Papyrus reeds, descendants of the paper-plants imported into Sicily long centuries ago by some forgotten Arab, rear their puffball heads from the fountain, a little grove of living feather dusters. Who knows but that the thrifty Saracen caretaker may have used them to dust out his immaculate mosques and public baths?
So varied and comprehensive a collection as the Museum contains has required consummate skill and taste to arrange coherently, and throughout the entire building the director, Professor Salinas, has done his work so admirably that each group’s significance is fully apparent. In the various halls are quaint old pictures and triptyches so ugly that their very repulsiveness spells the perfect expression of the art of their time, marvelous coins which gave Sicily the reputation of leading the world in numismatics during the Greek era, and most important of all, the metopes.
Carven slabs from the temple friezes—what a story they tell of the primitive and ardent culture of the early Greeks perched upon their twin hills at Selinus, beside the sounding deep! One whole hall is lined with them, arranged symmetrically in series, speaking even to-day with the voice of that mystic lore which, to understand, reveals ancient Sicily. And though individual carvings excel them in precision and beauty, as a series denoting the exact progress of Greek Sicilian art from its crudest to its most perfected form, the metopes are unsurpassed.
Moreover, these metopes from the temples of Selinus recall a story so tragic, so amazing, that comparisons fail and mere words avail little to picture its horror. Selinus was still young, and the wealthy and expanding Selinuntines were still engaged in building their tremendous temples in 409 B.C. when Hannibal Gisgon with his Carthaginians fell upon the city with a ferocity that is even yet appalling in its details, butchering the inhabitants ruthlessly, and expunging the city from the book of the living. But Hannibal was in a hurry. He had no time to spare to destroy structures of such problematical value as unfinished temples, since he purposed to avenge the defeat and death of his grandfather, Hamilcar, at Himera on the north shore of the island. Giving the temples and the desolate city over to the owl and the locust, he hurried northward, flushed and confident. So it was that the partially completed homes of the bright gods remained until the shock of earthquake hurled them crashing down into chaos.
Centuries elapsed in the silence of desolation before the metopes, which Freeman so aptly calls “the choicest offerings Selinuntine piety could offer the immortal gods,” were picked carefully by the archæologists from the ruins and ranged upon the plaster walls of the Museum, showing the evolution of the art from the weird, uncouth shapes of the earlier metopes to the finished later shapes of gods and heroes and men. Yet so rapid was the development of the sculptors that within a century the first metopes had become curiosities, and the later work so superior it is hard to realize it was produced in the same age. And one cannot but wonder what might have been the fullest flower of this strong, budding genius at Selinus, had not the insatiable African smitten it with his blighting breath of war.
One palace that has fallen upon evil days, after as picturesque a past as any building in the island can boast, is the lofty home of the Barons of the Chiaramonte. In the fourteenth century, during the Aragonese period, these and other nobles became so powerful that no systematic administration of Sicily by the government was possible, and the palace—usually called Lo Steri—is an excellent manifestation of the Chiaramonte power. Grim and stiff outside, it still preserves within something of the magnificence of the days when knights in armor clanked through its lofty halls and ladies in quaint headdresses and billowing skirts peeped through the folds of the arras and tapestries to watch the wheels of intrigue and government go round. Many a dark tale could these old halls tell. Andrew Chiaramonte, the last of his line to rule, was dragged hence to the block in 1392, and the palace became the court, with justice taking the place of chicanery. Later on the Spanish viceroys made it their official residence, and in 1600 it became the seat of the dreaded Spanish Inquisition. In the inner courtyard is the private chapel, where no doubt many of the Inquisition’s bitter and fruitless tragedies had their inception. The whole structure smells of blood. To-day, as the Dogana, or Custom House, it is as useful as ever—and for the Sicilian importer no doubt still a palace of most unpleasant inquisition.
King William the Bad, King Roger’s son, and father of William II, the Good—who built the Cathedral of Monreale—called his favorite palace in Arabic La Zisa, the Beloved or the Splendid. It is of distinctly Moorish character—bare walls unrelieved by projecting decorations of any sort, with Oriental doorways, pointed-arch windows, and a heavy battlemented frieze. In King William I’s time the palace eunuchs were almost as powerful as they were at Constantinople, and most of the palace officials were Saracens, which is perhaps one reason for the architecture of the structure. William himself lived the idle, sensual life of a voluptuary, and toward the end of his reign, with Oriental indifference, shut himself up in his splendid house and refused any bad news.
It is not hard to see in the mutilated grandeur of the main hall why he fell a victim to the insidious charm of the East, for more than any other place in Palermo this chamber breathes of “Araby the blest.” The ceiling is a great stalactite vault: a little fountain still bubbles down over steps of mosaic; and it runs across the floor through square pools exactly as do those other similar fountains in the Alhambra at Granada. Only the frescoes on the walls are modern, replacing ancient panels of marble which once embellished the villa. No—there was one other modern touch: a flock of tiny white wax ducks, belonging to the caretaker’s little daughter, bobbing serenely about in the rippled pool!
VI
THE PLAIN OF PANORMOS
A SHORT distance outside the Porta Sant’Ágata—one of the southern gates—on the edge of the rolling Conca d’Oro, is the Campo di Santo Spirito or cemetery, a lovely greensward full of curious tombs and graves and vaults. Its chapel is old and bare, a relic of the Cistercian monastery established on the same spot in 1173 by Archbishop Walter of the Mill, the English mentor of King William the Good. Doubtless the Archbishop had much to do with the King’s goodness, since his father was William the Bad. When the church was restored in 1882, the greatest care was taken to preserve at least the spirit of the prelate’s design, with the result that among these Sicilian graves under the matchless blue of the Sicilian sky there stands an English church of the Middle Ages. Close beside it on the 31st of March, 1282, just at the tap of the bell for evening prayer, began the terrible massacre of the Sicilian Vespers, while in the city near by the great bell of San Giovanni boomed out the knell of all the Frenchmen in the island and the downfall of the heartless House of Anjou. Many of the French who perished in that orgy of slaughter have been buried here.