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Relevant bibliographies by topics / Cappella Palatina di Palermo

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Academic literature on the topic 'Cappella Palatina di Palermo'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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Journal articles on the topic "Cappella Palatina di Palermo"

1

Klobe, Tom. "Islamic Paradise in a Christian Context: The Ceiling of the Cappella Palatina in Palermo, Sicily." Arabist: Budapest Studies in Arabic 28-29 (2008): 123–36. http://dx.doi.org/10.58513/arabist.2008.28-29.7.

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This paper considers the ceiling of the 12th-century Cappella Palatina in Palermo, Sicily. Since I began research on the Cappella Palatina two questions have interested me. First, what is the provenance of the artists who constructed and painted this spectacular ceiling? Second, what does this ceiling represent? In essence, the ceiling is a visual representation of Islamic lyric poetry that unveils multiple levels of meaning, which are dealt with in the article.

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Curcic, Slobodan. "Some Palatine Aspects of the Cappella Palatina in Palermo." Dumbarton Oaks Papers 41 (1987): 125. http://dx.doi.org/10.2307/1291551.

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3

Crow, James. "Rosa Bacile and John McNeill (eds). Romanesque and the Mediterranean, Points of contact across the Latin, Greek and Islamic Worlds, c.1000- c.1250." Journal of Greek Archaeology 1 (January 1, 2016): 465–66. http://dx.doi.org/10.32028/jga.v1i.672.

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This informative and well-presented volume is the result of papers presented in Palermo in 2012 at the British Architectural Association’s second international Romanesque conference. The Romanesque is essentially a Latin, central and western European expression of art and architecture and the papers identify and question those points of contact with the established traditions of Byzantium and Islam. Few places are better placed to see this interaction than Sicily and this is reflected in two of the main papers on the Cappella Palatina, Roger of Sicily’s new Norman palace in Palermo (it should be noted that the papers vary considerably in length). The first by Johns concerns Moslem Fatimid artists of the painted ceiling and how they were influenced by the Byzantine and Romanesque images they encountered in Palermo.

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Romagnolj, M., M. Sarlatto, F. Terranova, E. Bizzarrj, and S. Cesettj. "WOOD IDENTIFICATION IN THE CAPPELLA PALATINA CEILING (12th CENTURY) IN PALERMO (SICILY, ITALY)." IAWA Journal 28, no. 2 (2007): 109–24. http://dx.doi.org/10.1163/22941932-90001628.

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Anatomical studies were made on the structural and decorative elements of the wooden ceiling of the 12th century Cappella Palatina in Palermo, Sicily, to identify the timbers used, analyse their likely provenance, and discuss the selection criteria used by the builders. One hundred and fifty fragments were examined. Abies sp., Pinus sp., Betula sp., Populus sp. and Fagus sylvatica were found and all are most probably from Sicily. Some of the Abies fragments probably belong to Abies nebrodensis as they have exceptionally long tracheids, very tall rays, and abundant crystals. This species was over-Iogged in the past and now only 29 trees remain in the Madonie Natural Reserve in Sicily. Abies and Pinus are found in vertieal and horizontal painted panels, while Populus, Betula and Fagus were used in smaller parts of the muqarnas (painted niches). The choice of species seems to have been related to original tree size. The large size of the Abies boles meant that quarter sawn panels could be used. Sieilian Abies was highly valued at that time for its wood quality.Special attention was paid to the problem of distinguishing partly degraded Abies and Cedrus woods. However, the scalloped torus in some sampies displayed ambiguous features and these sampies were therefore classified as Abies/Cedrus.

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Dittelbach, Thomas, and William Tronzo. "The Cultures of His Kingdom. Roger II and the Cappella Palatina in Palermo." Zeitschrift für Kunstgeschichte 61, no. 3 (1998): 432. http://dx.doi.org/10.2307/1482997.

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6

Materia, Ida. "Preliminary notes on the ware depicted on the ceiling of the Cappella Palatina in Palermo." Vicino Oriente 19 (2015): 97–111. http://dx.doi.org/10.53131/vo2724-587x2015_7.

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7

Bergman, Robert P. "Review: The Cultures of His Kingdom: Roger II and the Cappella Palatina in Palermo by William Tronzo." Journal of the Society of Architectural Historians 57, no. 1 (March 1, 1998): 108–10. http://dx.doi.org/10.2307/991427.

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8

Agnello, Fabrizio. "THE PAINTED CEILING OF THE NAVE OF THE CAPPELLA PALATINA IN PALERMO: AN ESSAY ON ITS GEOMETRIC AND CONSTRUCTIVE FEATURES." Muqarnas Online 27, no. 1 (January 1, 2011): 407–47. http://dx.doi.org/10.1163/22118993-90000170.

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Agnello, Fabrizio. "The Painted Ceiling of the Nave of the Cappella Palatina in Palermo: An Essay on Its Geometric and Constructive Features." Muqarnas Online 27, no. 1 (March 22, 2010): 407–47. http://dx.doi.org/10.1163/22118993_02701015.

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10

Riccucci, Marco. "Bat wings in the devil: origin and spreading of this peculiar attribute in art." Lynx new series 54, no. 1 (2024): 137–46. http://dx.doi.org/10.37520/lynx.2023.009.

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In Western culture, for centuries the figure of the bat has been associated with the forces of evil, with demons living in the dark, in the most hidden recesses of human fears. Some characteristics of demons of the pagan world (dark color of the body, wings, etc.) pass into the Christian iconography of the devil. Baltrušaitis has shown several elements that place the origin of bat-winged devils in China. From that area they spread out to the West and soon became common images in Europe starting from the 13th century. In the Middle Ages travelling was frequent and even long-range, from Europe to Central Asia, through the Silk Road network and also attested by the diffusion of the Nestorian Church as far as China, beginning from the 7th century. Some of the artistic images of devils with bat wings are shown also in contrast to the wings of angels with feathered wings. The oldest depiction in Europe of a devil with bat wings is the mosaic representing the fall of Simon Magus in the Cappella Palatina (Palatine Chapel) in Palermo (1135–1143).

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Dissertations / Theses on the topic "Cappella Palatina di Palermo"

1

CANNELLA, Mirco. "La Cappella Palatina di Palermo Misura Interpretazione Rappresentazione." Doctoral thesis, Università degli Studi di Palermo, 2011. http://hdl.handle.net/10447/95224.

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Lo studio che segue è incentrato sull’analisi delle vicende costruttive della Cappella Palatina nel Palazzo Reale di Palermo, costruita per volontà di Ruggero II nella prima metà del XII secolo. La peculiarità della Cappella è quella di aver mantenuto pressoché inalterato i caratteri spaziali dell’interno attraverso i secoli; tale peculiarità ha fatto si che la Cappella sia stata oggetto di studi molto approfonditi condotti da storici dell’arte a partire dalla del XIX secolo fino ai nostri giorni. Lo studio intende porsi come contributo alla conoscenza della Cappella, alla interpretazione di alcune questioni rimaste irrisolte, come stimolo ausilio per successivi studi, attraverso gli strumenti disciplinari del Rilievo e della Rappresentazione.
The study is focused on the analysis of the Cappella Palatina in the Royal Palace of Palermo. The Cappella has kept most of its spatial features unchanged from its foundation in 1134 up to today. That's why the Cappella has been the subject of many studies carried out by scholars in medieval art and architecture. This studies means to be just a contribution to the solution of some unresolved problems about the changes that interested the Cappella along the centuries. Survey and rapresentation are the instruments for the analysis of the Cappella.

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2

Kapitaikin, Lev. "The twelfth-century paintings of the ceilings of the Cappella Palatina, Palermo." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550801.

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The three 'Islamic' ceilings of the Cappella Palatina in Palermo, the royal chapel of the Norman kings of Sicily, were commissioned by king Roger 11 around 1143. The grandiose muqarnas (stalactite) ceiling of the nave and the two smaller ceilings of the two aisles were just one part of the opulent, multifaceted decoration of the royal chapel, that included also Byzantine mosaics with Christian scenes and Southern- Italian marble pavements and revetments. As with other medieval chapels of palaces, the Cappella Palatina served concomitantly as a royal audience hall, a thing evidenced by the great throne platform at its west end. The paintings of the three ceilings present 'Islamic' figural and ornamental decoration and Arabic inscriptions, the salient subject-matter of which is the Islamic royal banquet, the majlis, centered upon the king. The study presents new stylistic and iconographic evidence to show that the painters of the ceilings came mainly from Fatimid Egypt, and that the paintings could reflect also some impact of the Christian arts of that country, if not the actual participation of Coptic artists in their production. Despite the predominantly Islamic subject-matter of the paintings, their imagery was simultaneously enriched with Christian themes, the models for which were likely provided by Romanesque, Middle-Byzantine, and - to a lesser extent - Coptic artwork. Far from being an alien 'Oriental' element incorporated into the otherwise Christian chapel, the designer/s of the chapel actually sought to manipulate the Islamic princely imagery of the ceilings through the insertion of Christian 'triumphal' themes and a few crosses in the paintings. The Christian scenes were, moreover, placed in focal programmatic points at the ceilings, and associated spatially with ceremonial and-liturgical features of the chapel, namely: the royal throne platform at the west end, and the entrance to the sanctuary at the east. The 'Islamicate' - rather than Islamic - ceilings and their imagery were thus adapted to the Christian setting within the palatine chapel of the Norman monarchs.

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3

Malleck, Amy Elizabeth. "Intersections of Architecture and Religion In the Medieval Mediterranean: The Cappella Palatina, Palermo, and The Cathedral of St Sophia, Nicosia." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/213120.

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Art History
M.A.
This paper explores the relationships between medieval religious buildings across the Mediterranean, where Muslim, Byzantine, and Western courts created a repertoire of churches and mosques whose patrons, architects, architectural iconographies, cultural contexts, and performative dimensions overlapped to a high degree. Tracing the analogies between the Cappella Palatina in Palermo and St. Sophia Cathedral in Nicosia testifies eloquently to these transmissions of adoption and integration because Sicily and Cyprus both passed between Byzantine, Islamic, and Latin Christian rule and, in the process, fused architectural and decorative elements of disparate traditions for their religious monuments. I have approached the Cappella Palatina and Nicosia Cathedral by extending the idea that portable art objects were active agents in constructing the cultural contours of medieval courts in order to address how the Hauteville and Lusignan rulers visualized and performed the authority of their kingships. This method of analysis shows that each dynasty articulated their bonds with Western Europe and the Latin Church while also assuring legibility within the courtly mise-en-scène that enveloped and reached beyond the Mediterranean. Accordingly, I have sought to expand the cultural frame of reference for the Cappella Palatina and Nicosia Cathedral by emphasizing the impact of the respective Fatimid and Byzantine contributions, as well as by exploring the conceptual affinities between the distinct visual and ceremonial traditions manifest in each building. Above all, this exchange tells a story more nuanced than triumphant appropriation.
Temple University--Theses

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4

Soffientino, Francesca. "La committenza di Manfredi. Fonti e opere." Doctoral thesis, Scuola Normale Superiore, 2017. http://hdl.handle.net/11384/85771.

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Books on the topic "Cappella Palatina di Palermo"

1

Rocco, Benedetto. La cappella Palatina di Palermo. Palermo: Accademia Nazionale di Scienze Lettere e Arti, 1993.

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2

Pottino, Filippo. La Cappella Palatina di Palermo. Palermo: Accademia nazionale di scienze lettere e arti di Palermo, 1993.

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3

Alaimo, Chiara. Palazzo Reale e Cappella Palatina a Palermo. Palermo: Edizioni Caracol, 2021.

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4

Natale, Maria Concetta Di, and Maurizio Vitella. Lo scrigno di Palermo: Argenti, avori, tessuti, pergamene della Cappella Palatina. Palermo: Fondazione Federico II editore, 2014.

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5

Würth, Stiftung, ed. Die Cappella Palatina in Palermo: Geschichte, Kunst, Funktionen : Forschungsergebnisse der Restaurierung. Künzelsau: Swiridoff, 2010.

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6

Tommaso M. A. De Santis. Il portico meridionale della Cappella Palatina di Palermo: Le trasformazioni del secolo XVI. Palermo: Edizioni Caracol, 2017.

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7

Tronzo, William. The cultures of his kingdom: Roger II and the Cappella Palatina in Palermo. Princeton, N.J: Princeton University Press, 1997.

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8

Bodinek, Claudia. Die Cappella Palatina in Palermo: Ikonographische Studien zu ihrer Mosaikausstattung durch die Normannenkönige (1130-1189). Weinstadt: BAG-Verlag, 2014.

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9

Lavagnini, Bruno. Profilo di Filagato da Cerami: Con traduzione della Omelia XXVII pronunziata dal pulpito della Cappella Palatina in Palermo. Palermo: Accademia nazionale di scienze, lettere e arti, già del Buon gusto, 1992.

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10

Kitzinger, Ernst. I mosaici del periodo normanno in Sicilia. Palermo: Accademia nazionale di scienze, lettere e arti di Palermo, 1992.

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Book chapters on the topic "Cappella Palatina di Palermo"

1

Viscontini, Manuela. "La figura di Pietro negli Atti degli Apostoli. Un caso particolare: la Cappella Palatina di Palermo." In Textes et Etudes du Moyen Âge, 457–83. Turnhout: Brepols Publishers, 2001. http://dx.doi.org/10.1484/m.tema-eb.4.00678.

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2

Arcidiacono, Giulia. "Le storie della Genesi nella Cappella Palatina di Palermo. Qualche osservazione sulle fonti iconografiche e sulle strategie narrative." In Les stratégies de la narration dans la peinture médiévale, 317–43. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.csm-eb.5.118931.

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3

"Philagathos of Cerami: The Ekphrasis on the Cappella Palatina in Palermo." In Sources for Byzantine Art History, 971–81. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108672450.085.

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4

Bloom, Jonathan M. "Chapter four. Almoravid geometric designs in the pavement of the Cappella Palatina in Palermo." In The Iconography of Islamic Art, 61–80. Edinburgh University Press, 2005. http://dx.doi.org/10.1515/9781474471428-008.

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5

Anzelmo, Francesca Manuela. "Dress and Textiles in the 12th-Century Painted Ceilings of the Cappella Palatina in Palermo." In Romanesque and the Mediterranean, 91–127. Routledge, 2017. http://dx.doi.org/10.4324/9781351191074-4.

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6

"The Quadrilingual Epitaph of Anna, the Mother of Grisandus, a Priest of the Cappella Palatina, Palermo." In Sources for Byzantine Art History, 1448–61. Cambridge University Press, 2022. http://dx.doi.org/10.1017/9781108672450.0144.

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7

"The Painted Ceiling Of The Nave Of The Cappella Palatina In Palermo: An Essay On Its Geometric And Constructive Features." In Muqarnas, Volume 27, 407–47. BRILL, 2011. http://dx.doi.org/10.1163/ej.9789004185111.i-448.104.

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8

al-Tawil, Hashim. "Chapter Three. The Arabic Calligraphy on the Ceiling of the Twelfth- Century Cappella Palatina in Palermo, Sicily: Function and Identity." In Calligraphy and Architecture in the Muslim World, 46–66. Edinburgh University Press, 2013. http://dx.doi.org/10.1515/9781474468428-005.

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