The cathedral is entered by the south porch. This is flanked by twelfth-century towers, on the top of which are ugly white marble figures, executed at a bad period. Three stilted arches of Moorish design with cable mouldings, the central arch larger than the other two, support a rather low gable. The face of this gable is covered with a good scheme of decoration. The cornice is deeply cut with animals and foliage, a porcupine and a hare being among the former. Four grotesque Norman waterspouts break the string course between the cornice and a beautiful flat arcade under the arches, on which are half-length figures of saints and bishops. The wall beneath this and above the three arches of the porch was evidently at one time covered with Arab designs in black and red. Four grey marble pillars with their eastern capitals support the arches; they came from the mosque which stood on the spot where the cathedral was erected. The portal of the door itself is a real masterpiece of intricate Moorish carving. Here pomegranates and palm leaves occupy a prominent place. In the eighteenth century many alterations occurred, and this grand and, from an architectural point of view, deeply interesting church, was disfigured to a large extent. The porch has suffered almost as much as the interior of the building. But one tablet worth recording still exists in the former:

PRIM . SEDES . CORONA . REGIS . ET . REGNI . CAPUT

Thus runs the proud t.i.tle of the city in the days when the kings of Sicily were crowned in Palermo's cathedral. A row of white marble figures stands on the exterior of the side chapels of the aisles. They are bad. Little domes with glazed tiles also remind one of a later period. These, with the big central dome over the crossing, were the work of Fuga, a Neapolitan architect. In the alterations he carried out, the battlements and the corbel tables under them were spared. The latter are a very curious study in the physiognomy of the different races known to the Normans when the cathedral was built. Executed by Arab workmen, whose faith forbade them to portray the handiwork of Allah, their accuracy is not unimpeachable. The east end is partly covered with flat arcading, most elaborately carved with Arabic design, and partly with a black and red pattern of the same character. The apse is not pierced by any lights.

The white-washed cla.s.sic interior is a great disappointment after the rich brown and yellow stone of the exterior. But if, architecturally, it fails to interest, historically it is concerned with the most brilliant and prosperous period the city enjoyed. Turning to the left on entering the cathedral by the south porch are the two chapels wherein stand in solemn grandeur the mighty sarcophagi of the Norman and Swabian kings.

The remains of Roger, the first Norman ruler of Sicily, rest in a porphyry sarcophagus supported by marble feet composed of four crouching Saracens. The fine canopy above is incrusted with mosaic. Its pillars are gilded and inlaid. The next tomb is that of Constantia, who was the last of the royal line of Normans. She was the wife of the Emperor Henry VI., and mother of Frederick II. By the side of this is the sarcophagus of Henry VI. Very elaborately adorned is that which contains the remains of Frederick II., and the body of Peter II. of Aragon. The lid of this is carved with medallions of Christ, and the Virgin and child. All that is left of Constance, wife of Frederick II., is in a Roman sarcophagus which is recessed in a wall of the chapel. It is beautifully decorated with a hunting scene in bas-relief. Standing against another wall is a mediaeval tomb, with a cowled figure between two shields, on which are displayed the eagles of Aragon. It holds the ashes of William, Duke of Athens, who was a son of Frederick of Aragon. All these tombs are not only full of archaeological interest in themselves, but when one reviews the origin and history of the Norman occupation of the island, the chapel in which they rest becomes one of the most historically absorbing spots in the world.

The Saracens were in possession of Sicily when Roger, the youngest of the twelve sons of Tancred de Hauteville, came over from Apulia, where his brothers, by force of arms, had established themselves as reigning Counts. Roger found all the civilisation, culture, and well-ordered bureaucracy of the Moor firmly established. And with this he was too wise to interfere. Changing nothing of the mode of life of those he conquered, but simply adding to it the strength of arm and vitality of a northern race, he became--and those who followed him were--by far the richest and most magnificent sovereigns of their time in all Europe.

The crypt is architecturally the most interesting part of the interior of the cathedral. It contains the tombs of twenty-four of Palermo's archbishops, including that of Walter of the Mill. Among the treasures in the sacristy is the cap of Constance of Aragon, which was found in her tomb, when, by order of Ferdinand I., the royal sarcophagi were opened. On one of the rough gems with which the cap is studded, is written in Arabic, "In Christ, G.o.d, I put my hope." Here, again, is evidence that the Moor and Christian lived amicably side by side.

Theodoric in Ravenna, and the Norman in Palermo, brought peace to the land they conquered; and the greatest prosperity that both cities enjoyed was a consequence of their wisdom, and of their religious tolerance.

In the fine open square which one reaches at the end of the seemingly interminable Corso, a Roman house and other very interesting remains are now being unearthed. The Royal Palace occupies one side of the piazza, and, being the highest part of the city, is on the site of the old Roman palace. There is a magnificent view from the observatory situated on the roof of the building. It is, however, with the beautiful chapel built by Roger II. in the early part of the twelfth century that we are concerned. The Cappella Palatina is a perfect gem, and no one who has once visited it in the morning can ever forget the marvellous effect of dim light pa.s.sing through its narrow windows, and illuminating its wonderful marble and mosaic walls. Three of the bays of the nave are formed by columns of Egyptian granite which alternate with three of fluted Greek marble. The composite capitals of the arches are Byzantine and Corinthian. These arches are stilted and covered in an extremely rich manner with gorgeous mosaic, and their soffits inlaid with _tesserae_ arranged in Moorish designs. The walls of the aisles are lined with the richest marble slabs, beneath which a beautiful dado of inlaid Eastern pattern runs round the chapel. The wooden roof of the nave is honeycombed, and like that of the Alhambra at Granada is arranged with splendidly coloured and gilded pendentives. Cufic inscriptions find a place amongst these hanging cl.u.s.ters. The ceilings of the aisles are coffered and sustain heavy gold bosses, which enrich the gorgeous effect of their strong colour.

The choir is raised five steps above the nave, from which it is shut off by a very beautiful marble screen. The stalls are carved perpendicular work. The fine wooden lectern of very late Gothic design has well-carved angels kneeling on the four supporting legs. Above these angels four kings stand around the centre column. On the book-rest repose the old black-letter parchment psalters. At the top of all, the Virgin and Child finish off this exceedingly well-designed and executed reading-desk.

Beyond the choir the apse rises four steps. The risers of these steps and those of the choir are most beautifully inlaid. The colossal mosaic figure in the semi-dome of the apse is the only mosaic of a late date; and, aiming at the qualities of a painting, like those on the exterior of S. Mark's and the cathedral at Orvieto, somewhat mars the uniformity and simplicity of the _tesserae_ decoration of the chapel. The floor of the building is entirely _opus Alexandrinum_. At the west end, a raised dais for the exclusive use of royalty is railed off, and a portrait of the reigning sovereign let into the marble panels of the wall. By the pulpit stands a Byzantine candelabrum. Four lions rending their prey are at its base. Other animals and birds and figures of men, all fighting one another, encircle, in orderly confusion, the beautiful inlaid central column. Above them is a figure of the Almighty, serenely quiescent. Children, symbolical of innocence and freedom from sin, are carved round the bowl into which is stuck the huge Easter candle. It is very difficult to describe the effect of sudden calm that steals over one when, entering this dark church, with the glare of the sun and the noise of the streets outside, one is conscious of a very restful gloom, full of the richest colour, and a silence soothing to the senses. One somehow feels the gorgeousness of the east combined with the solemnity of a well-planned sacred interior, and this despite the sudden transition from light to darkness. There is no other building of like dimensions which grips one as does the wonderful Cappella Palatina of Palermo.

La Martorana, away down in the city, may have been as beautiful, but unfortunately in the year 1590 the nuns of the attached convent ordered most of the precious mosaics to be stripped from the walls, and a hideous choir added when these were demolished. Some few are left on the roof to tell us what a glorious thing this finely proportioned chapel must have been before religious zeal got the better of artistic taste.

The central apse was likewise taken down a hundred years later, and with it more priceless mosaic destroyed. The inlaid marble on the walls was done away with in the eighteenth century. If anything better could have been found to take the place of the grand mosaics that covered the interior there might have been an excuse for these acts of vandalism but when one sees the hideous stucco and wretched mural paintings of bad design and colour, that have no religious fervour or tendency and nothing whatever to recommend them in any way, one stands aghast at the ignorance and stupidity which in the name of religious expediency destroyed such priceless treasures. Among the little that remains are two curious mosaics wherein King Roger is crowned by Christ, and the High Admiral, who founded the church, is dedicating it to the Virgin.

The king is wearing the dalmatic. This he received, together with the mitre, from the Pope, who found it more diplomatic to confer ecclesiastical office upon the Norman king than to oppose him in useless wars.

A little to the south of the Royal Palace, and almost ab.u.t.ting on the old walls of the city, is S. Giovanni degli Eremiti. The beautiful cloistered garden, which is adjacent, forms an ill.u.s.tration to this chapter. The little church is a very early specimen of Norman work on the plan of the letter T with three apses. On its south side is a tiny mosque, incorporated with the building and utilised in the old days as a chapel. The monastery, which existed here in the time of Gregory the Great, had fallen into disuse when the Normans came to Sicily, and King Roger restored the old buildings. The interior now is absolutely bare and the windows unglazed. The Moorish domes give the little church a very eastern appearance, to which the flat members of the rustic stones of the cloister arches in no small measure add. It is a peaceful spot where exotic plants flourish luxuriantly, and vie with all sorts of flowers in wanton growth.

[Ill.u.s.tration: THE CLOISTERS OF S. GIOVANNI DEGLI EREMITI, PALERMO]

The traveller who has been in Spain will find in the old quarter of Palermo many palaces that will remind him of Seville, Salamanca, and other places in the Iberian peninsula. The tawny colour of the South predominates here, and the two or three courtyards possessed by many of these palaces will add to his reminiscences. This is not so strange as it may seem when one considers that from the year 1282, when Pedro of Aragon was crowned king, to 1713, when Victor Amadeus, Duke of Savoy, ascended the throne, Sicily was under the rule of the Spaniard. The great square block of yellow stone in the Piazza Marina, the Palazzo Chiaramonte, served as the palace of the Spanish Viceroys and headquarters of the Inquisition. Now known as the Palazzo de' Tribunali, it is used as the law courts. The ante-chamber of the court room has a magnificent wooden ceiling. Hunting about in the narrow streets in this quarter one chances on many a piece of architecture and decorative sculpture in the grandiose style of the great days of Spain. One or two good fountains and fine portals add much to the historical charm of a part of the city which is now occupied by humble folk. The church of S.

Agostino, difficult to find in the slums, has a remarkable facade with a beautiful wheel window. Delicate white marble pillars radiate from the Paschal Lamb, which is the hub of the wheel, and three rows of tiny but beautifully-carved arches interlace and form the tracery of the window.

The chevroned arches of the portal are decorated with acanthus leaves and arabesques. The capitals of the supporting columns are pomegranates, and a flat canopy with dripstone of acanthus leaves, beneath which are almost obliterated frescoes, completes one of the most fascinating relics of bygone days to be found anywhere in Palermo. It is in the old quarters, too, that the life of the _cittadini_ is seen in its most picturesque garb. Fruit shops, full of golden oranges and pale lemons, p.r.i.c.kly pears and great citrons, make gay patches of colour in the street vista. Glazed tiles, earthenware, and vividly coloured cotton goods displayed outside the shop fronts or hanging from the walls add to the variety of the scene. Cookshops, with _pizzi_ and _scaglozzi_, and olive oil in the frying pan, excite the olfactory nerves in a pleasanter degree than those in which a particularly strong-flavoured cheese finds ready purchasers. Excellent wine may be drunk at a very small cost at the drinking bars, where a jet of clear water is for ever playing over the marble slabs of the cistern-like counter. Fowls scurry about in the midst of the throng, and hungry dogs scent a meal in the refuse heaps of the gutters. All is animation, and all has a touch of the South that is something more than Italian. It is almost worth while going to Palermo in order to perambulate her fascinating streets and observe the ever-changing crowd that peoples them.

[Ill.u.s.tration: MTE. PELLIGRINO, PALERMO]

It is certainly worth the voyage to enter the harbour when the sun is well up and from the ship's deck watch the splendid panorama unfold itself as the vessel glides into port. At the foot of Mte Pelligrino, and where the famous valley of the Conca d'Oro, or Golden Sh.e.l.l, touches the blue waters of the Mediterranean, lies Palermo. Beyond, with an inclination upwards to the lower slopes of Mte Cuccio in the distance, stretches the triangular shaped valley, Mte Cuccio forming the apex of the triangle. Mountains hem the landscape in on two sides. The whole of the country between them and the sea is one vast grove of orange and lemon trees. On the edge of the receding wall of mountains to the right of the valley in the middle distance, a stately building stands above the brow of a steep hill. Round it cl.u.s.ter roofs and walls in irregular lines. This is Monreale. To Monreale we go to study the mosaics. For though its cathedral boasts of grand twelfth-century bronze doors, and a very fine portico, the magnificent mosaics that cover the walls of the interior are its pride and glory.

The decoration of this fine basilica may be described as a coherent ma.s.s of superb mosaics and well selected slabs of grey and white marble inlaid with panels of Moorish design. Here more than in any other church in the world has architecture been subordinated to a scheme of gorgeously coloured decoration. Its Mosaics are Greek in style, with Greek inscriptions. Moorish designs and arabesques also rival in colour the extraordinarily intricate gold pattern which sets off the beauty of the marble walls. On the semi-dome of the central apse is a very impressive colossal half-length mosaic of the Saviour holding an open book. Below, are figures of the archangels, Gabriel and Michael, and the twelve apostles. The vault of the south apse contains a gigantic figure of S. Peter, and in the corresponding one in the north apse, one of S.

Paul. These two figures are robed in white, and light up the dark recesses of the deep-toned gold background of the apses in a remarkable manner. In the choir there is a mosaic over the royal throne very similar to that in La Martorana, wherein King Roger is being crowned. In this case Christ places the crown on the head of William the Good. Over the Archbishop's throne William is represented offering the church to the Virgin. Sicily was never a fief of the Popes, and these two mosaics no doubt express the idea that the sovereigns derived their authority from G.o.d alone.

Round the whole of the nave two sets or series of mosaics are arranged which, beginning at the Flood, ill.u.s.trate different episodes in biblical history. Forty-two scenes are depicted in the nave and ten in each aisle which deal with our Lord's life as well as themes from the Old Testament. At the west end is a mosaic of S. Castrense, Monreale's tutelar saint, casting out a devil, and also walking on the sea.

Comparing these wonderful decorations with those at Ravenna and in S.

Mark's, one may at first be more impressed with the apparent magnificence of the scheme which we find here. The cathedral is larger than any of Ravenna's churches, and has this advantage over S. Mark's, that one is better able here to grasp at once the whole idea of the colour scheme. In S. Mark's one sits and quietly discovers things at leisure. At Monreale one enters and is immediately overpowered by the magnificence of the dull gold _tesserae_ and the gorgeous arrangement of the sequence of figures which, like a flash, strike one at first sight.

Ravenna can show us better schemes of colour, subtler and more refined.

Ravenna gives us earlier work, and work more nave, and is for this reason more attractive and interesting. But it must be admitted that in no other building of the kind is one impelled to stop suddenly and catch one's breath, as when first entering Monreale's great basilica.

Eight bays divide the nave from the aisles. Their stilted arches are supported by granite monoliths. The capitals of these are pure Corinthian, and Corinthian with cornucopiae volutes and medallion heads.

Above the abacus of each capital is the simple Norman bowl capital inlaid with rich mosaic. It is from these that the glorious colour-scheme springs--above and around, the eye finds nothing but mosaic. The lower portion of the walls of the aisles is composed of marble slabs separated from one another by inlay of Moorish design. In the north chancel aisle are the tombs of Roger, Duke of Apulia, and Henry, Prince of Capua, two sons of William the Bad. In the south chancel aisle are the tombs of William the Good and William II. Just as Palermo's cathedral is a fit resting-place for the remains of some of the Norman kings, so is this grand fabric for the bodies of those of the same royal line who here repose in peace.

[Ill.u.s.tration: THE CLOISTERS, MONREALE]

Adjoining the cathedral, on the south side, is all that is left of the original Benedictine monastery. The celebrated cloisters, of which we speak, are more Arab than Norman, and more infidel than Christian in their architecture. The two flat members of the Moorish arches are decorated with black _tufa_ lozenges and spearheads. The coupled columns are nowhere approached in beauty and delicacy, save in S. Paolo fuori at Rome. Arabesques cover some of them; all were at one time richly inlaid with mosaic. Some are chevroned, others of lozenge pattern, or billeted, or twisted and spiral. Their capitals are one and all of extreme interest. One shows on its carved surface Norman knights in chain mail engaged in combat with Saracens; another, Roman gladiators slaying Christian victims. Birds, beasts, and subjects from the Old Testament, intricate foliage and vines add to a variety which is not to be found anywhere else in the cloistered courts of Italy. The ill.u.s.tration gives a corner of this beautiful spot where a fountain splashes and plays, adding to the delights of a well-kept garden and the sweet scent of flowers.