the
Gospels in His hand, while, below, a figure in bishop’s clothing
kneels before Him (possibly Roger II himself). Two tiers of birds
(vultures pecking the tails of slender storks) support three figures
representing the three ages of man. The acute sense of realism of
these figures might suggest they are of a later date; perhaps they
were added when the candlestick was moved, and required further
refinement. Set against the back wall of the chapel is the majestic
royal throne, which also forms an integral part of the mosaic above
depicting Christ seated, attended by the Archangels St. Michael
and St. Gabriel (representing death and birth respectively) and
by the Apostles St. peter and St. Paul. The actual throne is inlaid
with mosaic and prophyry, the coat of arms in the centre is that
of the House of Aragon. The prophyry hexagon probably bore the image
of the reigning monarch. The pavement comprises a geometric arrangement
of marble tiles and mosaic, that form large Oriental style rectangles.
Mosaics
– The mosaics, exquisitely laid, comprise pieces of coloured
paste (cement and pigment) and glass onto which gold leaf has been
applied, thus imparting an inherent brilliance. They recount the
story of the Old Testament (nave), a selection of the most important
episodes in the life of Christ (chancel), of St. peter and St. Paul
(aisles). The silent witness include a host of prophets, angels
and saints, either shown full-length or enclosed in medallions.
The mosaics were executed in two different phases: the oldest ones
date from 1140s, the ones in the nave, echoing the style of those
at Monreale, date from 1160s and 1170s.
The
sequence of scenes in the nave serve a single, didactic function.
This is a prime example of teaching through pictures. Of particular
note is the illustration of the earth being separated from the sea:
the terrestrial globe is shown as a sphere of water in which there
are three areas of land (America and Oceania had not yet been discovered),
these are divided by sea which takes the form of a Y – the
symbol of the Holy Trinity; the firmament, all around, is not yet
illuminated by stars. Look out also for the Creation of Adam: note
the striking resemblance in the face of Adam with that of God, thereby
underlining the inscription in Latin: creavit ds ominem at imaginem
sua (and God created man in His own image). The scene recounting
the Original Sin sounds an unusual note as both Adam and Eve are
shown with the forbidden fruit in their mouths as they reach for
a second one. The section that follows on from the second half of
the panel illustrating the Sacrifice of Cain and Abel, when the
latter lies to the Lord, up to the scene showing the family of Noah
(including Noah himself), has been substantially remodelled in the
19th century; this is evident from the radical change in style.
In
contrast, the iconography of the scenes in the chancel is modified
for contemplation by the clergy and is therefore conducive to reflection
rather than teaching by example. This explains why the scenes from
the life of Christ are not arranged sequentially but in order of
importance (note especially above the right-hand apse). The cupola
above the choir contains the figure of Christ Pantocrator, flanked
by the three Archangels (St. gabriel, St. Michael and St. Raphael)
and Tobit, and four angels. Biblical figures line the inside of
the drum, and the Evangelists fill the pendentives (triangular corner
sections).
The
Annunciation is represented above the arch of the apse, placed there
as a reminder of the work of God that foretold Christ in Benediction
(in the vault) and the Enthroned Madonna, the Queen of Heaven. On
the underside of the arch, at its apex, is a medallion containing
throne of justice, the cross hung with the crown of thorns, and
the dove.
In
the south transept, pride of place is given to the figure of St.
Paul (apse vault) surrounded by scenes from the life of Christ,
the barrel vault has a medallion filled with the symbol of Pentecost,
a dove flying down among the Apostles (figures below). The story
of the Nativity is particularly well related: the three kings are
represented on their journey towards Bethlehem and the Christ Child
(note that the Magi on the left wear Phrygian caps, a pointed hat
with the top folded forward, to denote the fact that they come from
the east. Historically, the Magi were astrologers of the Persian
court, the priests of the cult of Mithras which was widespread throughout
the Roman Empire). St. Joseph, on the left of the Virgin Mary, is
seated on a typical type of Sicilian chair. The blue lunette below
the scene symbolises the Washing of the Christ Child.
Dominating
the north transept is St. Andrew (apse vault), but only since the
14th century when he replaced the original mosaics of St. Peter;
beside him is the so-called Hodegetria Madonna and Child (Guide
or Instructress pointing to the Way of Redemption based on an icon
said to be painted by St. Luke). To one side, St. John the Baptist
preaches in the desert.
The
aisles are covered with scenes from the life of St. Paul (starting
from the beginning of the south aisle) and St. peter (last section
of the south aisle, along the length of the north aisle). A list
of the scenes depicted in the nave is given below.
Nave:
Old Testament – Begin from the top of the right-hand side
of the nave, follow the length of the top register, along the left-hand
side of the nave; continue with the second register, starting again
on the right-hand side of the nave. For an explanation of the less
well-known Biblical stories, see the description of the mosaics
of Monreale, under the same heading.
Royal
Apartments – The visit begins in the Salone d’Ercole
(1560), now the chamber of the Sicilian Parliament, so called after
the large frescoes by Giuseppe Velasquez (19th century) depicting
the Twelve Labours of Heracles of which only six panels are visible
today (the others being hidden behind the gallery) namely starting
from the far end of the hall: Heracles and the giants (not, in fact,
related to the Labours), the slaying of the many-headed Hydra of
Lerna, the capture of the Ceryneian hind, the taming of the three-headed
dog Cerberus, the capture of the Erymanthean boar and the Cretan
Bull. The frescoed ceiling illustrates the birth, triumph and death
of the hero.
Across
the hall of the Viceroys is a small entrance room which once constituted
the heart of the Joaria, one of the Norman palace’s original
towers, now incorporated into other builidngs. The wall apertures
were designed to provide ventilation allowing cool and warm air
to circulate through the cavities between one wall and another.
On the left is the most interesting room in the palace: Sala di
Ruggero II, which is decorated in a way that is reminiscent of the
Palatine Chapel. From the high marble panelling, famed within friezes
of mosaic, springs the golden mantle that covers the upper sections
of the wall and ceiling. Hunting scenes alternate with symbolic
animals such as the peacock (for eternity, as it was alleged that
its flesh would never decomposed) and the lion (for royalty and
strength); all are portrayed in accordance with an eastern iconography,
which demanded that they be shown in pairs, one facing the other.
Representations are exquisitely detailled, as the figures wander
through a typically Sicilian landscape with palms and citrus trees.
At the centre of the ceiling is a medallion with the Imperial emblem:
an eagle holding a hare between its talons. There follows a number
of other 1700’s and 1800’s rooms, including the Yellow
Hall or Hall of Mirrors, named after the beautiful gold candlesticks
it contains.
Osservatorio
Astronomico – Top-floor of the Pisan Tower. Although
currently closed for restoration, the astronomical observatory will
re-open as a museum of old instruments used in astronomy, meterology,
seismology and topography; visitors will be able to experience a
fundamental event in astronomy: the discovery of the first asteroid,
on this very spot, on 1 January 1801, by Father Piazzi to whom the
observatory is dedicated. From the top, there is a fabulous bird’s
eye view over Palermo.
CASSARO
QUARTER
Porta
Nuova – Built under Charles V, the gateway is topped
by a Renaissance-style loggia; note at the end of the pitched roof,
the Imperial eagle. Beyond the gate stretches Corso Vittorio Emanuele,
a long, straight road which runs across town to Porta Felice.
Palazzo
e Parco d’Orléans – This is the house
and garden in which Louis Philippe d’Orléans, the future
king of France, lived in exile from 1810 to 1814. Today, it is used
by the Sicilian Regional authorities. The garden has magnificent
banyan trees (Ficus magnolioides) with their spectacular array of
roots, and various exotic animals.
San
Giovanni degli Eremiti – The Church of St. John of
the Hermits and its garden are situated not far from Palazzo dei
Normanni, providing a tiny haven of peace where even the noise of
Palermo’s traffic seems muffled. Nestling in a luxuriant garden
of palm-trees, agaves, bougain villaea, orange-trees and shrubs
of various kinds, stands the church that was built around the middle
of the 12th century at the request of King Roger II. This is one
of the most famous Arab-Norman monuments in Palermo. Its simple,
square forms which enclose perfect cubes of spaces rise to a red
roof with five squat domes (echoing the profile of San Cataldo not
far away), are clearly the work of Moorish craftsmen. The interior,
simple and bare, is shaped into a latin-cross plan: the central
space is divided into two halves above which hover two domes. The
transept is sub-divided into three, each part contained by a dome;
the south bay rising first to become a bell-tower that is then capped
by a dome. At one time, the church was flanked by its monastery,
the abbot of which was employed as the king’s private confessor.
Today, only the delightful little 13th century cloister with its
paired columns remains.
Villa
Bonanno – These lovely public gardens lie behind
the Palazzo Reale (Norman Palace). The elaborate 1600’s monument
is of Philip V of Bourbon. Excavations conducted in one part of
the garden have revealed the remains of Roman patrician houses containing
mosaics featuring the seasons and Orpheus, now housed in the Museo
Archeologico Regionale (see below).
Palazzo
Sclafani – The front of the building (dating from
the 1330s), overlooking Piazzetta San Giovanni Decollato, is ornamented
with fine Gothic two-light windows within interlacing arches so
typical of the Arabo-Norman style, and an elegant cusped doorway
surmounted by the royal eagle. It is from this palazzo that the
famous fresco The Triumph of Death was tranferred to the Galleria
Regionale di Sicilia.
Cattedrale
– Palermo’s cathedral is an imposing edifice. It was
built in the late 12th century in the Sicilian norman style, but
has undergone considerable alteration over the centuries. A notable
addition from the 15th century is the Catalan Gothic south porch
with, on the outermost wall, the symbols of the four Evangelists
(St. Mark’s lion and St. Matthew’s angel on the right,
St. Luke’s ox and St. John’s eagle on the left), its
fine inner doorway and fine, carved wooden doors. The Neo-Classical
dome was added in the 18th century when the interior was also completely
refurbished. The original fabric of the building, however, can still
be seen in the apses which retain their typical yet effective geometric
decoration. Inside, the first chapel on the right contains the tombs
of members of the Swabian royal family: Frederick II, his wife Constanza
of Aragon, Henry IV and, at the rear, Roger II and his daughter
Constanza d’Altavilla.
Tesoro
– Entrance from the south transept. The Treasury contains
a fine carved ivory staff made in Sicily in the 17th century and
various jewels belonging to Queen Constanza of Aragon. Among these,
are various rings and the magnificent Imperial gold crown set with
precious stones, pearls and enamels.
Crypt
– A number of tombs from different periods are preserved in
the crypt, a large proportion belonging to former bishops. Note
the classical Roman sarcophagus decorated with the figures of nine
muses, Apollo, and a seated man wearing a toga.
Chiesa
del SS. Salvatore – The present oval Church of the
Holy Saviour, built on the foundations of a Norman predecessor,
was designed in the late 1600’s by Paolo Amato. The interior
is richly decorated in the Baroque style complete with polychrome
marble and stucco. Within the dome, may be discerned gragments of
a large fresco of the Triumph of St. Basil (1763). Today, the church
is principally used as an auditorium. Further along Corso Vittorio
Emanuele is Piazza Bologni: among the alignment of fine 1700’s
buildings sits Palazzo Alliata di Villafranca which displays proudly
the elaborate coats of arms of two aristocratic families including
that of the Bolognas. In the centre of the piazza is a statue of
Charles V, the Spanish monarch.
QUATTRO
CANTI AND ITS NEIGHBOURHOOD
The
intersection of Palermo’s two main thoroughfares, Via Vittorio
Emanuele and Via Maqueda, is marked by a spacious octagon: the in-filled
corners of the square being furnished by four elegant 18th century
Baroque palazzo fronts, their elevation sub-divided into sections
with classical columns (Doric, ionic and Corinthian); with, at the
centre, an elaborate fountain dedicated to one of the four seasons.
The niches of the middle storey harbour statues of the four Spanish
kings of Sicily, those at the upper level contain effigies representing
the patron saints of Palermo: St. Christina, St. Ninfa, St. Oliva
and St. Agatha (who was subsequently replaced by St. Rosalie). The
crossroads also marks the four districts into which, at one time,
Palermo was divided: Palazzo Reale, Mezzomonreale, Castellammare
and Oreto, each being entrusted to one of the four female patron
saints.
Piazza
Pretoria – At the centre of this lovely piazza is
a spectacular fountain by the 1500’s Florentine sculptor Francesco
Camilliani, originally intended as a garden ornament for some Tuscan
villa. Comprising centric circles of gods and goddesses, nymphs,
monsters, animals’ heads, allegories, ornamental staircases
and balustrades, this fountain is a veritable Mount Olympus. Spouting
water brings the whole to life animating it with sparkling light,
yet never upsetting the balance of the composition; a rare quality
typically often found in Tuscan Renaissance works of art.
The
top basin is divided into four sections, below each is a smaller
bowl which, in turn, is overlooked by one of the four allegories
of the rivers of Palermo: Gabriele, Maredolce, Papireto and Oreto.
Among the statuettes guarding the ramps is Ceres, the classical
patroness of Sicily, who holds a sheaf of wheat and a horn of plenty.
The wrought-iron railing surrounding the fountain is by Giovan Battista
Basile. The Piazza is confined by fine buildings: to one side rises
the dome of Santa Caterina, on the south axis stands the Palazzo
Pretorio (also known as Palazzo Senatorio or Palazzo delle Aquile),
the City Hall. Across the road is the Chiesa di San Giuseppe ai
Teatini.
Palazzo
Pretorio – Concealed by the present rather austere
exterior, the result of 19th century renovations, lie the vestiges
of a succession of earlier façades in various styles, the
oldest of which dates from the 1300s. Since then, it has been the
seat of the City Council. The entrance, especially on the inside,
is ornamented with a profusion of Baroque elements (1691), including
spiralling columns; beyond lies an attractive courtyard with a monumental
staircase up to the piano nobile. Here, on the first floor, there
is a shallow relief (on the left) of a crowned Ceres, a homage to
the patroness of Sicily. The rooms open to the public include the
Sala dei Lapidi lined with marble tablets bearing inscriptions and
now used for Council meetings (note, in passing the magnificent
central 1600’s chandelier carved from a single piece of wood),
and Sala Garibaldi, so named after the Italian hero who addressed
the assembled crowds from the balcony in 1860. A glass case on the
right contains some fine weapons and scabbards inlaid with gold
and mother of pearl belonging to Napoleon Bonaparte.
Chiesa
di San Giuseppe ai Teatini – The Piazza Pretoria
is bordered by the side of the striking Baroque church. The most
eye-catching element is the original campanile which rises to an
octagonal section with spiral columns at the top. The sides are
ornamented with flaming vases. The interior, in the form of a Latin
cross, is theatrical, endowed as it is with a majestic ceiling,
a stunning array of white and gold stucco decoration and frescoes
on a agrand scale. Each aisle bay is capped with a small round dome,
itself encrusted with stucco. Set diagonally from the rear wall
are two fine organ cases. Sitting to either side of the entrance
are a pair of unusually impressive 1700’s stoups each one
consisting of an angel in flight with a basin in its arms.
Piazza
Bellini – This small square is contained by three
churches: Santa Caterina (currently under restoration), La Martorana
and San Cataldo which, with its three red domes, endows the place
with an eastern feel.
La
Martorana – Named after Eloisa Martorana who, in
1194, founded the nearby Benedictine convent, serving as its chapel.
The church in fact dedicated to Santa Maria dell’Ammiraglio
(St Mary of the Admiral), had been founded in 1143 at the request
of George of Antioch, an admiral in the fleet of Roger II. The linearity
of the Norman original is unfortunately concealed behind the Baroque
façade (on the south side of the church) that faces onto
the piazza. The main entrance is through a fine portico-cum-bell-tower,
articulated by three orders of columns and double arch openings.
At one time, this was free-standing; it was the same time as the
apse was replaced by a square choir. Mass is celebrated according
to the Greek Orthodox dogma.
Interior
– The building is divided into two parts. The first two bays,
added in the 1500’s, were frescoed one century later; the
older church shelters a wonderful array of glorious mosaics that
strictly conform to Byzantine iconography, possibly executed by
the same craftsmen as those employed at the Cappella Palatina. The
wall church which once constituted the main façade has two
mosaic panels representing George of Antioch prostrate at the feet
of the Virgin (on the left) and Roger II receiving the crown from
Christ (on the right). Filling the nave dome is Christ Pantocrator
surrounded by the three Archangels (St. Michael, St. Gabriel, St.
Raphael) and St. Uriel. In the register below are eight prophets
and in the pendentives, the four Evangelists. In the nave vault
may be seen the Nativity (on the left) and the Death (Dormition)
of the Virgin. The gratings of the nuns’ gallery are a fine
example of wrought-iron work.
Chiesa
di San Cataldo – This church is the main seat of
the Knights of the Holy Sepulchre, was built during the Norman period
(12th century). A distinctive Moorish quality is imparted by the
combination of its rather severe square forms, crenellated walls,
perforated window screens and characteristic bulbous red domes (likened,
by the Italians, to a eunuch’s hat). The austere interior
is articulated into three aisles by antique columns from more ancient
buildings. The nave is crowned with three domes, each supproted
on squinches. The polychrome marble paving is original.
Palazzo
Comitini – 100 Via Maqueda. The palazzo (1768-71)
built for Prince of Gravina incorporates two older ones belonging
to the Roccafiorita-Bonanno and Gravina di Palagonia families. The
front is graced with two large entrances and nine openings (now
windows) on the ground floor, and a series of bulbous balconies
(evocatively described in Italian as a petto d’oca which translates
as goose breast) on the first floor. The building was radically
altered in 1931 with the addition of another floor for use as the
administrative of the Province of Palermo. A wide staircase leads
up from the internal courtyard to the loggia on the first floor
and the Sala delle Armi (Armoury), now the Salone dei Commessi;
the two masks flanking the doorway served as torch extinguishers;
off to the left is the Green Room, furnished with a fine 1700’s
Murano glass lamp. Sala Martorana, now the seat of the Provincial
Council, is lined throughout with 1700’s wood panelling inlayed
with mirrors; these add luminosity to the room and enhance the impact
of the ceiling which is frescoed with the Triumph of True Love.
The four corner medallions depict the four Virtues: Fortitude, Temperance,
Prudence, Justice. Sadly, the tiled floor is in a poor condition.
Next
to the Sala del Presidente, once the Prince’s bedroom, are
two small boudoirs; these are panelled in wood and furnished with
shelves bearing early-1900’s majolica plates.
Chiesa
del Gesù – When the Jesuits arrived in Sicily
in the mid-1500s, the Spanish government gave them its generous
support. It was here that they founded their first church, although
this was considerably altered before arriving at its presernt form
at the end of the same century. Sadly, the church suffered serious
damage during the bombing of 1943 and has been partially rebuilt.
Its sober façade is in marked contrast to the Baroque exuberance
of the interior which is encrusted with stucco and pietra dura decoration.
The chancel decor executed by the Serpotta brothers is especially
fine, populated as it is with a euphoric display of cherubs engaged
in all manner of activities: gathering grapes, holding garlands
of flowers, torches, musical instruments, rulers, set squares, and
lances with which they pierce devils.
The
second chapel on the right has two fine paintings by Pietro Novelly:
St. Philip of Agira and St. Paul the Hermit. in which the last figure
on the left is a self-portrait of the artist. The sacristy is furnished
with a splendidly carved cupboard (16th century). Next to the church
stands Casa Professa, housing the municipal library which contains
a large number of incunabula and manuscripts. The first and second
room (reading rooms) are hung with the portraits of 300 illustrious
men.
Chiesa
del Carmine – Piazza del Carmine, before the Church
of Our Lady of Mount Carmel, is brought to life each day by the
picturesque Ballarò food market. Before entering the church,
it is worth taking the time to admire from afar the splendid tile-covered
dome supported by four giant Atlas figures. Inside the church, the
two most interesting features are the sumptuous altars in the transepts,
decorated with pairs of golden twisting columns on which spirals
of stucco tell the story of the life of the Virgin Mary (on the
left) and on Christ (on the right). They are the work of Giacomo
and Giuseppe Serpotta. Above the left-hand altar is a fine canvas
of La Madonna del Carmine (Our Lady of Mount Carmel ) dating from
the 15th century.
LA
KALSA
The
quarter grew up during the period of Islamic domination around the
fortified citadel where the emir and his ministers lived, preserving
its original name (al Halisah, meaning the elect, the pure). Even
today, an unusual Oriental atmosphere pervades the place, accentuated
by the presence of monuments the Arab-Norman style. Centrally located
and densely populated, the neighbourhood offers an intriguing insight
into Palermo life. For example, on passing before the Chiesa di
St. Teresa it is not unusual to encounter some local engaged in
cooking and selling babbaluci, tiny snails marinated in oil, parsley,
garlic and peper and sold in paper cornets to passers-by. The heart
of the quarter is Piazza della Kalsa, although the district itself
stretches as far as Corso Vittorio Emanuele, and contains many of
the city’s most interesting monuments.
The
heart of the quarter
The
main entrance to the quarter appears to be Porta dei Greci beyond
which lies the Piazza and the church of St. Teresa alla Kalsa, a
monumental Baroque church built between 1686 and 1706 by Paolo Amato,
with an imposing façade with two orders of Corinthian columns.
Further along Via Torremuzza sits another church by Amato, Santa
Maria della Pietà; inside, in the section reserved for the
closed order of Dominican nuns which founded the church, is a choir
screen emblazoned with a rising sun.
Via
Alloro – Throughout the Middle Ages, this served
as the quarter’s main street. Today, most of the elegant palazzi
that once lined the thoroughfare have, sadly, either been destroyed
or have fallen into disrepair. The few surviving buildings include
Palazzo Abatellis which accommodates the Galleria Regionale di Sicilia,
and, next to it the lovely Chiesa della Gancia.
Galleria
Regionale di Sicilia – The regional art gallery is
housed in Palazzo Abatellis, a magnificent Catalan Gothic building
with some Renaissance features, designed by Matteo Carnelivari who
was active in Palermo towards the end of the 15th century. Its elegant
front has a great square central doorway ornamented with fasces
(literally faggots), and a series of two- and three-light windows.
Within, the palazzo is arranged around an attractive square courtyard.
The
gallery’s internal layout is most interesting having been
completed in the 1950s by Carlo Scarpa, one of Italy’s foremost
contemporary interior designers. For each important work of art,
the designer has contrived a tailor-made solution in terms of support
and background, using different materials and colours so as to display
it in the best possible way while exploiting natural daylight to
the full.
The
gallery collects together sculptures and paintings from the medieval
period. The first exhibit to draw attention on the ground floor
is the magnificent fresco of the Triumph of Death (room 2), from
the Palazzo Sclafani. The title probably refers to the thirteenth
Tarot card as the cards, which were highly popular in the Middle
Ages, were also known as Trionfi (Triumphs). The painting shows
the cruel and realistic figure of Death, astride a skeletal horse
and armed with a bow and arrows, in the act of striking down men
and women in the full flush of youth. Note in particular, how colder
shades of colour have been used to portray Death, the horse, and
the faces of those who have been struck by his arrows. On the left,
among the group of beggars and the afflicted who have been spared
by the terrible rider, is painted a figure (top) who gazes out from
the picture at the observer, the brush in his right hand denotes
him to be a self-portrait of the unknown author of the picture.
The modernity with which some of the details – such as the
stylised nose of the horse – have been rendered is quite extraordinary.
The
admirable bust of Eleonora of Aragon (room IV), with its gentle
expression and delicate features, together with the bust of a young
woman are by the sculptor Francesco Laurana, who worked in Sicily
in the 15th century. This was also when the Gagini family were active
and works by them are to be found all over the island. Included
in the gallery is a fine Madonna and Child by Antonello da Messina.
The first floor is entirely devoted to painting (with many works
from the Sicilian School). Note the lovely portable Byzantine icon
(first room opposite the entrance) with scenes from the life of
Christ, and Antonello da Messina’s glorious Annunciation,
the peaceful expression of acceptance in the face of the Virgin.
In
the room devoted to Flemish painting sits the famous Malvagna Triptych
(1510) by Mabuse which shows the Virgin and Child surrounded by
angels singing and playing musical instruments in a lavishly decorated
frame, set against an equally fabulous landscape background.
La
Gancia (S. Maria degli Angeli) – The church dedicated
to Santa Maria degli Angeli was originally built by the Franciscans
in the late 1400’s; numerous alterations have since modified
its appearance, particularly the interior. The exterior retains
from the original its square profile and rustication. Before entering,
look out for the Buca della Salvezza on the left; this so-called
Hole of Salvation was made by two patriots who had hidden in the
crypt of the church during the anti-Bourbon rebellion so that they
could by pulled to safety by a handful of local people. The interior
gives the impression of being Baroque although various elements
date from several different periods. The fine wooden ceiling painted
with stars on a blue background , the magnificent organ by Raffaele
della Valle (late-1500’s), the elegant marble pulpit and Antonello
Gagini’s relief tondoes of the Annunciation (on either side
of the altar) all date from the 16th century. Among the parts of
the original fabric that survive are some very fine details including
an original novice monk peeping out over the top of a cornice in
the chapel to the left of the altar.
Complesso
di S. Maria dello Spasimo – Via dello Spasimo. The
church and convent were built just inside the walls of the Kalsa
in 1506. The patron of the project was Giacomo Basilicò who,
to mark the occasion, commissioned Raphael to paint a picture of
the Anguish of the Virgin before the Cross (now in the Prado in
Madrid). Building work on the church was slow and not yet completed
when the Turkish threat made it necessary to build a new bastion
just behind the church. In turn, the complex was transformed into
a fortress, a theatre, a hospice for plague victims (1624) then,
later, for the poor (1835) and finally a hospital; the place was
abandoned in 1986. The church is to be restored while it is hoped
that the old hospital will be transformed into exhibition spaces
and concert venues. The section that is currently accessible to
the public is the part arranged around the 1500’s cloister.
Beyond sits the church, the only example of northern Gothic in Sicily.
The tall, slender nave, reaches up towards the open sky without
a roof (perhaps never built) and ends with a lovely polygonal apse.
The original entrance is given prominence by a pronaos in which
were installed two side chapels. The one on the left is still visible,
complete with its distinctive little bulbous dome. This, in turn,
provides access to the old Spanish bastion, now laid out as a garden.
The whole complex is most evocative, particularly when caught by
the rays of the setting sun.
La
Magione – An attractive little avenue of palm trees
leads up to the Romanesque church that was founded in the 12th century
by Matteo d’Ajello, a prominent official in the service of
the Norman sovereigns. In 1197, it was conceded by Henry IV to the
Order of Teutonic Knights, in whose hands it remained for more than
three hundred years. The front elevation rises through three tiers
of pointed arches which at the lowest level are ornamented with
decorative features and enclose the doorways. The interior, divided
into three aisles, is simple and austere. The church also has a
fine cloister with paired columns, unfortunately severely damaged
during the Second World War.
Via
della Magione runs along the side of Palazzo Ajutamicristo, a large
1400’s building designed by Matteo Carnelivari.
Piazza
della Rivoluzione – This delightful little square
is so called because it was here that the anti-Bourbon rebellion
of 1848 was sparked off. In the centre is a fountain graced by the
so called Genio di Palermo, who symbolises the city.
The
northern quarter
S.
Francesco d’Assisi – very little of the original
1200’s church survives. As it succumbed to damage, repair
and alteration on successive occasions, it owes its current appearance
to the fact that, the last time it was restored, great efforts were
made to respect its original design. The simple front elevation
is graced with a fine rose-window and magnificent Gothic portal
from the original 1200’s structure. Inside, a strong sense
of airiness and space, so typical of Franciscan churches, has been
preserved despite subsequent structural remodelling. Of note, there
are eight statues by Giovanni Serpotta, while the fine entrance
doorway to the Mastrantonio Chapel is by Francesco Laurana and Pietro
di Bonitate (fourth chapel on the left).
Next
to the church stands the Oratorio di San Lorenzo. This has unfortunately
been closed for years, but it contains stucco-work by Serpotta that
is considered to be the culmination of his artistic achievements.
Palazzo
Mirto – The palazzo, residence of the princes of
Lanzi Filangeri, has been altered several times to meet the family’s
needs. Its current form dates from the late 1700’s. Just inside,
on the left, are the fabulous stables (19th century) complete with
stalls and ornamental bronze horse-heads. A red marble staircase
leads up to the first floor is still furnished in the main with
original pieces. Among the rooms open to the public there is the
Chinese sitting-room with its leather-covered floor, painted silk
walls depicting scenes from everyday life and fine trompe-l’oeil
ceiling: this was used as an intimate smoking-room or for playing
cards. The next room, a small vestibule, contains a good set of
19th century Neapolitan plates decorated with people in costume;
it is said that each guest was supposed to sit in front of the plate
featuring their particular costume. Leading from the vestibule is
another unusual smoking-room this time panelled with painted and
embossed leather, a material suited to such rooms because it does
not become impregnated with smoke. The most striking element of
the Pompadour sitting room is the fabulous wall silks embroidered
with flowers. The mosaic floor is the only original one. The dining-room
contains a Meissen service (18th century) exquisitely painted with
flowers and birds.
Piazza
Marina – The centre of the piazza, which in itself
lies at the very heart of medieval Palermo, is graced with an attractive
garden, the Giardino Garibaldi, which is planted with magnificent
banyan trees with their large, exposed, trunk-like roots. The piazza
is enclosed on all sides by fine buildings: Palazzo Galletti (no.
46), Palazzo Notarbartolo (no. 51) and the famous Palazzo Chiaramonte.
Diametrically opposite this, on the far side, sits the lovely Fontana
del Garraffo, (from the Arabic gharraf, meaning abundant water)
which was made at the close of the 1600’s by G. Vitaliano,
to designs by Paolo Amato.
Palazzo
Chiaramonte – this splendid palazzo was built in
1307 for the Chiaramonte family, one of the wealthiest and most
powerful dynasties of the Aragonese period. The building also came
to be called Lo Steri, deriving from Hosterium, a fortified residence,
an obvious function given its clean, square form. It passed into
the hands of the Spanish viceroys, and thence, in the 17th century,
served as the headquarters of the Court of the Inquisition; this
situation lasted until 1792, when the institution was abolished
in Sicily. The main front is ornamented by two tiers of elegant
two- and three- light windows (note the fabulous stone inlays on
the underside of the arches on the first floor). The style that
in essence was distilled from the Gothic, is so distinctive as to
be described simply as Chiaramonte; this may be discerned in many
other Sicilian civic buildings of the same period.
Museo
Internazionale delle Marionette – The International
Puppet Museum contains a fabulously rich collection of pupi (Sicilian
puppets based on characters from the French chansons de geste),
marionettes (articulated puppets operated with strings), shadow
puppets, scenery and panels from all over the world. The first rooms
are devoted to Sicilian puppets, many being presented “on
stage”. Notice in particular the delicate facial features
of Gaspare Canino’s theatre puppets (19th century). The second
section presents the European tradition including such renowned
figures as the English Punch and Judym and the non-European which
comprises a vast Oriental collection: Chinese glove-puppets, string-puppets
from India, Burma, Vietnam, Thailand and Africa; shadow puppets
from Turkey, India and Malaysia (made of leather). All the caricatures
are evocatively displayed in semi-darkness (for preservation purposes)
as if to suggest the remoteness of their origins in the distant
past and from far afield. In Room IV a hsaing waing has been arranged:
this consists of a Burmese orchestra pit where, an hour before the
performance, musicians used to sit and play pieces of music that
constituted a symbolic rite. The final section is dedicated to special
puppets destined for a violent, spectacular death. The museum also
has an active theatre (details of performances are available from
the museum). The walls are hung with decorative puppeteers’
posters, which were used by story-tellers to illustrate their stories.
Palazzo
Branciforte-Butera – This palazzo has been heavily
restored. Its main entrance is in Via Butera, altough its main front
overlooks the sea. Before it, runs a beautiful promenade and a terrace
known as the Mura delle Cattive (which translates as the Wall of
the Wayward Ones!).
THE
OLD HARBOUR DISTRICT
The
cala, the city’s ancient harbour, was once protected
by the Castello a Mare, which was built by the Arabs, and later
transformed for use as a fortress, prison and private residence.
The massive construction was, however, badly damaged in 1022 when
the new jetty was extended. A description of the Cala quarter which
extends behind the old harbour, must begin with the church, as this
was where the chains that were used to close off the aree were kept
through the centuries, hence its dedication to Santa Maria alla
Catena.
S.
Maria alla Catena – The design of the church is attributed
to Matteo Canrelivari, its elevation dominated by a broad square
protico with three arches; behind these are doorways set with low
reliefs by Vincenzo Gagini. A decorative fretwork stone cornice
runs along the top and sides of the portico (the flight of steps
in front of the church was added at a later date). The overall style
is transitional Gothic-Renaissance (1490). The lovely interior is
articulated by blind arcading into square bays with pointed cross-arches,
the stone ribs being offset by the white vault. The chancel is lit
by traceried two-light windows. The second chapel on the right harbours
fragments of a frescoed Madonna, and, on the altar, symbolic chains.
The church is especially evocative at sunset, when the façade
is dramatically set alight by the colours of the setting sun.
Close
by stands the monumental Porta Felice (1582), which marks the eastern
end of Via Vittorio Emanuele. This is designed in the late-Renaissance
style, its two massive uprights elements are softened by an interplay
of volutes and openings surmounted by pediments.
Further
along the broad curve of the harbour lies Piazza Fonderia, beyond
which (between Via Cassari and Piazza San Domenico) extends the
picturesque and historic Vucciria market .
S.
Domenico – Before the church stretches an attractive
piazza with, at its centre, a statue of the Madonna raised on a
colunm. The chruch was initiated in the 17th century and completed
only a century later. The Baroque front elevation rises in three
ordered tiers of Doric and Corinthian columns and square pilasters
framing a statue of St. Dominic. The spacious interior is divided
into nave and aisles, with a side chapel off each bay. A fine scheme
of inlaid pietra dura decoration ornaments the fourth chapel on
the right and the Chapel of the Rosary in the north transept. Adjacent
to the church is a lovely 1300’s cloister with paired columns.
The
neighbouring buildings accommodate the Sicilian Historical Society
(Società Siciliana per la Storia Patria), which, in turn,
has its own small Museo del Risorgimento containing mementoes of
Garibaldi. From the windows of the museum, there is a spledid view
of the cloister of San Domenico.
Oratorio
del Rosario di S. Domenico – The oratory is a veritable
treasury of stucco decoration by Giacomo Serpotta, who succeeded,
as always, in conferring a profound sense of movement to the antics
of his cherubs. These are characterised by a spontaneous playfulness
so often found in children; their unusually expressive faces exuding
happiness or thoughtfulness highlight Serpotta’s skill at
working with stucco, a medium devoid of any inherent life of its
own when compared to stone or marble.
The
stucco or plasterwork provides frames for a series of paintings
relating to the Joyful Mysteries of the Rosary (left and rear walls),
which include a Flagellation by Mattias Stomer. In the niches which
alternate with the paintings, nestle allegories of the Virtues,
a series of extraordinary female figures remarkable for their poise
and for the delicate way in which their drapery is rendered. In
some instances they are attended by putti; the statue of Meekness,
for example, holding a dove, is flanked by a putto dressed in a
monk’s attire stretching a podgy little hand towards her.
In
the large ovals above the paintings, Serpotta has depicted scenes
from the Apocalypse of St. John: note how the figure of the Devil
writhes as he falls, having been driven from heaven. Above the dome
of the altar, more winged cherubs hold up a great sheet. On the
high altar itself, sits the splendid painting by Anthony Van Dyck
of the Madonna of the Rosary (1628) with St. Dominic and the partron
saints of Palermo; this in turn is framed by two female allegories
who look onto the scene as if witnessing a theatrical performance.
The ceiling, frescoed by Pietro Novelli, illustrates the Coronation
of the Virgin.
Oratorio
del Rosario di S. Cita – Access to the oratory is
through the Chiesa di Santa Zita (Cita being a Tuscan corruption
of the name Zita) which has a fine chancel arch made of marble by
Antonello Gagini and a lovely chapel of the Rosary (right of the
chancel) decorated with polychrome inlay and delicate stucco. The
oratory is considered to be the masterpiece of the leading Baroque
decorator Giacomo Serpotta who worked here between 1686 and 1718.
A host of angels and cherubs are endowed with carefree expressions
and realistic attitudes, completely intent on playing among themselves,
climbing up onto the window frames, larking and hugging their knees
deep in thought.
The
eye is immediately drawn towards the wall at the back of the nave
where a great drape hangs across the entire wall, supported by a
struggling crowd of cherubs. A central panel depicts in relief the
Battle of Lepanto; this is flanked by two emaciated youths, symbolising
the horrors of War. All around the oratory, even below the side
windows, are panels depicting the Mysteries of the Rosary. On the
left wall begin the series relating to the Joyful Mysteries: the
Annunciation, Visitation, Nativity and Presentation at the Temple.
On the right are the Sorrowful Mysteries: Jesus in the Garden at
Gethsemane, the Flagellation, Crowning of Thorns and Calvary. At
the far end are a second series of Joyful Mysteries (starting bottom
left): the Resurrection, Ascension, Descent of the Holy Spirit,
and the Assumption of Mary. At the top, in the centre, the Crowning
of Mary. The high altar has a fine painting by Carlo Maratta of
the Madonna of the Rosary (1690).
The
eight windows along the side-walls are “guarded” by
allegorical figures. A little further on, sits San Giorgio dei Genovesi
overlooking its own piazza: this is one of the rare expression of
the late-Renaissance. It was built by a community of Genovese merchants
to shelter those among them who died in Palermo; having been deconsecrated,
the former church is now used to house temporary exhititions. In
Via Cavour, is the Prefettura, a Venetian NeoGothic building that
was once known as the Villa Whitaker, having been erected by one
of the twelve grandchildren of Ingham, the British Marsala magnate.
THE
CAPO QUARTER
On
the far side of Piazza San Domenico, directly opposite the church,
is the narrow Via Bandiera which marks the outer fringe of the Capo
market and harbours a number of fine buildings, notably Palazzo
Termine (no. 14), built in 1573 with hint of the Spanish Style.
Its most striking features are the lovely two-light stone traceried
windows divided by slender columns; the window on the corner was
added during restoration at the beginning of this century. Next-door
is Palazzo Oneto di Sperlinga, an elegant 1700’s residence
of some other noble family.
S.
Chiesa di Sant’Agostino – The splendid 1200’s
St. Augustine’s was built at the request of the Chiaramonte
and Sclafani families. The front is graced with a beautiful entrance
decorated with duotone geometric and flower motifs, and a lovely
rose-window. The Gagini-style side-entrance in Via Sant’Agostino
is also worthy of note. The interior is largely dominated by Baroque
alterations, which include stuccoes by followers of the Serpotta
School, signed on the shelf under the second statue on the right
with Serpotta’s mark, a lizard (serpe in Sicilian). The heart
of the quarter which lies further along Via Sant’Agostino,
is brought to life every morning by a busy market, the mercato di
Capo. It was in this part of the city that a large number of the
Beati Paoli stories were set. This massively popular novel by Luigi
Natoli was published in instalments between 1909 and 1910, capturing
the imagination of large numbers of Palermitani who read it avidly
and who spent hours speculating on the suspense maintained with
each new edition. Its vivid style succeeds in painting a provocative
yet faithful picture of Palermo in times past. Notice in Via Cappuccinelle
(no. 6) the shop sign above the Panificio Morello, this consists
of an elegant Liberty-style mosaic panel with a female figure enclosed
within a “niche” of wheat sheaves, with a lotus-flower
motif below and further wheat sheaves above.
Museo
Archeologico Regionale – The Regional Archeological
Museum is installed in the 1550’s confines of the Olivella
monastery, which, with the adjoining Baroque church of Sant’Ignazio
(see below) was founded in the 17th century by the fathers of St.
Philip Neri. The museum contains a magnificent collection of artefacts
recovered from Sicilian sites, in particular those from Selinunte.
Ground
floor – The visit begins in a small cloister with a hexagonal
fountain in the centre. At the back, high up in the wall is a beautiful
single light window with a decorative surround. The portico shelters
an assortment of Punic and Roman anchors (also on display in the
large cloister). One small room devoted to Phoenician art displays
two sarcophagi from the 6th century BC with organic decoration;
another is dedicated to Egyptian and Punic finds, including the
hieroglyphic inscription known as the Stone of Palermo (the other
three parts are in Cairo and London) which narrates 700 years of
Egyptian history, and a Punic one recovered near the harbour at
Marsala bearing the figure or a priest before a perfum-burner, worshipping
the god Tanit.
Beyond
is the large cloister, off which are arranged a series of rooms
devoted to artefacts from Selinunte. The first displays the twin
steles formed by pairs of busts representing the gods of the underworld,
both in shallow relief and in the round. This leads into the Sala
Gabrici (interactive information terminals) which contains a reconstruction
of the front elevation of Temple C and a selection of the original
tryglyphs. Sala Marconi has various lion masks with water-spouts
from the temple of Victory at Himera.
The
exhibits in the following larger room are principally from Selinunte,
including the range of marvellous metopes. The oldest (smaller)
artefacts, notably from a 6th century BC archaic temple, are displayed
below the window on the right; one fragment depicts the Rape of
Europa by Zeus in the guise of a bull. On the left are three more
marvellous metopes from Temple C (6th century BC). The high relief,
which in places verges on being in the round, shows Perseus severing
the head of Medusa while from her breast springs Pegasus, the winged
horse born from her spilt blood (central scene); above is the figure
of Athena with, to the left, the four-horse chariot of the Sun God
Apollo and, to the right, Heracles capturing the Cercopi (two thieving
brothers) and hanging them from a stick.
Against
the back wall are four metopes from Temple E; these are considered
to be the finest in terms of their expressiveness, their sense of
movement and their realism which has been described as “modern”
in concept. Starting from left, these show Heracles fighting with
an Amazon, Hera before Zeus (who, seated, lifts the veil from her
face), Actaeon being transformed into a stag (the muzzle of the
animal can just be seen behind the head of Actaeon as he is attacked
by the dogs), and Athena fighting the giant Enceladus. The four
rooms filled with Etruscan finds contain some fine cinerary urns
and bucchero ware.
First
floor – Among the various bronzes from the Greek, Roman and
Punic periods, are a couple of truly superb ones: Heracles catching
the stag, perhaps the central decoration for a fountain, and, more
particularly, the fabulously lifelike bronze Ram, a Hellenistic
work of extraordinary quality, from Syracuse. The following room
displays small marble statues including a fine Satyr pouring, a
Roman copy of an original by Praxiteles.
Second
floor – On this floor are arranged the museum’s prehistoric
collections, a selection of its finest Greek vases, Roman mosaics
and frescoes. The room with the mosaics includes panels illustrating
Orpheus with the animals (3rd century AD), the seasons, representations
of allegories and myths closely associated with the cult of Dionysus
found in Palermo.
Sant’Ignazio
all’Olivella – This fine Baroque church was
initiated in the late-1500’s on the site where, according
to tradition, the villa of the family of Santa Rosalia once stood.
An interpretation of Olivella would confirm this: Olim villa, once
a villa (was here). The front incorporates two bell-towers which
add a certain freedom to the overall composition. Inside, an eye-catching
inscription in bright red proclaims jahvé in the centre of
the Gloria behind the altar. The first chapel on the right contains
a great wealth of decorative inlay in the form of polychrome pietra
dura.
Oratory
– Access from the south transept. This was designed by the
architect Venanzio Marvuglia. Inside, the stucco work relates the
Gloria: the attractive composition with the angel surrounded by
groups of cherubs in twos and threes, is the work of Ignazio Marabitti.
Via dell’Orologio, opposite the church, leads into Via Maqueda,
and Teatro Massimo. Before continuing any further, a backwards glance
from the end of the street will provide an unexpected view of one
of Sant’Ignazio’s two bell-towers, the clock of which
might even have lent its name to the street.
LA
CITTA' NUOVA
At
the beginning of the 19th century, the city underwent a period of
considerable expansion, The wealthy merchant bourgeoisie chose the
northwest side of the city to build fine residences in keeping with
the new aesthetic taste, lavishly decorated with wrought-iron work,
glass and floral panels. The hub of high society shifted form Via
Maqueda to its extension which took the name of Via della Libertà.
Here they built the great temples of opera, two theatres –
the Massimo and the Politeama, and a large number of modern pallazzi
scattered through the neighbouring streets. Even today, a walk along
Via XX Settembre, Via Dante and Via Siracusa, to name but a few,
will reveal a flavour of the splendour promoted by the wealthy upper-middle
classes in the late-1800s.
Teatro
Massimo – This opera-house, under the watchful eye
of Giuseppe Verdi, is one of the largest in Europe. The front of
this imposing Neo-Classical structure is composed of six columns
and a broad triangular pediment, modelled on the pronaos of an ancient
temple. Set back, a great dome rises from its high drum. The initial
design was completed by Giovan Battista Basile in 1875; building
work was concluded by his son Ernesto, who took it upon himself
to add the two small distinctive Liberty-style Kiosks in front of
the theatre (the one on the right, built of wood and wrought-iron,
is known as the Vicari al Massimo Kiosk, while the one on the left,
made of iron, is the Ribaudo Kiosk). At last, the theatre was reopened
in 1997 after a long period of closure.
Teatro
Politeama – The Politeama Theatre, as imposing and
built in the same Neo-Classical style as the Teatro Massimo, faces
onto the vast Piazza Castelnuovo, its façade is dominated
by a quadriga of bronze horses. Inside, it accommodates the Galleria
d’Arte Moderna Empedocle Restivo.
Galleria
d’Arte Moderna Empedocle Restivo – The Empedocle
Restivo Gallery of Modern Art is contained within an elegant Liberty-style
interior (note the large, wrought-iron lights). The collection comprises
a highly prized selection of 1800’s and 1900’s paintings
and sculptures by a number of Sicilian artists and a few foreign
artists. The sculptures include a delightful Faun by Trentacoste,
a marble figurine of Classical proportions, but gracefully coiled
upon itself like a spiral ready to burst free. 1800’s Sicilian
art developed in different directions while simultaneously giving
rise to a new generation of concepts. Artists specialised in using
the medium they found most congenial. The great themes tackled often
revolved around psychological introspection, interspersed with intervals
of inactivity and Neo-Classical composure, history and landscape.
From this period stem the portraits by Patania, such as Study of
a Sick Priest in which the man’s suffering is rendered with
piercing realism, and those by Salvatore Lo Forte who managed to
impart to his subjects so much strength of character. This is also
the age of partiotism which Erulo Eruli encapsulated in his great
composition The Sicilian Vesper.
Different
trends may also be detected in the style and expression of the various
landscape painters represented: Lo Jacono’s realism (Wind
in the Mountains) becomes loaded with feeling in the works of Leto
who paints impressions by dabbing strong, warm colours onto his
canvas (three studies for The Rope-makers); Michele Catti absorbs
all the tenets of impressionism before painting his hazy landscapes
with horizons lost in infinity (Last Leaves). Onofrio omaselli (The
Carusi) adds a note of compassion (in the sense of the Latin word,
implying a sharing of pain) with his bold use of warm colours. A
few works both from the Italian and other foreign shools exemplify
the new trends that emerged at the close of the 19th century and
the beginning of the 20th: Expressionims in The Nativity by Lienz;
Symbolism in the works of Von Stuck (The Sin), and Pointillism in
Terzi’s Summer Morning.
The
last few rooms collect together paintings from the 1930s and the
years following the Second World War: The Tram by Sironi, with its
cold colours; The Schoolchildren by F. Casorati, with its geometric
lines that seem to accentuate the sadness and immobility of the
children (what is haunting is the blank staring eyes of one child
in the foreground); an expressive Self-portrait by Guttuso. These
rooms also accommodate a number of sculptures, including the fine
Acrobat by T. Bertolino, with its curving, sinuous lines.
Villa
Malfitano – Via Dante. The famous Liberty-style Villa
Malfitano, contained within its glorious garden, was begun in 1886
by Joseph Whitaker, a grandson of the mighty Ingham, that English
gentleman-cum-wine-merchant who came to live in Sicily in 1806.
Ingham was an entrepreneur who managed to build himself a veritable
commercial empire out of producing Marsala wine, a business he founded
and developed until it became one of the three leading producers,
and a large steamship company. In stark contrast to his grandfather,
Joseph was fascinated by ornithology and archaeology; to satisfy
his interest he travelled to Tunisia where he studied the birds
(later writing a treatise on the subject) and initiated a programme
of excavation on the island of Mozia which he had purchased. Another
of his passions was botany; he arranged to have trees sent from
all over the world so that he could plant them around his villa;
these gardens soon comprised a whole range of rare and exotic species:
plam trees, Dragon’s blood trees, the only example in Europe
of Araucaria Rouler and an enormous banyan tree. The villa soon
became one of the main points of reference for high society at that
time. Lavish parties were held there and important guests, such
as the reigning monarchs of Great Britain and Italy, were received
and entertained. The point came when the villa would epitomise the
pre-eminence of the family. It was re-modelled upon the Villa Favard
in Florence, and endowed with elegant wrought-iron verandas which
reflect a taste for the new Liberty-style (the one at the back is
especially beautiful).
The
internal furnishings are exquisitely chose: a profusion of Oriental
items (often purchased at the most famous English auction rooms)
include, for example, a pair of cloisonée elephants from
the Royal Palace in Beijing, and a pair of large waders riding on
the back of a turtle symbolising the four elements (the birds represent
the air, the turtles water, the snake wound around the neck and
held in the beak of the bird represents the earth and the lantern
which acts as a lamp symbolises fire). The best craftsmen from the
area and the most famous local artists were employed to work on
the villa (the dining-room furniture was all made in Palermo, except
for the table, which is English). Worthy of particular note is the
Safari in Tunisia by Lo Jacono (in the corridor) and the pastel
portrait of Joseph’s daughters by Ettore de Maria Bergler,
which hangs above the lovely spiral staircase leading up to the
first floor, decorated in the then fashionable Pompeiian style as
is the ceiling of the corridor. The real highlight of the Whitaker
house, however, is the decoration conceived by the same artist for
the Sala d’Estate (Summer Room); this consists of a trompe-l’oeil
composition covering the entire room (walls and ceiling), transforming
the enclosed space into a cool veranda surrounded by vegetation.
Villino
Florio – 36 Viale Regina Margherita. This fantastic
house was built for one of the most powerful families in Sicily
in the 19th century: the Florio. It is, without doubt, one of the
finest examples of the Palermo Liberty-style; designed by Ernesto
Basile, it was originally surrounded by a large garden.
Villa
Trabia – Via Salinas. A wonderful garden surrounds
the villa of the same name, built in the 18th century and bought
the following year by Giuseppe Lanza Branciforte, prince of Trabia
and Butera. The current appearance of the villa is the result of
the many alterations undertaken at the end of the last century.
The building, now used as municipal offices, has a splendid entrance
with a monumental staircase.
Albero
di falcone – This tree stands at the beginning of
Via Notarbartolo, on the right, outside the house of Giovanni Falcone,
who was killed by a Mafia bomb in 1993. Since his death, the tree
seems to have become a token shrine in its own right: messages,
photographs, and small offerings bear witness to people’s
esteem and affection for the judge.
Museo
della Fondazione Mormino – The Mormino Foundation
Museum is housed on the first floor of the Banco di Sicilia (Villa
Zito). It was formed so as to display an accumulation of art work,
original creations and recovered artefacts acquired over the years
by the banco di Sicilia. The first rooms are devoted to artefacts
recovered during the excavations at Selinunte, Himera, Solunto and
Terravecchia di Cuti, a small town further inland where a village
from the 6th-5th centuries BC was unearthed. The second section
displays majolica from Sicily and from the rest of Italy (with a
few examples from Turkey and China). The third section is devoted
to a large collection of 13th to 19th century coins and medals:
this is complemented by a fine series of Sicilian engravings on
the walls. No 936 in particular, dating from the 16th century, provides
a view of Palermo as it was, completely surrounded by defensive
walls; Palazzo Reale can be pinpointed at the top, and, to its left,
San Giovanni degli Eremiti; at right angles to the palazzo runs
the axis of modern day Via Vittorio Emanuele, which continues down
to the harbour; this is guarded on the left by the Castello a Mare
falling into ruin; in the centre is La Martorana.
On
the ground floor is displayed the bank’s philatelic collection
with stamps dating from the era of the Kingdom of Two Sicilies.
BEYOND
THE CITY GATES
Orto
Botanico – The Botanical Gardens have occupied their
present since 1789. The French architect Dugourny designed not only
the gardens but also a series of buildings for use as research laboratories
and experimentation. The gardens contain a huge range of different
species, including fine examples of Oriental and exotic plants,
such as the majestic Dendrocalamus Giganteus – a giant kind
of bamboo, or the incredible bayan tree (Ficus Magnoloides), the
tallest and most far-reaching tree in the garden. There are various
South American plants such as Chorisias, Bombacaceae characterised
by their strange, swollen, prickly trunks brought to Palermo in
the late-19th century. From the large, deep pink flowers develop
the fruits which, when mature, split open, dropping their seeds
and their enveloping thick hairy padding, once used like horsehair.
One greenhouse contains a fine variety of cactus; note, at the entrance,
the enormous barili d’oro (literally “barrels of gold”
– also ironically called “mother-in-law’s chairs”).
Ponte
dell'Ammiraglio – Corso dei Mille. The picturesque
medieval bridge once straddled the waters of the River Oreto, which
was then diverted. It was built in 1113 by George of Antioch, an
admiral serving under Roger II.
San
Giovanni dei Lebbrosi – St John of the Lepers may
be the oldest Norman church in Sicily. Its most endearing feature
is the red dome which caps the bell-tower-cum-entrance. The Church
is supposed to have been founded in 1070 (although some say it may
have been a century later).
Chiesa
di Santo Spirito o dei Vespri – Inside the Cemetery
of Santa Orsola. The Church of the Holy Spirit or of the Vespers
was built in 1178 during the reign of Roger II. It came to fame
on 31 March 1282 when, during Evensong (Vespers), a French soldier
cast some insult at a Sicilian woman, provoking the bystanders to
jump to her defence and so providing a pretext for an outburst of
growing resentment towards the invaders from beyond the Alps. The
incident sparked off the War of the Sicilian Vespers, which in turn
led to the eviction of the French from the island.
The
front of the church, although incomplete, points promisingly upwards,
while a decorative system of duotone interlacing arches, typical
of Norman art, extends down the sides to the apses. The interior
is austere and simple (largely thanks to the restoration work carried
out in the late-1800s), when it was restored to its original state
by removing the elaborate decoration added during the Baroque era);
the internal space is divided into a nave and flanking aisles by
pointed arches that spring from round piers. The east end comprises
three apses, in accordance with the Norman tradition. The painted
Christ on the Cross above the altar is from the 16th century.
Santuario
di S. Maria del Gesù – Follow Viale della
Regione Siciliana to where it meets the narrow alleyway called Via
Oreto; turn right down Via Santa Maria di gesù, (look out
for the green sign above the shoe-shop at the corner). Erected in
the 15th century, it occupies a peacefully serene and cool spot
on the slopes of Monte Grifone. The way to it leads through a cemetery
where, traditionally, aristocratic families have kept their mausoleums.
The area in front of the church is surrounded by fine patrician
tombs mainly from the 19th century or the beginning of this century,
including the Liberty-style chapel belonging to the princes of Lanza
di Scalea. The main entrance has a marble surround decorated and
delicate shallow-reliefs depicting Christ among angels and Apostles.
The doorway on the left side is Gothic in style; it has attractive
capitals carved with organic decoration.
Inside,
the chancel has two bays articulated by pointed arches; Antonio
Alliata’s marble sarcophagus is attributed to Antonello Gagini;
in the chancel, high up on the right there is a rare wooden statue
of the Virgin (1470); a fine coffered wooden ceiling, painted with
flowers and angels (early 1500s), spans the entrance to the church
and the organ above it. It is also worth taking note of the brightly
coloured wooden organ loft, painted with scenes from the life of
St. Francis (1932).
Albergo
delle Povere – 217 Corso Calatafimi. Open to the
public during exhibitions and conferences. The complex was originally
intended at the end of the 18th century as a hospice for the poor
of the city; in the 19th century, it was reserved for spinsters
who set up a weaving workshop there; it is now used for temporary
exhibitions and conferences. The fountain in front is 17th century.
The complex, which includes the buildings on other side of the road,
consists of two parts arranged round two large, beautiful cloisters;
these, in turn are connected by a central courtyard onto which faces
the Church of Holy Trinity.
The
left wing still shelters Opera Pia, a charity providing assistance
to the poor; the right wing serves as operational headquarters for
the exclusive Carabinieri hit-squad unit charged with protecting
Sicily’s artistic heritage; facilities include exhibition
rooms and a lecture-hall with a capacity for 350 people.
Catacombe
dei Cappuccini – The Capuchin Catacombs hold a certain
macabre fascination; in simple terms they consist of a maze of corridors
containing thousands of mummified bodies, contorted in expression
and posture, perfectly dressed, appended (as they had been hanged,
with a rope around the neck) to the walls, in niches or propped
up against the wall. The overwhelming sense of tragedy, which never
fails to touch visitors, is heightened by the fact that these figures
are shut away behind railings. The catacombs contain the remains
of almost 8,000 capuchin friars (the oldest corpses date from the
late-1500s), as well as those of illustrious or wealthy people,
children and virgins, each category having been allotted its own
special area. What is particularly extraordinary is the condition
of the corpses, preserved intact by the special environmental conditions
causing gradual desiccation. The one exception is the little two-year
old girl who died in 1920: she is so well preserved that she seems
merely asleep; her body was injected with a concoction of chemicals
(the doctor who administered them died without revealing his secret
potion).
In
the cemetery adjacent to the Capuchin monastery is the tomb of Giuseppe
Tomasi di Lampedusa, author of The Leopard, who died in 1957 (third
avenue of the left).
Parco
della Favorita – 3km to the north. The large park
situated at the foot of Monte Pellegrino was created in 1799 by
Ferdinand III of Bourbon, when the Napoleonic troops drove him out
of Naples (where he had reigned as Ferdinand IV). The parkland became
the King’s private hunting estate; he had a house built there,
the delightul Chinese Palace, a curiously-shaped building with an
exotic decor, designed by Marvuglia. The servants quarters were
accommodated in the building courtyard onto which faced the kitchens
(connected to the palace by an underground passageway); this now
houses the G. Pitré Museum.
Museo
Etnografico Pitré – The Pitré Ethnographic
Museum houses a large quantity of artefacts associated with local
folklore, in an attempt to explain their significance and use in
the customary practices especially in rural areas. Reconstructions
of houses, tools, needlework and embroidery, fabrics, a wonderful
1600’s wrought-iron bed-head, everyday pottery, “Sunday-best”
clothes for high days and holidays, splendid engraved horn goblets
and gourd containers for water or wine provide an introduction to
life in Sicily in days of yore. In the rooms around the courtyard
are displayed various examples of Sicilian cart, all decorated with
an incredible array of elaborate carving, painting and wrought-iron
work (pause to admire the intricate detail of these exhibits), two
1600’s council carriages and children’s toys: Amulets
and trinkets linked with magic and popular superstitions, together
with the fine collection of hand-made votive objects, bear witness
to the strong faith of the country people. The museum also has a
library (open mornings only) of books about popular traditions in
Sicily and beyond.
MEMORIES
FROM THE EAST
The
parks around Palermo in the time of the Normans covered great areas
of land: the one lying west of the city, known as Genoard or the
Paradise on Earth, was chosen by the sovereigns as an apt place
for a summer residence or a pleasure palace in the Oriental sense
of the word: providing a peaceful haven set among gardens of exotic
plants, with pools containing fish, water courses and even wild
animals from distant lands. Such were the dreams that inspired the
building of La Zisa, Scibene Castle – still visible, although
much restored, from viale Tasca Lanza – Cuba Sottana and Cuba
Soprana – now part of a crumbling Villa Napoli complex (a
few arches are just visible), and la Cubola – a small square
pavilion surmounted by the characteristic bulbous red dome (see
San Cataldo and San Giovanni degli Eremiti), which is accessible
from Via Zancla, one of the roads crossing Corso Calatafimi. The
two best preserved monuments are, without doubt, la Zisa and la
Cuba Sottana.
La
Zisa – Piazza Guglielmo il Buono. The name is derived
from El Aziz, meaning ‘the splendid’ or ‘noble
one’. Today, sadly, only the shell of the palace remains,
yet this retains an undeniable aura. It was initiated by Guglielmo
d’Altavilla and completed by his son Guglielmo II between
1166 and 1175; work on the building was entrusted entirely to Moorish
craftsmen. In the 14th century, after a period of neglect, it was
transformed into a fortress, then into a depository for objects
contaminated by the plague (16th century), before being converted
(and then extensively altered) into a palazzo for some noble family;
recent restoration has endeavoured to return it to its original
state.
Tour
– The main attraction on the ground floor, is the room with
the fountain: built on a cruciform plan, open at the front, the
room has two square pools that collect water from the main channel
in the centre of the room, fed from a water-spout. The upper section
of the walls carries a mosaic frieze of peacocks and archers. From
here, are arranged a succession of rooms each equipped with a special
ventilation system whereby draughts of cool air could circulate
through gaps in the walls. The niches and windows have mouqarnas,
a highly decorative honeycomb of miniature vaults and stalactite
pendants, a characteristic feature in Islamic architecture. The
palazzo houses a collection of objects, mainly from Egypt (from
the Mameluke and Ottoman periods), that typify the art and style
of furnishings that might once have adorned the original palace.
The 15th century mushrabiyya, a sort of perforated wooden screen
placed in front of doors and windows as protection against excessive
heat and light, are particularly fine.
La
Cuba – The Cuba Sottana, now incorporated into military
barracks, was probably surrounded by a vast artificial lake that
was known as the Pescheria (fish-pond). In the old stables, just
inside the entrance on the right, is a model reconstruction of how
the palace must have looked originally. On the wall, the engraved
Kufic inscription celebrates the completion of the building, thereby
confirming that it was erected in 1180 at the request of William
II.
The
decoration of the building is exquisitely simple: above a series
of tall pointed arches of different widths are inserted various
other smaller openings. La Cuba was built according to a rectangular
plan, with four small projections at the centre of each side. The
internal space was divided into three parts (the first, or last
in the order of our visit, also accommodated two service rooms).
In the central section there is an eight-sided star-shaped pool;
from here the water would trickle gently into the Pescheria, without
breaking the surface so as not to disturb the reflections of the
building and garden.
ON
THE OUTSKIRTS OF PALERMO
Monte
Pellegrino – 14km north. The road up Monte Pellegrino
offers magnificent views over Palermo and the Conca d’Oro;
in places it is crossed by a wide, much steeper, paved path dating
form the 1600s (used by those going up on foot). As the road climbs,
it passes on the left the Castello Utveggio, a massive pink construction
that can also be seen from the city, and then continues on to the
Santuario di Santa Rosalia dating from the 17th century and built
around the cave where, according to legend, St. Rosalie lived. It
is also said that this was where her bones were found in 1624 and
that these, when carried in procession down through the city, liberated
it from the plague. Following this event, Santa Rosalia became the
patron saint of Palermo. The Cave is covered with zinc guttering
which helps collect the dripping water from the walls, as this is
considered to have miraculous properties.
Further
on up, the road comes to a look-out point which, though dominated
by a statue of the saint, provides breathtaking views out to sea.
Grotte
dell’Addaura – Between Mondello and Arenella,
off the Lungomare Cristoforo Colombo, level with the road turning
for Punta di Priola. A series of caves among the lower slopes of
Monte Pellegrino have revealed that they were inhabited during Palaeolithic
times (5th millenium BC). In one of these caves have been found
various extraordinary rock engravings, possibly associated with
some initiation ceremony of a ritual. The inscriptions consist of
animals and a group of nine human figures wearing strange head-dresses,
standing in a circle around another two figures arching their bodies
and holding their arms stretched out in front of them, almost as
if they are dancing.
Mondello
– 11km north. The road passes below the tall rugged slopes
of Monte Pellegrino. This area, now an elegant holiday resort, was
“discovered” at the beginning of the century by well-to-do
Palermitans who decided that it provided the ideal conditions for
a weekend away or for a short seaside holiday. As a result, large
numbers of elegant villas sprang up (many of which still stand)
along the sea front, the length of Viale Principe Scalea (Villa
Magherita at no 36), Via Margherita di Savoia (especially at the
beginning) or in the steets behind, like no 7 Via Cà da Mosto
(Villino Lentini).
The
sea front promenade is graced with a picturesque bathing establishment
dating from the beginning of this century, which continues to function
as such (although part of it has been converted into a restaurant
and accommodates a private club).
HISTORICAL
NOTES
Palermo
was founded by the Phoenicians in the 7th century BC who called
it Ziz, meaning flower. This, in time was conquered by the Romans
who gave it the name Panormus (from the Greek words meaning “large
port of rock”) from which Palermo (corrupted by the introduction
of the Arabic name Balharm) has been derived for us today. The city’s
golden age began under Arab domination (9th century), when it was
established as one of the main Islamic centres in the west; it expanded
as new quarters were developed beyond the confines of the old centre
known as the Cassaro (from the Arabic Qasr meaning castle, also
the old name of the main steet of Palermo, now Corso Vittorio Emanuele);
the Kalsa (from Al Halisah – the chose one) in particular
flourished down by the sea front, and, once fortified, provided
a residence for the Emir. In 1072, the city fell into the hands
of the Norman Count Roger, but the transfer was not a violent one:
as merchants, artisans and Muslims in general (but also people of
other races and religions) were permitted to continue to live and
practise their chosen profesions as though nothing had changed.
Indeed, it was precisely this magnanimity that made it possible
for the so-called Arabo-Norman style, that glorious mix of structural
and decorative element, to develop in architecture. The city prospered
while benefiting from the wealthy investment of different cultures.
Roger II, son of the Count, harbouring a predilection for luxury,
built gardens in the oriental style to complement his sumptuous
palaces (La Zisa and La Xuba); he surrounded himself with men of
letter, mathematicians, astronomers and intellectuals from far and
wide. After a short period of disorder and decadence, Palermo and
Sicily passed into the hands of Frederick II of Swabia (1212), under
whom the city regained its importance and vigour. The Swabians were
succeeded by the Angevins; they in turn were driven out at the end
of the so-called War of the Vespers, by the Spaniards and, in the
18th century, the Bourbons of Naples, who embellished the city with
Baroque plalaces.
In
the 19th century, Palermo entered a period of economic prosperity,
it establishing new trade and commercial relationships with the
main European cities, and expanding remarkably its territory. The
middle-classes rise to soon become a major economic and political
power. The Viale della Libertà, extension of Via Maqueda,
is inaugurated, and the quarter devoloping around it built with
a profusion of Lyberty-style palazzi. A period of crisis followed,
that comes at its worst with the Second World War’s bombings
and an earthquake in 1968 that highly contributed to the old town’s
decline. Today, mostly due to restoration work, many of Palermo’s
historical palazzi have regained their old splendor that has resulted
in an economic, mainly tourist, remarkable growth.
|
Palermo
Alia
Alimena
Alimusa
Altavilla Milicia
Altofonte
Bagheria
Balestrate
Baucina
Belmonte Mezzagno
Bisacquino
Blufi
Bolognetta
Bompietro
Borgetto
Caccamo
Caltavuturo
Campofelice Di Fitalia
Campofelice Di Roccella
Campofiorito
Camporeale
Capaci
Carini
Castelbuono
Casteldaccia
Castellana Sicula
Castelnuovo Di Sicilia
Castronovo Di Sicilia
Cefalà
Cefalù
Cerda
Chiusa Sclafani
Ciminnà
Cinisi
Collesano
Contessa Entellina
Corleone
Ficarazzi
Gangi
Geraci Siculo
Giardinello
Giuliana
Godrano
Gratteri
Isnello
Isola Delle Femmine
Lascari
Lercara Friddi
Marineo
Mezzojuso
Misilmeri
Monreale
Montelepre
Montemaggiore Belsito
Palazzo Adriano
Partinico
Petralia Soprana
Petralia Sottana
Piana Degli Albanesi
Polizzi Generosa
Pollina
Prizzi
Roccamena
Roccapalumba
San Cipirello
San Giuseppe Iato
San Mauro Castelverde
Santa Cristina Gela
Santa Flavia
Sciara
Scillato
Sclafani Bagni
Termini Imerese
Terrasini
Torretta
Trabia
Trappeto
Ustica
Valledolmo
Ventimiglia Di Sicilia
Vicari
Villabate
Villafrati
Isola
di Ustica
Monti Madonie
Bosco Della Ficuzza
Mondello
Porticello
San Martino Delle Scale
Solunto
Solanto
Scavi Del Monte Jato
Testi
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Scivoletto e Michelin Italia. Le foto sono di proprietà
dei rispettivi autori. Ogni riproduzione non autorizzata verrà
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