the roof of Paradise: one of the most representative works of medieval art
The ceiling of the Palatine Chapel, an emblem of the union of craftsmen from different cultures and ethnic groups, is one of the most important artefacts of medieval art, due to the originality of the decorations and the construction technique used. The compositional matrix of the ceiling, which covers the three naves
, is of Islamic origin, while the iconographic repertoire, rich in symbols and allegories, comes from both the Western culture of the chanson de geste
and the figurative themes of Fatimid art.
Direct evidence of this can be seen in some of the architecture in Cairo, Egypt, which is evidence of the continuous trade relations between Sicily, at the centre of Mediterranean trade, and North Africa. Other testimonies find stylistic comparisons in the palaces of the Umayyad and Abbasid caliphs and in Syria.
The originality of the Palatine Chapel ceiling decoration can be seen in the Byzantine, Western and Latin motifs, also inspired by Christian models, painted in the same style as the Islamic ones by artists and craftsmen from the Mediterranean who brought their art to Sicily.
A refined and precious piece of work that best demonstrates the blend of cultures present in Sicily during the Norman reign, the ceiling is one of the best-preserved cycles of Islamic wood paintings from the medieval period. The Normans, in contact with Islamic populations, assimilated different customs, new techniques and repertoires which, in architectural buildings, they translated into stylistic choices and refined decorations. This fusion of different cultures produced the most interesting element of the ceiling of the Royal Chapel, consisting of a composition of muqarnas, The ceiling of the Palatine Chapel features muqarnas, a type of ornamental decoration typical of Islamic architecture. Also known as the alveoli or stalactite decoration, it was used in vaults, domes, niches and doorways. Made of stucco stone, ceramic or brick, it became more widespread from the 12th century onwards. In Sicily, muqarnas are found in many Norman buildings such as the Palatine Chapel and the Zisa. On the ceiling of the Palatine Chapel, one can see, in particular, that the central aisle is decorated with muqarnas, which form the geometric structural base, starry polygons and small domes, the latter made of thin boards. In the side aisles, long panels of sloping rafters form a coffered ceiling with alternating flat and concave bands. Entirely painted, they have semicircular endings with depictions of half-figures. The recurring theme of the painting cycle, rich in symbols, allegories, plant and floral motifs, geometric designs, kufic characters, auspicious inscriptions, phytomorphic and zoomorphic elements, is that of the pleasures of life and the exploits of the court. Taken from a vast iconographic repertoire, drawing on Islamic and Western motifs, the paintings depict musicians, drinkers, dancers, animals, mythological motifs and also highly realistic scenes of everyday life such as hunting and symposium scenes, jousts, processions, races and fights. The depiction of the sovereign or other rulers and patrons in oriental clothing and poses is also original. The sovereign, in particular, wears the crown, is often seated on the throne or holds a cup of wine in his hand and is accompanied by servants and musicians. All the scenes are embellished with everyday or precious objects: barrels, cups, vases, bowls, cushions, etc. Other themes, foreign to the Islamic world, are inspired by the Byzantine and Christian repertoire: some depictions also allude to the figure of Christ, while others are taken from the Bible. Among the animals depicted, there are birds, birds of prey such as hawks and eagles (often together with their prey), elephants, exotic animals fighting, mythological and fantastic animals such as sphinxes, griffins and harpies. However, the animal that recurs most often is the lion, considered to be royal and a symbol of strength. The most commonly used colours are white, black and red, with green borders and red background frames and white pearls made from the following pigments: lampblack, lapis lazuli, titanium oxide, minium, vermilion, lead white, orpiment, then mixed with egg yolk, acting as a binder. The latest restorations have also revealed the presence of a pure gold treatment using gold leaf, traces of which remain in the geometric decoration.
a decoration typical of Islamic architecture, characterised by alveoli and also present in other Norman buildings such as the later the Cuba
and Zisapalaces, loca solatiorum of the king.
The mosaic cycle, an ascending path towards the light
Different styles and transformations of “one of the most beautiful monuments in the world”
The senses tell the architecture
The senses tell restorations
The architectural envelope: the Greek cross layout oriented towards the light
The mosaics of the naves
The Norman conquest of Sicily and the birth of a new Latin kingdom
The Cassaro
The senses tell the interior
The senses tell baroque decoration
The senses tell the ceiling
Gold and light: the splendour of the mosaics in the Royal Chapel
the Baroque interior
The flooring: shapes, motifs and iconography
the roof of Paradise: one of the most representative works of medieval art
The senses tell the flooring
Restorations
Shapes and colours of the wooden ceiling
The return of water
The decorations on the bell tower
Saint Peter’s Chapel in the Royal Palace
The loca solatiorum: dwellings for recreation, well-being and hunting
From oblivion to the recovery of memory
The birth of the Norman kingdom
The senses tell the architecture and decorations
The opus sectile floor of the Palatine Chapel
The Genoard Park, the garden of pleasures and wonders
The architectural space
The Palace of Kings
the Baroque exterior
The senses tell the external architecture and the original layout
The senses tell the historical context
The Admiral’s dedication
A building constructed in a short space of time
The senses tell the historical context
The senses tell the Zisa over the centuries
Intertwining of knowledge in Norman Palermo
Decorations
From earthquake to collapse
The ancient convent of the Martorana, a history of devotion and tradition
The beautiful Zisa and its garden: solacium regi among sounds, colours and scents
The mosaics of the transept and the apses
The senses tell the mosaic cycle
The architectural appearance and transformations over time
An architectural crescendo
The interior of the church
MiC – Ministero della Cultura
Legge 77/2006 - Misure Speciali di Tutela e Fruizione dei Siti Italiani di Interesse Culturale, Paesaggistico e Ambientale, inseriti nella “Lista Del Patrimonio Mondiale”, posti sotto la Tutela dell’ UNESCO Regione Siciliana.
Assessorato dei Beni Culturali e dell’Identità Siciliana, Dipartimento dei Beni Culturali e dell’Identità Siciliana.
Parco archeologico della Valle dei Templi di Agrigento.
an emblem of the union of craftsmen from different cultures and ethnic groups, is one of the most important artefacts of medieval art, due to the originality of the decorations and the construction technique used. The compositional matrix of the ceiling, which covers the three
naves
, is of Islamic origin, while the iconographic repertoire, rich in symbols and allegories, comes from both the Western culture of the
chanson de geste
and the figurative themes of Fatimid art.
is one of the best-preserved cycles of Islamic wood paintings from the medieval period. The Normans, in contact with Islamic populations, assimilated different customs, new techniques and repertoires which, in architectural buildings, they translated into stylistic choices and refined decorations. 
This fusion of different cultures produced the most interesting element of the ceiling of the Royal Chapel, consisting of a composition of muqarnas,
and also present in other Norman buildings such as the later the
Cuba
palaces, loca solatiorum of the king.
