The kameleukion of Empress Costance of Aragon, Frederick II, is an exquisite example of the late
Norman craftmanship produced at Palermo’s Royal Palace. It belongs to the Treasure of Palermo
and was found inside the sovereign’s sarcophagus in 1491, boxed in a casket together with five
rings and other jewels.
The crown looks like a headset with two triangular pendants hanging by the sides of each ear all
the way down to the shoulders in the Oriental fashion. The crown is rimmed by a band decorated
with stylised palmettes; a pair wider bands dotted with con pearls and precious stones creat the
shape of Christian cross dividing the the crown into four sections. The pendants are made of gold,
golden filigree and are decorated with more stones and enamels.
On discovery in 1491, the ruined fabric within the head piece was repaired, while the 1848
restoration in the aftermath of a fire may have significantly changed its original appearance.
Camillo Manganaro’s drawing published in Daniele’s 1784 I regali sepolcri del Duomo di Palermo
riconosciuti e illustrati the difference between the original and today’s configuration are most
apparent and can be viewed in the holographic reconstruction.
The value of this prestigoius kameleukion made of gold, golden filigree, pearls, precious stone and
fabric is not simply derivative of its materials, but also of the exceptionally skilled goldsmithing it
boasts and the historic significance it holds.

Bibliography

Queen Constance’s gold filigree earrings are housed at Palazzo Abatellis Sicilian Regional Gallery of Medieval and Modern Art. They are a late product of Palermo’s.
Royal Palace workshops, are likely to date back to the end of William II’s reign and are technically similar to some parts of Queen Constance’s crown (the Kamelaukion). The most notable features of the goldsmith’s work include the filigree, preferred to gold foil in order to cast the refined chiaroscuro effects created the solids and voids softening the luminous effect; this was a direct reference to the widespread Byzantine basket-type items dating as far back as the 6th century. Likewise, the hooked beaks bird head types draw inspiration from Byzantium and can also be seen on the enamels adorning Roger II’s gloves (Vienna, Kunsthistorisches Museum). The paired bird motif is also present on the half-moon earring kept at the Archaeological Museum in Syracuse and originating from Racineci’s Byzantine tomb. It is therefore possible to highlight how significant Byzantine influence on art in Palermo was, not only typologically but also stylistically and iconographic, even at the end of the Norman period.

Bibliography

This casket belongs to the Treasure of the Palatine Chapel. It is made of wood with ivory and black mastic, and is one of its kind. The shape –  a rectangle with the shorter sides ending in semicircles – is  rather uncommon and the sheer wealth and type of decorations make this artefact a veritable rarity.

Observing it from the centre of the lid downwards, one can single out bands bearing inscriptions in neski character; the actual use can be derived from Michele Amari’s translation of in the third band reading: “… trinket to hold perfumes and storing precious objects”. Even if it was later used to contain relics, this in fact the equivalent of a modern beauty case.

The bands containing the inscriptions are interspersed with bands decorated in ivory and mastic portraying animals such as eagles, birds and quadrupedal animals which are yet to be identified, but that look very similar to those displayed on the mosaic walls of the buildings.  Even the lock and the metal parts supporting the hood are meticulously decorated.

Thanks to the digital reconstructions displayed here, it is possible to find out about the bottom part of the casket which was decorated with wooden inlays generating a two-tone specular geometric design

Bibliography

A part of the Treasure of the Palatine Chapel in Palermo, this casket is entirely decorated in ebony, ivory and mastic, and is undoubtedly the work of an Arabic master according to most scholars. Such degree of certainty comes from the compared analysis with two similar items bearing Kufic inscriptions dating to AD 1200 and 1049-50, now housed in Madrid Archaeological Museum. The casket is 34 x 22 cm and 22 cm high, has a parallelepiped base and a lid in the shape of a truncated pyramid. All surfaces are decorated with a pattern of octagonal medallions recalling flowers with four petals and a square at the centre. The medallions alternate in material, one ivory and the other ebony, creating a contrast increasing their beauty; two ivory bands mark the bases of the box and the lid. The upper part of the lid resumes the decoration of the ivory bands, while the bottom features a combination of alternatingly coloured wood squares and triangles patterns.

Bibliography

This casket has the shape of a parallelepiped with a base of 48.3 x 19.5 cm and a height of 17.5 cm, it is made of wood covered entirely in painted ivory. The gold and the original colours have almost entirely been lost over the centuries but what makes this artefact unique is the visible size of the tusks used to obtain the covering surfaces; indeed, the shape can be identified on each face of the bonnet. Following a series of comparisons, the item has been dated between the 11th and 13th centuries. It bears hunting scenes, a very familiar theme to the Normans, as may also be seen in the mosaic decorations of Roger II’s Hall. When looking at the figures, one cannot fail to notice other affinities with Norman-time mosaics.   Peacocks, a common feature to both Islamic and Christian iconography; there are leopards in the act of hunting other animals, falconers and archers, whose bows are again stylistically similar to those found in the mosaics of Roger II’s Hall .

At the centre of the lid three human figures crowned by halos can be distinguished.

Bibliography