Medieval Palermo

A modern-day air conditioner clings to the side of a crumbling
Medieval wall, symbolic of Palermo’s many contrasts.

Corso Vittorio Emanuele, the main street that cuts through the heart of old Palermo, is said to be the old Phoenician road that connected the ancient city with the seaside. Treading its length, we inevitably came upon the famous Quattro Canti (Four Corners). Positioned at the intersection of Corso Vittorio Emanuele and Via Maqueda, this reknowned spot marks the four sections (called the Mandamenti) of the city: La Kalsa, the Albergheria, the Capo, and the Castellammare/Loggia.

Erected in 1611, four concave buildings anchor each of the four corners, creating an odd and rounded look to the intersection. Despite the frenzied traffic whizzing by from all directions, it’s impossible not to be entranced by the ornate statues and column-encrusted buildings that encircle you. At the bottom tier of each corner is a fountain and statue symbolizing each season of the year.

One of the statues of the Quattro Canti. Thankfully,
the disembodied head is of stone.

The second tiers display statues of Sicilian kings while the third tiers creadle patron saints of the city: Agata, Olivia, Ninfa, and Christina. While students of architecture today will recognize examples of Doric, Corinthian and Ionic architectural features, citizens of long ago would instead possibly recognize their neighbor; heads of convicted rebels were periodically hung from poles here.

Near the Quattro Canti is the Chiesa San Giovanni Teatini, a
lovely Baroque church built in the early 17th century. The
relatively sedate facade belies the lavish details inside,
including this angel holding a bowl of holy water.

From the Quattro Canti, we stepped in the Chiesa San Giovanni Teatini to admire its Baroque decor: colorful frescoes, marble walls, and a jewel-encrusted altar. Stepping across the street, we came to Piazza Pretoria, which we had seen the evening before during our hunt for dinner.

 

 

Fontana Pretoria

The Fontana Pretoria was astounding. An enormous fountain designed in 1552 (I was disappointed that the water never ran the entire time we were there), it was destined for a garden in a private Florentine villa. Ultimately, however, it was set into Piazza Pretoria in Palermo. This could not have been an easy feat, since it required moving 644 pieces of marble that made up the fountain.

Also known as the “fountain of shame” because of the dozens (50 odd) of nude statues that encircles it, today, the fountain is surrounded by a black iron railing to keep out zealous vandals. In addition to statues of Gods and Goddesses, mythological creatures such as nymphs, tritons, monsters, dramatic marble staircases and balustrades all also adorn this incredible work of art. The fountain, fully lit throughout the night, is flanked on one side by the church of Santa Caterina.

An external staircase on the side of the church leads up to a small landing which overlooks the dazzling white statuary. We ascended it to survey the scene from above. While we were gazing out at this amazing sight, we noticed the huge Palazzo del Municipio behind the fountain. (This municipal building is commonly called Palazzo delle Aquile due to the four eagles adorning the exterior.)

Uniformed Carabinieri (a force that polices both the military and civilians) milled about the entrance. From this vantage point, we spotted a man on a cot near the entrance to the Municipio, apparently planning to spend some time there. Now quite curious, but not wanting to be conspicuous, we nonchalantly walked around the fountain, passing in front of this interesting spectacle.

Facing the front of the entrance were cardboard signs affixed to the fountain’s railing which implored the mayor to not abandon its citizens. Obviously, there was some quiet protest going on there. Over the course of the next few days we spent in Palermo, we passed this spot several times and observed the cot-people holding their vigil every day.

La Martorana

Behind the Fontana Pretoria, we passed Piazza Bellini where we had eaten the night before. The tables were now gone, and parked cars had taken their place. At the back end of this piazza were two stunning churches: San Cataldo and La Martorana. The latter dates from the 1100’s and features a campanile, ribbed arches, and mosaic-encrusted columns.

The eye-dazzling interior of La Martorana, one
of the churches behind the Fontana Pretoria.

A detail of the tiled-mosaic floor of La Martorana.

This is a popular church for weddings in Palermo and, in fact, one was happening while we were there. The guests were mostly wearing very fancy (some would say gaudy) black attire: black lace, black jewels, and black satin flounces adorned with black fabric flowers. (Personally, I thought they all looked great!)

The adjacent church, San Cataldo, is a 12th century chapel surrounded by palms. It contrasts with its neighboring church by its obvious Arabic-style design: three red domes top the building.

Archaeological Museum

Continuing our exploration, we sought out the archaeological museum, finding its entrance in the middle of a small garbage-strewn street. Past the ticket booth, we were greeted by a cool courtyard featuring a central fountain, lush greenery, and elaborate statues.

Stepping into the cloister of the Museo Archeologico Regionale
(Regional Archaeological Museum) is to step into another world.
This thirsty triton greets you from the center of his
16th century hexagonal fountain.

If the mouth was wider, I could easily squeeze into this first pot.
Gino schemed how he could transport one of these home to our
back yard without being arrested by the museum guards.

Juxtaposed with the imposing, but nondescript, ultra-modern
post office located nearby, the charming 17th century
monastery which houses the archaeological
museum displays finds from across Sicily.

Diana, Goddess of the Hunt. After paying tribute to her
at her temple situated high above Cefalu’, it was fitting
we would find her holding court at the archaeological
museum in Palermo.

As we explored the treasures of this fabulous museum featuring artifacts from digs all across Sicily, we were particularly interested in locating the room displaying items excavated from Selinunte, the site where regal Greek temples stood sentinel on Sicily’s southern coast. After Palermo, we were headed there.

Not finding the Selinunte room after a few attempts on our own, we asked three different museum workers for directions and received three different answers: it is on the first floor, it is on the second floor, it is no longer here. But like dogs after a long-buried bone, we persisted and finally found it.

Metopes discovered at the temples of Selinunte.

Our reward was a hall filled with archaeological riches from the Selinunte temples, including the metopes. These decorative friezes from the 6th to 5th century B.C. depict mythological scenes, their amazing detail evidencing the superb skill of those ancient artists.

I’d gladly wash this floor on my hands and knees if it meant having it in MY house!

I know this look! It means, “I’m dead on my feet, and I need a beer!!”