PALERMO
There are scarce traces left
over from the Punic-Roman City (pieces of wall). Amongst the
most notable finds are some mosaic flooring from the Roman
era and an Ephebe, now housed in the main Council seat. A
huge necropolis has returned various materials from the Punic
and Roman eras, including precious Attiche ceramics.
Palermo during Norman times is a testimony of a series of
prestigious monuments in a style which relates to the Arabic
and Byzantine cultures.
From San Giovanni dei Lebbrosi (of the Lepers) (1072) to San
Giovanni of the Eremites (1132), with its five inflated Moorish
domes, to the Martorana (Santa Maria dell’Ammirgalio
of 1143) to San Cataldo (1161), almost intact and well restored
with three red domes, and once again the Santo Spirito del
Vespro (1178) and the Magione or Santissima Trinità
(1194), with its cloister; these monuments make a crown around
the marvellous Cattedrale dell’Assunta of 1185, which
unfortunately, due a succession of readjustments between the
14th and 16th Centuries, culminated in the reconstruction
of the interior and of the Dome by F. Fuga (18th Century),
has left very little except for the Crypt and Arch of the
original cathedral construction.
Behind an imposing 16th-18th Century façade, the Palazzo
of the Normans rises up, dating back to the 11th and 12th
Centuries, having been built on the site of an Arabic fortress,
whose nucleus (with the Towers of the Pisani, the Treasury
Room and the High Room, with the intact Palatina Chapel, the
admirable mosaics, with the Soom of King Ruggero, and that
of the Armigeri), constitute an impressionable and unique
complex of its kind.
On the area of the now Norman Park, which has now disappeared,
you can find the surviving pavilions of the Zisa, with the
fountain in the centre of the room, of Cuba and of Cubala
and the remains of the Palazzzo Uscibene, with its Arabic
Room and the small Norman Church.
The following belong to the period that starts from the Normans
to the 14th Century, the Steri or Palazzo Chiaramonte (1307),
the Palazzi Sclafani and the doors of the Church of Saint
Augustine and Saint Francis.
Gothic and Catalan forms continue during the 15th Century,
with the Church of Saint Mary of Jesus and of the Repentite
(Repented), and with the magnificent Cathedral porch and the
palaces of Arcivescovile, Marchesi, Pietratagliata, the most
preserved. At the end of the century, Renaissance forms were
introduced by the architect M. Carnelivari, which can be seen
in the following Palaces: Aiutamicristo (help me Jesus) Abatellis
(magnificent seat of the Galleria Regionale della Siclia (Regional
Gallery of Sicily, contain decorated masterpieces) and in
that of Santa Maria della Catena.
Dating back to the 16th Century, Santa Maria in Porto Salvo
(1531) by A. Gagini, unfortunately undergoing readjustments;
Santa Maria dei Miracoli (Saint Mary of Miracles) (1547),
probably by Fazio Gagini; San Giorgio dei Genovesi; San Giovanni
dei Napoletani and the Scavuzzo and Santa Ninfa Palaces, the
New Door and the Felice Door, the monumental Fountain of Piazza
Pretoria, whilst sheltered between the newly founded Maqueda
and Cassaro roads.
At the beginning of the 17th Century the “Quattro Canti:”
one of the most original urbanistic solutions of 17th Century
Italy (1609/20).
The Baroque period has left the most striking mark on the
City; Ugo Palaces, Villafranca, with its sumptuous internal
decorations, Spaccaforno, Tarallo, Cutò, Butera, the
Churches of Santa Caterina dell’Olivella (Sant’Ignazio),
Gesù, Saint Joseph (of Giacomo Besio), San Matteo,
San Domenico, the Pietà (of G. Amato), the Salvatore
(of P. Amato), skilful architects, to which most of the churches
in Palermo can be attributed; the same can be said for sculptures
by G. Serpotta, which dominated the 18th Century, and the
plastering by Rosario, Santa Zita, and San Lorenzo.
During the 18th Century, the parks of Villa Giulia and that
of the Favorita were established, whilst we should also remember
from during the second half of the Century, the neoclassic
work of V. Marvuglia: the Oratorio of San Filippo Neri, the
Belmonte Villa, the Geraci Palace, and the small Chinese Palace
of the Favorita. In the 19th Century, we have the majestic
Massimo Theatre (1875-1897), of the Basile; which owes its
name to the fact that at the time it was the largest Italian
Theatre and the third largest in Europe. The Politeama Theatre
of G. Damiani (1874) also dates back to this period.
Between the declarative seats, we should remember: the National
Archaeological Museum which is housed in the Convent of the
Philippines: hosting works from various areas of Sicily and
from important collections: the metope (plain, flat panel
that alternates with a more decorative carved triglyph) of
the Temple C and Temple E of the Selinunte, (an abandoned
ancient Greek city) is of particular interest, Greek and Etruscan
artefacts, the collection of ancient anchors, also that of
the prehistoric finds; the Archeolocigal Mormino Fondazione
Museum; the already mentioned National Gallery of Sicily;
the Museo Diocesano, with artefacts and paintings mainly from
the churches of the diocese; the Gallery of Modern Art; the
Renaissance Museum; the G. Pitrè Ethnographic Museum,
one of the most important in Italy, and finally the Tesoro
della Cattedrale (Treasury of the Cathedral), with jewellery
and precious cloths from Norman times to the end of the 18th
Century.
The Astronomical Observatory, built in 1790 on the torre Santa
Ninfa del Palazzo Reale, became important for the discovery
of Cerere del pianetino (the first asteroid discovered in
our solar system which he named Cerere) by Giussepe Piazzi
in 1801.
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