the baroque decoration
the church of Santa Maria dell'Ammiraglio

the Baroque interior

Over the centuries, in order to adapt the church to the Latin rite, the internal structure underwent changes, the most evident of which were made to the narthex and the space in front of the building, which were enclosed and covered, making the layout slightly more elongated and extended towards the west.
At this juncture, many of the mosaics in the portico were lost. Other works were begun in the period between 1683 and 1698, with the substitution of the central apse , which contained the mosaic depicting the Virgin Mary, with a large square chapel, designed by Paolo Amato , in a typically Baroque style, lavish and ostentatious, rich in figures, decorations with plant motifs, medallions, made entirely of white and polychrome marble.
An altarpiece depicting the Ascension, painted by Vincenzo da Pavia in 1533, stands at the centre of the high altar, while a sumptuous tabernacle made of lapis lazuli sits beneath it. The frescoes of the vault and the spandrels of the presbytery chapel were painted by the artist Antonio Grano between 1684 and 1685, depicting the Glory of the Benedictine Order and the four Doctors of the Church.
Further restorations and rearrangements of the interior decoration continued into the next century and affected the upper part of the choir and the middle part of the church, which were frescoed by the Flemish artist Guglielmo Borremans in 1717.
The choir was decorated with stories of St. Benedict , and the rest of the interior was decorated with episodes from the New Testament .
In the following decades, in 1744, the choir vaults were also frescoed by Olivio Sozzi .

An architectural crescendo

The Norman conquest of Sicily and the birth of a new Latin kingdom

The senses tell the interior

The senses tell the external architecture and the original layout

The mosaics of the transept and the apses

The senses tell restorations

The flooring: shapes, motifs and iconography

The opus sectile floor of the Palatine Chapel

the roof of Paradise: one of the most representative works of medieval art

The senses tell baroque decoration

Different styles and transformations of “one of the most beautiful monuments in the world”

The architectural envelope: the Greek cross layout oriented towards the light

The Admiral’s dedication

the Baroque exterior

The senses tell the historical context

The senses tell the architecture and decorations

The return of water

Gold and light: the splendour of the mosaics in the Royal Chapel

The mosaic cycle, an ascending path towards the light

The senses tell the Zisa over the centuries

A building constructed in a short space of time

Decorations

the Baroque interior

The loca solatiorum: dwellings for recreation, well-being and hunting

From earthquake to collapse

The Palace of Kings

The senses tell the ceiling

The senses tell the historical context

The Royal Throne

The Genoard Park, the garden of pleasures and wonders

The architectural appearance and transformations over time

The ancient convent of the Martorana, a history of devotion and tradition

Restorations

The rediscovered palace

The Cassaro

From oblivion to the recovery of memory

Saint Peter’s Chapel in the Royal Palace

The senses tell the flooring

The senses tell the mosaic cycle

The decorations on the bell tower

The mosaics of the naves

The beautiful Zisa and its garden: solacium regi among sounds, colours and scents

The senses tell the historical context

The architectural space

The interior of the church

Shapes and colours of the wooden ceiling

The senses tell the architecture

The birth of the Norman kingdom

Intertwining of knowledge in Norman Palermo