Part 62 (1/2)

[1] Cicero's description of Enna is still accurate: 'Enna is placed in a very lofty and exposed situation, at the top of which is a tableland and never-failing supply of springs. The whole site is cut off from access, and precipitous.' But when he proceeds to say, 'many groves and lakes surround it and luxuriant flowers through all the year,' we cannot follow him. The only quality which Enna has not lost is the impregnable nature of its cliffs.

A few poplars and thorns are all that remain of its forests. Did we not know that the myth of Demeter and Persephone was a poem of seed-time and harvest, we might be tempted, while sitting on the crags of Castro Giovanni and looking toward the lake, to fancy that in old days a village dependent upon Enna, and therefore called her daughter, might have occupied the site of the lake, and that this village might have been withdrawn into the earth by the volcanic action which produced the cavity. Then people would have said that Demeter had lost Persephone and sought her vainly through all the cities of Sicily: and if this happened in spring Persephone might well have been thought to have been gathering flowers at the time when Hades took her to himself. So easy and yet so dangerous is it to rationalise a legend.

The capture of Palermo cost the Normans another eight years, part of which was spent according to their national tactics in plundering expeditions, part in the subjugation of Catania and other districts, part in the blockade of the capital by sea and land. After the fall of Palermo, it only remained for Roger to reduce isolated cities--Taormina, Syracuse,[1] Girgenti, and Castro Giovanni--to his sway. The last-named and strongest hold of the Saracens fell into his hands by the treason of Ibn-Hamuud in 1087, and thus, after thirty years' continual effort, the two brothers were at last able to divide the island between them. The lion's share, as was due, fell to Roger, who styled himself Great Count of Sicily and Calabria. In 1098, Urban II., a politician of the school of Cluny, who well understood the scope of Hildebrand's plan for subjecting Europe to the Court of Rome, rewarded Roger for his zeal in the service of the Church with the t.i.tle of Hereditary Apostolical Legate. The Great Count was now on a par with the most powerful monarchs of Europe. In riches he exceeded all; so that he was able to wed one daughter to the King of Hungary, another to Conrad, King of Italy, a third to Raimond, Count of Provence and Toulouse, dowering them all with imperial munificence.

[1] In this siege, as in that of the Athenians, and of the Saracens 878 A.D., decisive engagements took place in the great harbour.

Hale and vigorous, his life was prolonged through a green old age until his seventieth year; when he died in 1101, he left two sons by his third wife, Adelaide. Roger, the younger of the two, destined to succeed his father, and (on the death of his cousin, William, Duke of Apulia, in 1127) to unite South Italy and Sicily under one crown, was only four years old at the death of the Great Count. Inheriting all the valour and intellectual qualities of his family, he rose to even higher honour than his predecessors. In 1130 he a.s.sumed the style of King of Sicily, no doubt with the political purpose of impressing his Mussulman subjects; and nine years later, when he took Innocent captive at San Germano, he forced from the half-willing pontiff a confirmation of this t.i.tle as well as the invest.i.ture of Apulia, Calabria, and Capua. The extent of his sway is recorded in the line engraved upon his sword:--

Appulus et Calaber Siculus mihi servit et Afer.

King Roger died in 1154, and bequeathed his kingdoms to his son William, surnamed the Bad; who in his turn left them to a William, called the Good, in 1166. The second William died in 1189, transmitting his possessions by will to Constance, wife of the Suabian emperor. These two Williams, the last of the Hauteville monarchs of Sicily, were not altogether unworthy of their Norman origin. William the Bad could rouse himself from the sloth of his seraglio to head an army; William the Good, though feeble in foreign policy, and no general, administered the state with clemency and wisdom.

Sicily under the Normans offered the spectacle of a singularly hybrid civilisation. Christians and Northmen, adopting the habits and imbibing the culture of their Mussulman subjects, ruled a mixed population of Greeks, Arabs, Berbers, and Italians. The language of the princes was French; that of the Christians in their territory, Greek and Latin; that of their Mahommedan subjects, Arabic. At the same time the Scandinavian Sultans of Palermo did not cease to play an active part in the affairs, both civil and ecclesiastical, of Europe. The children of the Vikings, though they spent their leisure in harems, exercised, as hereditary Legates of the Holy See, a peculiar jurisdiction in the Church of Sicily. They dispensed benefices to the clergy, and a.s.sumed the mitre and dalmatic, together with the sceptre, and the crown, as symbols of their authority in Church as well as State. As a consequence of this confusion of nationalities in Sicily, we find French and English ecclesiastics[1] mingling at court with Moorish freedmen and Oriental odalisques, Apulian captains fraternising with Greek corsairs, Jewish physicians in attendance on the person of the prince, and Arabian poets eloquent in his praises. The very money with which Roger subsidised his Italian allies was stamped with Cuphic letters,[2] and there is reason to believe that the reproach against Frederick of being a false coiner arose from his adopting the Eastern device of plating copper pieces to pa.s.s for silver. The commander of Roger's navies and his chief minister of state was styled, according to Oriental usage, Emir or Ammiraglio. George of Antioch, who swept the sh.o.r.es of Africa, the Morea, and the Black Sea, in his service, was a Christian of the Greek Church, who had previously held an office of finance under Temin Prince of Mehdia.

The workers in his silk factories were slaves from Thebes and Corinth. The pages of his palace were Sicilian or African eunuchs.

His charters ran in Arabic as well as Greek and Latin. His jewellers engraved the rough gems of the Orient with Christian mottoes in Semitic characters.[3] His architects were Mussulmans who adapted their native style to the requirements of Christian ritual, and inscribed the walls of cathedrals with Catholic legends in the Cuphic language. The predominant characteristic of Palermo was Orientalism. Religious toleration was extended to the Mussulmans, so that the two creeds, Christian and Mahommedan, flourished side by side. The Saracens had their own quarters in the towns, their mosques and schools, and Cadis for the administration of petty justice. French and Italian women in Palermo adopted the Oriental fas.h.i.+ons of dress. The administration of law and government was conducted on Eastern principles. In nothing had the Mussulmans shown greater genius than in their system of internal statecraft. Count Roger found a machinery of taxation in full working order, officers acquainted with the resources of the country, books and schedules constructed on the principles of strictest accuracy, a whole bureaucracy, in fact, ready to his use. By applying this machinery he became the richest potentate in Europe, at a time when the northern monarchs were dependent upon feudal aids and precarious revenues from crown lands. In the same way, the Saracens bequeathed to the Normans the court system, which they in turn had derived from the princes of Persia and the example of Constantinople. Roger found it convenient to continue that organisation of pages, chamberlains, ushers, secretaries, viziers, and masters of the wardrobe, invested each with some authority of state according to his rank, which confined the administration of an Eastern kingdom to the walls of the palace.[4] At Palermo Europe saw the first instance of a court not wholly unlike that which Versailles afterwards became. The intrigues which endangered the throne and liberty of William the Bad, and which perplexed the policy of William the Good, were court-conspiracies of a kind common enough at Constantinople. In this court life men of letters and erudition played a first part three centuries before Petrarch taught the princes of Italy to respect the pen of a poet.

[1] The English Gualterio Offamilio, or Walter of the Mill, Archbishop of Palermo during the reign of William the Good, by his intrigues brought about the match between Constance and Henry VI. Richard Palmer at the same time was Bishop of Syracuse. Stephen des Rotrous, a Frenchman of the Counts of Perche, preceded Walter of the Mill in the Arch See of Palermo.

[2] Frederick Barbarossa's soldiers are said to have bidden the Romans: 'Take this German iron in change for Arab gold. This pay your master gives you, and this is how Franks win empire.'--_Amari_, vol. iii. p. 468.

[3] The embroidered skullcap of Constance of Aragon, wife of Frederick II., in the sacristy of the cathedral at Palermo, is made of gold thread thickly studded with pearls and jewels--rough sapphires and carbuncles, among which may be noticed a red cornelian engraved in Arabic with this sentence, 'In Christ, G.o.d, I put my hope.'

[4] The Arabic t.i.tle of _Kaid_, which originally was given to a subordinate captain of the guard, took a wide significance at the Norman Court. Latinised to _gaytus_, and Grecised under the form of [Greek: kaitos], it frequently occurs in chronicles and diplomas to denote a high minister of state. Matteo of Ajello, who exercised so powerful an influence over the policy of William the Good, heading the Mussulman and national party against the great ecclesiastics who were intriguing to draw Sicily into the entanglements of European diplomacy, was a Kaid. Matteo favoured the cause of Tancred, Walter of the Mill espoused that of the Germans, during the war of succession which followed upon William's death. The barons of the realm had to range themselves under these two leaders--to such an extent were the affairs of state in Sicily within the grasp of courtiers and churchmen.

King Roger, of whom the court geographer Edrisi writes that 'he did more sleeping than any other man waking,' was surrounded during his leisure moments, beneath the palm-groves of Favara, with musicians, historians, travellers, mathematicians, poets, and astrologers of Oriental breeding. At his command Ptolemy's Optics were translated into Latin from the Arabic. The prophecies of the Erythrean Sibyl were rendered accessible in the same way. His respect for the occult sciences was proved by his disinterring the bones of Virgil from their resting-place at Posilippo, and placing them in the Castel dell' Uovo in order that he might have access through necromancy to the spirit of the Roman wizard. It may be remembered in pa.s.sing, that Palermo in one of her mosques already held suspended between earth and air the supposed relics of Aristotle. Such were the saints of modern culture in its earliest dawning. While Venice was robbing Alexandria of the body of S. Mark, Palermo and Naples placed themselves beneath the protection of a philosopher and a poet. But Roger's greatest literary work was the compilation of a treatise of universal geography. Fifteen years were devoted to the task; and the ma.n.u.script, in Arabic, drawn up by the philosopher Edrisi, appeared only six weeks before the king's death in 1154. This book, called 'The Book of Roger, or the Delight of whoso loves to make the Circuit of the World,' was based upon the previous labours of twelve geographers, cla.s.sical and Mussulman. But aiming at greater accuracy than could be obtained by a merely literary compilation, Roger caused pilgrims, travellers, and merchants of all countries to be a.s.sembled for conference and examination before him. Their accounts were sifted and collated. Edrisi held the pen while Roger questioned. Measurements and distances were carefully compared; and a vast silver disc was constructed, on which all the seas, islands, continents, plains, rivers, mountain ranges, cities, roads, and harbours of the known world were delineated. The text supplied an explanatory description of this map, with tables of the products, habits, races, religions, and qualities, both physical and moral, of all climates. The precious metal upon which the map was drawn proved its ruin, and the Geography remained in the libraries of Arab scholars. Yet this was one of the first great essays of practical exploration and methodical statistic, to which the genius of the Norseman and the Arab each contributed a quota. The Arabians, by their primitive nomadic habits, by the necessities of their system of taxation, by their predilection for astrology, by their experience as pilgrims, merchants, and poets errant, were specially qualified for the labour of geographical investigation. Roger supplied the unbounded curiosity and restless energy of his Scandinavian temper, the kingly comprehensive intellect of his race, and the authority of a prince who was powerful enough to compel the service of qualified collaborators.

The architectural works of the Normans in Palermo reveal the same ascendency of Arab culture. San Giovanni degli Eremiti, with its low white rounded domes, is nothing more or less than a little mosque adapted to the rites of Christians.[1] The country palaces of the Zisa and the Cuba, built by the two Williams, retain their ancient Moorish character. Standing beneath the fretted arches of the hall of the Zisa, through which a fountain flows within a margin of carved marble, and looking on the landscape from its open porch, we only need to reconstruct in fancy the green gardens and orange-groves, where fair-haired Normans whiled away their hours among black-eyed odalisques and graceful singing boys from Persia.

Amid a wild tangle of olive and lemon trees overgrown with scarlet pa.s.sion-flowers, the pavilion of the Cubola, built of hewn stone and open at each of its four sides, still stands much as it stood when William II. paced through flowers from his palace of the Cuba, to enjoy the freshness of the evening by the side of its fountain. The views from all these Saracenic villas over the fruitful valley of the Golden Horn, and the turrets of Palermo, and the mountains and the distant sea, are ineffably delightful. When the palaces were new--when the gilding and the frescoes still shone upon their honeycombed ceilings, when their mosaics glittered in noonday twilight, and their amber-coloured masonry was set in shade of pines and palms, and the cool sound of rivulets made music in their courts and gardens, they must have well deserved their Arab t.i.tles of 'Sweet Waters' and 'The Glory' and 'The Paradise of Earth.'

[1] Tradition a.s.serts that the tocsin of this church gave the signal in Palermo to the ma.s.sacre of the Sicilian Vespers.

But the true splendour of Palermo, that which makes this city one of the most glorious of the south, is to be sought in its churches--in the mosaics of the Cappella Palatina founded by King Roger, in the vast aisles and cloisters of Monreale built by King William the Good at the instance of his Chancellor Matteo,[1] in the Cathedral of Palermo begun by Offamilio, and in the Martorana dedicated by George the Admiral. These triumphs of ecclesiastical architecture, none the less splendid because they cannot be reduced to rule or a.s.signed to any single style, were the work of Saracen builders a.s.sisted by Byzantine, Italian, and Norman craftsmen. The genius of Latin Christianity determined the basilica shape of the Cathedral of Monreale. Its bronze doors were wrought by smiths of Trani and Pisa.

Its walls were incrusted with the mosaics of Constantinople. The woodwork of its roof, and the emblazoned patterns in porphyry and serpentine and gla.s.s and smalto, which cover its whole surface, were designed by Oriental decorators. Norman sculptors added their dog-tooth and chevron to the mouldings of its porches; Greeks, Frenchmen, and Arabs may have tried their skill in turn upon the mult.i.tudinous ornaments of its cloister capitals. 'The like of which church,' said Lucius III. in 1182, 'hath not been constructed by any king even from ancient times, and such an one as must compel all men to admiration.' These words remain literally and emphatically true.

Other cathedrals may surpa.s.s that of Monreale in sublimity, simplicity, bulk, strength, or unity of plan. None can surpa.s.s it in the strange romance with which the memory of its many artificers invests it. None again can exceed it in richness and glory, in the gorgeousness of a thousand decorative elements subservient to one controlling thought. 'It is evident,' says Fergusson in his 'History of Architecture,' 'that all the architectural features in the building were subordinate in the eyes of the builders to the mosaic decorations, which cover every part of the interior, and are in fact the glory and the pride of the edifice, and alone ent.i.tle it to rank among the finest of mediaeval churches.' The whole of the Christian history is depicted in this series of mosaics; but on first entering, one form alone compels attention. The semi-dome of the eastern apse above the high altar is entirely filled with a gigantic half-length figure of Christ. He raises His right hand to bless, and with His left holds an open book on which is written in Greek and Latin, 'I am the Light of the world.' His face is solemn and severe, rather than mild or piteous; and round His nimbus runs the legend [Greek: 'Iesous Christos ho pantokrator]. Below Him on a smaller scale are ranged the archangels and the mother of the Lord, who holds the child upon her knees. Thus Christ appears twice upon this wall, once as the Omnipotent Wisdom, the Word by whom all things were made, and once as G.o.d deigning to a.s.sume a shape of flesh and dwell with men. The magnificent image of supreme Deity seems to fill with a single influence and to dominate the whole building. The house with all its glory is His. He dwells there like Pallas in her Parthenon or Zeus in his Olympian temple. To left and right over every square inch of the cathedral blaze mosaics, which portray the story of G.o.d's dealings with the human race from the Creation downwards, together with those angelic beings and saints who symbolise each in his own degree some special virtue granted to mankind. The walls of the fane are therefore an open book of history, theology, and ethics for all men to read.

[1] Matteo of Ajello induced William to found an archbishopric at Monreale in order to spite his rival Offamilio.

The superiority of mosaics over fresco as an architectural adjunct on this gigantic scale is apparent at a glance in Monreale.

Permanency of splendour and glowing richness of tone are all on the side of the mosaics. Their true rival is painted gla.s.s. The jewelled churches of the south are constructed for the display of coloured surfaces illuminated by sunlight falling on them from narrow windows, just as those of the north--Rheims, for example, or Le Mans--are built for the transmission of light through a variegated medium of transparent hues. The painted windows of a northern cathedral find their proper counterpart in the mosaics of the south.

The Gothic architect strove to obtain the greatest amount of translucent surface. The Byzantine builder directed his attention to securing just enough light for the illumination of his glistening walls. The radiance of the northern church was similar to that of flowers or sunset clouds or jewels. The glory of the southern temple was that of dusky gold and gorgeous needlework. The north needed acute brilliancy as a contrast to external greyness. The south found rest from the glare and glow of noonday in these sombre splendours.

Thus Christianity, both of the south and of the north, decked her shrines with colour. Not so the Paganism of h.e.l.las. With the Greeks, colour, though used in architecture, was severely subordinated to sculpture; toned and modified to a calculated harmony with actual nature, it did not, as in a Christian church, create a world beyond the world, a paradise of supersensual ecstasy, but remained within the limits of the known. Light falling upon carved forms of G.o.ds and heroes, bathing clear-cut columns and sharp basreliefs in simple l.u.s.tre, was enough for the Phoebean rites of h.e.l.las. Though we know that red and blue and green and gilding were employed to accentuate the mouldings of Greek temples, yet neither the gloomy glory of mosaics nor the gemmed fretwork of storied windows was needed to attune the souls of h.e.l.lenic wors.h.i.+ppers to devotion.

Less vast than Monreale, but even more beautiful, because the charm of mosaic increases in proportion as the surface it covers may be compared to the interior of a casket, is the Cappella Palatina of the royal palace in Palermo. Here, again, the whole design and ornament are Arabo-Byzantine. Saracenic pendentives with Cuphic legends incrust the richly painted ceiling of the nave. The roofs of the apses and the walls are coated with mosaics, in which the Bible history, from the dove that brooded over Chaos to the lives of S.

Peter and S. Paul, receives a grand though formal presentation.

Beneath the mosaics are ranged slabs of grey marble, edged and divided with delicate patterns of inserted gla.s.s, resembling drapery with richly embroidered fringes. The floor is inlaid with circles of serpentine and porphyry encased in white marble, and surrounded by winding bands of Alexandrine work. Some of these patterns are restricted to the five tones of red, green, white, black, and pale yellow. Others add turquoise blue, and emerald, and scarlet, and gold. Not a square inch of the surface--floor, roof, walls, or cupola--is free from exquisite gemmed work of precious marbles. A candelabrum of fanciful design, combining lions devouring men and beasts, cranes, flowers, and winged genii, stands by the pulpit.

Lamps of chased silver hang from the roof. The cupola blazes with gigantic archangels, stationed in a ring beneath the supreme figure and face of Christ. Some of the Ravenna churches are more historically interesting, perhaps, than this little masterpiece of the mosaic art. But none is so rich in detail and l.u.s.trous in effect. It should be seen at night, when the lamps are lighted in a pyramid around the sepulchre of the dead Christ on Holy Thursday, when partial gleams strike athwart the tawny gold of the arches, and fall upon the profile of a priest declaiming in voluble Italian to a listening crowd.

Such are a few of the monuments which still remain to show of what sort was the mixed culture of Normans, Saracens, Italians, and Greeks at Palermo. In scenes like these the youth of Frederick II.