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Fig, 22. Antonto Zanca, project for the restoration of the cathedral in Palermo, first version with octagonal dome, 1901 (from Zanca 1952).

Figure 16 , 22. Antonto Zanca, project for the restoration of the cathedral in Palermo, first version with octagonal dome, 1901 (from Zanca 1952).

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Fig. 1 (left). Giuseppe Venanzio Marvuglia and Alessandro Emanuele Marvuglia, miniature for the Gothic revetment of the dome of Palermo Cathedral, ca. 1802, painted wood, Museo Docesano (photo author, courtesy of Museo Diocesano, Palermo). Fig. 2 (right). Palermo, Cathedral, southern facade (photo author).
Fig. 1 (left). Giuseppe Venanzio Marvuglia and Alessandro Emanuele Marvuglia, miniature for the Gothic revetment of the dome of Palermo Cathedral, ca. 1802, painted wood, Museo Docesano (photo author, courtesy of Museo Diocesano, Palermo). Fig. 2 (right). Palermo, Cathedral, southern facade (photo author).
Fig. 3. Carlo Castiglia, Teatro Geografico Antiguo y Moderno del Reyno de Sicilia, 1686: Palermo, view of the cathedral (Madrid, Ministerio de Asuntos Exteriores y de Cooperacion, Archivo General y Biblioteca, MS 3).
Fig. 3. Carlo Castiglia, Teatro Geografico Antiguo y Moderno del Reyno de Sicilia, 1686: Palermo, view of the cathedral (Madrid, Ministerio de Asuntos Exteriores y de Cooperacion, Archivo General y Biblioteca, MS 3).
Fig. 5. Giuseppe Venanzio Marvuglia and Alessandro Emanuele Marvuglia, drawing (design) for the revetment project of the dome of the cathedral in Palermo, ca. 1802, ink and watercolor on paper (from Giuffré/Nobile 2000).
Fig. 5. Giuseppe Venanzio Marvuglia and Alessandro Emanuele Marvuglia, drawing (design) for the revetment project of the dome of the cathedral in Palermo, ca. 1802, ink and watercolor on paper (from Giuffré/Nobile 2000).
Fig. 4. Giuseppe Venanzio Marvuglia and Alessandro Emanuele Marvuglia, drawing (design) for the revetment project of the dome of the cathedral in Palermo, ca. 1802, ink on paper (from Di Stefano 1956).
Fig. 4. Giuseppe Venanzio Marvuglia and Alessandro Emanuele Marvuglia, drawing (design) for the revetment project of the dome of the cathedral in Palermo, ca. 1802, ink on paper (from Di Stefano 1956).
ig. 7. Palermo, Church of Santa Maria dell Ammiraglio bell tower (photo author).
ig. 7. Palermo, Church of Santa Maria dell Ammiraglio bell tower (photo author).
Fig. 6. Palermo, cathedral, northeastern stairway towe (photo author).
Fig. 6. Palermo, cathedral, northeastern stairway towe (photo author).
Fig. 8 (left). Emmanuele Palazzotto, drawings for the project of the bell tower of the cathedral in Palermo, ca. 1826 (Archivio Palazzotto, from Giuffré and Nobile 2000). Fig. 9 (right). Palermo, cathedral, western bell tower, 1835 (photo author).
Fig. 8 (left). Emmanuele Palazzotto, drawings for the project of the bell tower of the cathedral in Palermo, ca. 1826 (Archivio Palazzotto, from Giuffré and Nobile 2000). Fig. 9 (right). Palermo, cathedral, western bell tower, 1835 (photo author).
Fig. 10. Eugene Viollet-le-Duc, View of the Cathedtral in Palermo, 1836, watercolor on paper (from Viollet-le-Duc 1980).
Fig. 10. Eugene Viollet-le-Duc, View of the Cathedtral in Palermo, 1836, watercolor on paper (from Viollet-le-Duc 1980).
Fig. 11. Frans Vervloet, View of the Cathedral in Palermo, ca. 1840 oil on canvas, Napoli, Villa Rosebery (from Martorelli 2011). Fig. 12. Detail of figure 11.
Fig. 11. Frans Vervloet, View of the Cathedral in Palermo, ca. 1840 oil on canvas, Napoli, Villa Rosebery (from Martorelli 2011). Fig. 12. Detail of figure 11.
Fig. 13. Francesco Saverio Cavallari, drawing for Serradifalco’s project of Palazzo per il perfezionamento det giovani nelle scienze,” before 1848 (from Giuffré and Nobile 2000).
Fig. 13. Francesco Saverio Cavallari, drawing for Serradifalco’s project of Palazzo per il perfezionamento det giovani nelle scienze,” before 1848 (from Giuffré and Nobile 2000).
Fig. 15. Palermo, Piazza Bellini, view of San Cataldo Church during the centennial of Vespri Siciliani, 1882 (from Tomaselli 1994). 1824. This palace had incorporated and hidden the Church of San Cataldo”! standing beside Santa Maria dell’Ammiraglio, built around 1160 by the admiral Maione da Bari, successor of George of Antioch.'” Patricolo demolished the neoclassical palace built fifty-seven years before in order to reveal the Norman church.!”
Fig. 15. Palermo, Piazza Bellini, view of San Cataldo Church during the centennial of Vespri Siciliani, 1882 (from Tomaselli 1994). 1824. This palace had incorporated and hidden the Church of San Cataldo”! standing beside Santa Maria dell’Ammiraglio, built around 1160 by the admiral Maione da Bari, successor of George of Antioch.'” Patricolo demolished the neoclassical palace built fifty-seven years before in order to reveal the Norman church.!”
Fig. 16. Cardiff, Bute Castle, Arab hall, wooden ceiling, ca. 1880 (photo Juhertum / CC-BY-SA-3.0). Fig. 17. Henry Gally Knight, La Cappella Palatina, Palermo (from Gally Knight 1838). Sicily . .. wonderfully symbolizes lively imagination, high intellect, character, costume, the whole history of the Sicilian people: there is not a more original art, there is not a more national art.” Furthermore, the boundaries of Sicilian art were expanding across Europe in the late nineteenth century. Besides the chapel designed by Von Klenze for Ludwig of Bavaria, the wooden ceiling created in ca. 1880 by the architect William Burges, commissioned by Lord Bute for his neo-Gothic castle in Cardiff,'*° is another outstanding case (fig. 16). It is clearly inspired by the zuqarnas of the Palatine Chapel in Palermo. A print published by Gally Knight (fig. 17) presumably provided the model that the rich patron and cultivated architect adopted for their creation, without the necessity to visit Palermo.
Fig. 16. Cardiff, Bute Castle, Arab hall, wooden ceiling, ca. 1880 (photo Juhertum / CC-BY-SA-3.0). Fig. 17. Henry Gally Knight, La Cappella Palatina, Palermo (from Gally Knight 1838). Sicily . .. wonderfully symbolizes lively imagination, high intellect, character, costume, the whole history of the Sicilian people: there is not a more original art, there is not a more national art.” Furthermore, the boundaries of Sicilian art were expanding across Europe in the late nineteenth century. Besides the chapel designed by Von Klenze for Ludwig of Bavaria, the wooden ceiling created in ca. 1880 by the architect William Burges, commissioned by Lord Bute for his neo-Gothic castle in Cardiff,'*° is another outstanding case (fig. 16). It is clearly inspired by the zuqarnas of the Palatine Chapel in Palermo. A print published by Gally Knight (fig. 17) presumably provided the model that the rich patron and cultivated architect adopted for their creation, without the necessity to visit Palermo.
Fig. 18. Palermo, Esposizione Nazionale in 1891-1892 (photo Incorpora, courtesy of Archivio Purpura).
Fig. 18. Palermo, Esposizione Nazionale in 1891-1892 (photo Incorpora, courtesy of Archivio Purpura).
Fig. 20. Rome, Lungotevere dei Vallati, building today hosting the Ordine degli Psicologi del Lazio (photo author). Fig. 21. Rome, Villa Doria-Pamphilij, Cappella Pamphilij, eastern facade (photo author).
Fig. 20. Rome, Lungotevere dei Vallati, building today hosting the Ordine degli Psicologi del Lazio (photo author). Fig. 21. Rome, Villa Doria-Pamphilij, Cappella Pamphilij, eastern facade (photo author).
Fig, 23. Antonio Zanca, project for the restoration of the cathedral in Palermo, second version with rounded domes, 1901 (from Zanca 1952).
Fig, 23. Antonio Zanca, project for the restoration of the cathedral in Palermo, second version with rounded domes, 1901 (from Zanca 1952).
The revival’s tradition of restoring the image of Norman monuments in Palermo, still based on the persistence of the backlash to Fuga’s dome, continued until the twenieth century. In fact, a national public competition was held in 1901 for a project to restore the cathedral. The architect Antonio Zanca, from Palermo, won the national competition with a project proposing an octagonal cuspate dome, in accordance with the medieval towers and Palazzotto’s bell tower (fig. 22 ).? Zanca also proposed an alternate project for the philological restoration of “Normanization,” implying rounded domes even on the bell towers (fig. 23), comparable to the idea expressed by Viollet-le-Duc in his watercolor (see fig. 10). Zanca was, fortunately, aware of the importance of respecting new historical layers added to the pristine architecture, including Fuga’s dome, “albeit it appears a real monstrosity.” Reson wer ag. ee ag emi wesc ag ah cies * — “| wae a:
The revival’s tradition of restoring the image of Norman monuments in Palermo, still based on the persistence of the backlash to Fuga’s dome, continued until the twenieth century. In fact, a national public competition was held in 1901 for a project to restore the cathedral. The architect Antonio Zanca, from Palermo, won the national competition with a project proposing an octagonal cuspate dome, in accordance with the medieval towers and Palazzotto’s bell tower (fig. 22 ).? Zanca also proposed an alternate project for the philological restoration of “Normanization,” implying rounded domes even on the bell towers (fig. 23), comparable to the idea expressed by Viollet-le-Duc in his watercolor (see fig. 10). Zanca was, fortunately, aware of the importance of respecting new historical layers added to the pristine architecture, including Fuga’s dome, “albeit it appears a real monstrosity.” Reson wer ag. ee ag emi wesc ag ah cies * — “| wae a:
Related topics:
Norman SicilyIslamic and Norman Sicily
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