Palazzo Butera is an impressive waterside palace. Girolamo Branciforti commissioned the home in 1701. The palace welcomed Charles de Bourbon, who was crowned King of Sicily in Palmero in 1735. The terrace was built in 1750. In 1760 the Prince of Butera bought the palace next door and joined them. This addition doubles the size of the palace. The entire palace was renovated and Gioacchino Martorana and Gaspare Fumagalli painted beautiful ceiling frescoes.

In 2016, Francesa and Massimo Valsecchi bought the palace and have been restoring it. Today, it is a museum. The rooms feature ceiling paintings, frescoes, and artworks from throughout the centuries.

The Valsecchi's are moving their art collection from England to display it in the Palazzo Butera. Visitors can tour the palace, see exhibitions, and explore the courtyards and the terrace.

Construction on Palazzo Chiaramonte-Steri was completed in the 14th century. It was the home of Manfredi III Chiaramonte, a powerful Sicilian lord. He commissioned the Grand Hall with its impressive painted wooden ceiling. The palace's architectural style is known as Chiaramonte Gothic, which has also been described as Romanesque-Gothic.

In 1392, Andrea Chiaramonte was executed, and the family was disgraced. In the early 1500s, the palace housed Siciliy's Aragonese-Spanish viceroys.

Charles V, the Holy Roman Emperor and King of Sicily, ceded the Maltese Islands to the Order of the Hospital from here in 1530. After that, the palace housed the Royal Customs.

From 1600 to 1782, the Holy Inquisition was held in the palace. The palace is now a museum, and guests can see the paintings and inscriptions that prisoners left on cell walls. In addition, the museum houses the famous Vucciria painting by Guttuso.

The Palazzo Mirto dates back to the 17th century. The Filangeri family owned the palace for over 400 years before donating it to the city in 1982. This fabulous palace features original artwork and gives visitors insights into the lives of a wealthy Palermo family. The Filangeri family were part of the Sicilian nobility, and the palace represents an extravagant lifestyle from the past.

The 21 rooms all feature original furnishings. Visitors can admire the swaths of velvet and silk wallpaper that cover the walls. Decorations include frescoes, tapestries, and chandeliers. In addition, the floors are covered in majolica tiles, mosaics, and colored marble.

Visitors will enjoy the ballroom, enormous library, and the Chinese Salon. The Chinese Salon has silk wallpaper and black lacquer. In addition, a ceiling painting features European artists looking down at the room. The Smoking Salon's walls are decorated with colorful Cordovan leather. The Lounge of Diana features a swiveling Apollo statue that leads to a hidden passage.

A terrace on the second floor features an enclosed garden. The palace has English tour booklets available.

The Church of Saint Francis of Assisi, known locally as San Francesco d'Assisi, stands as a significant Renaissance-era building in Palermo and serves as the principal Conventual Franciscan church of Sicily. It holds the prestigious title of Minor Basilica, a designation bestowed by Pope Pius XI in 1924.

The Franciscans first arrived in Sicily in 1224, but faced opposition from local clergy and Saracens, leading to their temporary expulsion. They regained a foothold with the support of Pope Gregory IX, establishing a new convent in 1235, though this structure was later destroyed by Frederick II in 1239 due to conflicts with the Pope. By 1255, under the leadership of Ruffino Gorgone da Piacenza, a chaplain of Pope Alexander IV, the Franciscans solidified their presence. The church was reconstructed, this time under the supervision of Roger, the bishop of Malta. The main portal and anterior façade, both in the distinctive Chiaramontan-Gothic style, were completed by 1302.

During the 15th century, the church was further embellished with several chapels in Gothic and Renaissance styles. Among these, the Chapel Mastrantonio is notable as the earliest example of Renaissance architecture in Sicily. However, the church's structure was significantly challenged over the centuries, particularly during a severe earthquake on March 5, 1823, which necessitated extensive Neoclassical restoration.

Further damages during World War II air raids and subsequent restorations led to a melding of architectural styles, predominantly Gothic and Sicilian Baroque, giving the church its current unique appearance. Today, the Church of Saint Francis of Assisi remains a vital part of Palermo's religious landscape, notably housing the Simulacrum of the Immaculate Conception. This revered icon is central to the annual procession on December 8, celebrating the Immaculate Conception through the historic streets of Palermo.

The Church of Saint Anne the Merciful, commonly referred to as Sant'Anna, stands as a significant example of Baroque architecture in the historic center of Palermo, near the ancient Lattarini market. It is associated with the Third Order Regular of Saint Francis of Penance, reflecting its deep-rooted Franciscan ties.

Historically, the site was first documented in the 16th century in the "District of Mercy" (Contrada della Misericordia) document, which mentions a chapel dedicated to Our Lady Of Pity. Notably, in this chapel, the artist Tommaso de Vigilia created a fresco of the Pietà that evolved into a focal point of local veneration. In 1596, a nearby granary was repurposed as a place of worship to house this venerated icon, and the following year, the convent of Sant'Anna was established.

By the early 17th century, the existing church structure no longer met the community's liturgical demands, prompting an expansion supported by both the aristocracy and common worshippers. The design for the expansion, characterized by its late Renaissance style, was conceived by Mariano Smiriglio, a senatorial architect. Construction began on 26 October 1606 and the church was completed in 1632, officially consecrated on 13 November 1639. It was dedicated to Saint Anne, the mother of Mary, hence its name Sant'Anna la Misericordia.

Disaster struck in 1726 when the Terrasini earthquake caused significant damage to the church's façade. The reconstruction, led by architect Giovanni Biagio Amico, adhered to the Roman Baroque style. Over the centuries, the church endured further damage from numerous earthquakes.

Following the unification of Italy in 1861, both the church and the convent were seized by the state and repurposed as a granary. It wasn't until 1925 that these were partially returned to the Franciscan friars.

In contemporary times, the convent portion of Sant'Anna has been transformed into the Galleria d'Arte Moderna Sant'Anna, a museum showcasing modern art, marrying the site’s rich historical past with modern cultural expressions. This evolution highlights the adaptive reuse of religious spaces in Italy, particularly in how they serve both historical preservation and contemporary cultural needs.

The Church of San Cataldo in Palermo stands as a quintessential monument to the Arab-Norman architecture that typified Sicily during its Norman rule. Located on Bellini Square (Piazza Bellini), this Catholic church is directly connected to the neighboring Santa Maria dell'Ammiraglio. San Cataldo gained recognition as a World Heritage Site in 2015, reflecting its historical and architectural significance.

The church was initially founded around 1160 by the admiral Majone di Bari. Its history includes a period in the 18th century when it was repurposed as a post office. In the 19th century, it underwent restoration efforts to revert it to a form more reminiscent of its original medieval structure, highlighting its enduring architectural features.

San Cataldo showcases a rectangular floor plan accentuated by blind arches and windows, a testament to the Norman preference for straightforward, robust forms influenced by their militaristic background. The exterior is marked by three distinctive red domes and Arab-style merlons that contribute to its unique silhouette. These elements not only demonstrate the fusion of Norman architectural practices but also reflect influences from Islamic and Byzantine designs, evident in the cubic forms and the spherical domes.

Internally, the church presents a single nave flanked by two aisles. The bare walls are lined with Spolia columns supporting Byzantine-style arcades, with the original mosaic-decorated pavement adding to its splendor. The main altar of the church also remains as it was initially constructed. Additionally, remnants of the old city wall are visible beneath the structure, linking it directly to the broader historical context of Palermo.

This blend of architectural influences from Northern France, England, and Byzantine and Islamic traditions makes the Church of San Cataldo a fascinating study of the cultural and architectural synthesis that characterizes much of Sicily's historical landscape.

La Martorana is also known as The Church of Saint Mary of the Admiral. The admiral was George of Antioch, a Syrian Christian and principal minister of King Roger II of Sicily. George was not only the King's main man, he founded this Eastern Orthodox church.

The charter is dated from 1143 and written in ancient Greek and Arabic. Construction may have started before 1143 but the church was finished definitely by 1151. George died that same year. He and his wife are buried in the narthex of the church.

In 1193 or so Lady Eloisa Martorana moved in next door with her own division of Benedictine nuns. She established her convent which eventually took over the church, thus giving it the name "la Martorana." The nuns of Martorana created sugary treats in the form of fruit. The nuns have left but the Martorana fruit is still popular today.

The church has undergone architectural changes since it was built. The narthex houses the tombs of George and his wife. The campanile, elaborately constructed with arches and loggias, still is used as the main entrance.

The church is famous for its interior. A series of Byzantine mosaics are similar to those in the Palatine Chapel and Cefalu Cathedral. Mosaics on the walls show Roger II receiving the crown of Sicily from none other than Jesus. The dome over the nave has Byzantine images of Christ Pantokrator with saints, prophets and evangelists.

The Church of Saint Catherine (Chiesa di Santa Caterina) is a historic religious site in the heart of Palermo, between Bellini Square (Piazza Bellini) and Pretoria Square (Piazza Pretoria). It originated from the visionary efforts of a wealthy local aristocrat, Benvenuta Magistro Angelo (Mastrangelo), who in 1310 left a testament to establish a Dominican convent on the site of the former palace of George of Antioch, a notable admiral under Roger II of Sicily. The convent and its church were dedicated to Saint Catherine of Alexandria, reflecting the devout aspirations of its founder.

By 1532, the church saw significant expansion and underwent a series of extensive remodels from 1566 to 1596 under the direction of Mother Prioress Maria del Carretto. These renovations culminated in a grand inauguration on November 24, 1596. Architecturally, the Church of Saint Catherine is a remarkable blend of Sicilian Baroque, Rococo, and Renaissance styles. This eclectic mix is evident in its textured facades, elaborate sculptures, use of mixed marbles, stucco detailing, and vibrant frescoes.

Originally, the architectural design was attributed to Giorgio di Faccio, known for his work on San Giorgio dei Genovesi in Palermo. However, more recent scholarly work has credited additional architects such as Francesco Camilliani from Florence and Antonio Muttone from Lombardy, who were also influential in the construction of nearby Piazza Pretoria. The church’s dome, a standout feature, was designed by Francesco Ferrigno, adding to the structure's imposing presence.

The interior of the church is adorned with decorations from the 17th and 18th centuries, offering a visual feast for visitors and reflecting the artistic trends of those periods. Throughout the 19th century, the church faced several episodes of damage linked to local uprisings, including the upheaval of 1820-1821, the Sicilian revolution of 1848, the Gancia revolt in 1860, and the Seven and a Half Days revolt in 1866.

Today, the Church of Saint Catherine stands not only as a place of worship but also as a testament to the rich historical and cultural tapestry of Palermo. It remains a pivotal part of the city's historic center, attracting visitors who are keen to explore its architectural beauty and historical significance.

The Palace of the Eagles is also known as the Praetorian Palace. It houses the mayor's offices and the municipality offices. The palace was built between 1463 and 1478. In 1553, the facade was renovated, and the palace was expanded. Additional renovations took place in the 1600s and 1800s. As a result, the palace now has a Renaissance-Revival-Neoclassical style.

Above the main entrance door, visitors will find a wonderful marble relief depicting an eagle. On the main facade's cornice, visitors will notice the statue of Saint Rosalia.

Carlo d'Aprile crafted this impressive statue in 1661. The clock under the statue came from Paris in 1864 and is flanked by lions. The facade also features four angels decorated with four eagles.

The palace's interior houses several important artworks. Richly decorated portals feature Latin quotes. Several statues are also on display, including the small Genius of Palermo statue, which dates to the 15th century.

The ornate Baroque portal on the ground floor was built in 1691. Several of Napoleon's weapons are on display. In addition, the entire palace is filled with elaborate frescoes, reliefs, and intricately painted ceilings.

This is the story of how the Fountain of Shame got its name. The fountain, a vast waterworks of a fountain populated by gods, demons, animals and wood sprites, was created as a garden folly for Luigi de Toledo in Florence in 1554. Luigi, brother of a former Viceroy of Sicily, Garcia de Toledo, became heavily in debt. So, he sold the fountain.

The fountain was the work of sculptor Francesco Camilliani, of Florence. It held 48 statues and a lot of plumbing. It required disassembling, shipping and reassembling. There was a chance of loss and damage. But the senate of Palermo didn't care. It was just the thing to plop down in front of the Pretorio Palace, the town hall.

The fountain was designed to be entered. An outer circle of stone guards a moat of water. This outer ring is joined to an inner ring by steps, allowing entrance to the center. The gods of old surround the visitor. Fantasy creatures abound in the rings, their open mouths spraying water.

In the 18th and 19th centuries the fountain was not fully appreciated. The nudity of the human figures did not go over as well as they might have in Florence. It is said nuns from a neighboring convent vandalized the nudes, breaking off some offending body parts. A more likely story is the Pretoria Palace had become the center of run-away corruption.

In any event the square and the fountain were respectively awarded the names Square and Fountain of Shame.

In the exact center of historic Palermo is the Pretoria Square. In 1573 the senate of the city bought a fountain. Originally intended for a private garden in Florence, it was shipped piecemeal to Palermo. It didn't fit. Some buildings around the square were demolished to accommodate the fountain. There is little wiggle room left in the square.

Three sides of the square are enclosed by buildings. There is the Praetorian Palace (the town hall), which lends its name to the Square. It is also called the Palace of the Eagles. The palace was built between 1463 and 1478. It has a Renaissance Revival-Neoclassical appearance. It houses mayoral offices and weapons of the Napoleonic wars.

The Church of Saint Catherine borders the square and it is between the Pretoria Square and the Bellini Square. The appearance of the church is a mixture of Sicilian Baroque, Rococo and Renaissance elements. Two baronial manses also squeeze up to the square. They are the Bonocore Palce and Bordonarao Palace.

The remaining, fourth side of the square holds a descending staircase to Maqueda Street.

Although it is commonly called Four Corners, the actual name of the square is Piazza Vigliena. It is named in honor of the Viceroy, Juan Fernandez Pacheco. The square is situated at the intersection of Maqueda Street and Vittorio Emanuele Street. Called a square, in olden times it was called "Octagon of the Sun." It is actually eight-sided.

The octagon is formed by four street sides and four building sides. The buildings are Baroque, of the same height and almost identical. The facades hold fountains (yes, fountains), statues of the four seasons, the four Spanish kings of Sicily and the four saintly patronesses of Palermo, Christina, Ninfa, Olivia, and Agata.

The facades are curved. They are four stories high. Fountains reach to the second floor. There are niches on the third and fourth floors holding statues. The rooftops are graced with coats-of-arms.

The square was laid out by order of the viceroys from 1608 to 1620. The architects were Giulio Lasso and Mariano Smiriglio.

Jesuits arrived in Palermo in 1549. After settling in, they began to build. They had their own Jesuit architect, Giovanni Tristano. Following his design, they built one of the most important Baroque churches in Sicily, Church of Jesus.

Tristano's design required a single nave, transepts and side chapels. Early in the 17th century this was changed by architect Natale Masuccio. Natale favored something more sumptuous. He removed the chapel walls and added two more naves. When this was finished in 1636, the church was consecrated.

In 1943, during an air raid, a bomb exploded and crushed the church dome. The adjacent walls were mostly destroyed along with frescoes and paintings.

Some of the interior survived. Marble bas-reliefs showing the Adoration of the Shepards and the Adoration of the Magi by Gioacchino Vitagliano (1719-21) remain intact. A fresco of the Adoration of the Magi by Antonino Grano and a relief of the Glory of Saint Luke by Ignazio Marabitti also lived after the bomb.

The facade has three portals in the lower part. Above are niches with statues of Ignatius Loyola, a Madonna and Child and Francis Xavier. The nave is 237 feet long, 140 feet wide and 230 feet high. It is decorated with frescoes. The pillars are covered with marble reliefs and mosaics. The rebuilt church has a double dome.

Gaspare Palermo wrote a guide to Palermo in the 1800s. He describes the Piazza Ballaro as "a large square in the Albergheria district, oblong in shape and not very wide, ... paved with large flints." Ballaro is the oldest and largest market of its kind in the city. It reaches from Piazza Casa Professa to Tukory Course.

The market reminds one of an Arab souk in a Muslim town. The colors, smells, the stalls covering streets and squares, awnings, hanging baskets and the persistent calls of "abbanniata!" in the Palermo patois are living monuments to old Palermo. In this market one can buy almost anything but certainly fruit, vegetables, fish and meat.

The market in fact dates back to the era of Arab rule. The name Ballaro may come from the name Bahlara, a village near Monreale, a town south of Palermo. Or it may from Ag-Vallaraja, a region of India known for its spices. Or it might come from "Segeballarath", which means, simply, "fair market."

Ballaro has existed for centuries by the Church of the Carmelite Fathers. It is above all a "Piazza di Grascia", a place for food.

Like to know how the upper 1% live in Sicily? You can be the guests of Count and Countess Federico and they will give you a tour of their ancient homestead.

The Conte Federico Palace is located between Biscottari Street and Conte Federico Square, a short walk from Palermo Cathedral. The palace is built over the remains of the Punic-Roman walls that once surrounded the city. Its 12th century Arab-Norman tower, Busuemi Tower, encapsulates the ancient Arab gateway, Bar el Soudan.

The Palace was acquired by the Federico counts in the 17th century. The counts bought the hospice of Busuemi Port from the Olivetan Fathers of Santa Maria della Spasimo. There is an internal courtyard with stone carvings by Giuseppe Venanzio Marvuglia. A red marble staircase leads to the main floor and halls decorated in different styles.

The halls have the original furnishings of the eras they represent. There are coffered ceilings of the 15th century, frescoes by Vito D'Anna of the 18th century, and several collections of weapons and ceramics. A must visit room is the dance gallery. The gallery holds a grand piano played by Wagner in 1882.

The Count and Countess will personally receive visitors. Look forward to an evening aperitif in the Arabic-Norman tower and a candle light dinner in the Baroque dance hall. Tours can be arranged for groups and the old kitchen is used for Sicilian cooking classes.

Sounds like a winner. Ciao!

Saint John of the Hermits (San Giovanni degli Eremiti) is an ancient church and former monastic site with a rich historical backdrop situated in the Albergaria quarter of Palermo. Located just two blocks south of the Palace of the Normans (Palazzo dei Normanni), near the San Giorgio in Kemonia Church, this site is steeped in history dating back to before the 6th century.

The church, initially part of a Benedictine monastery, boasts a heritage connected to notable historical figures such as Pope Gregory the Great and Pope Agatho. The latter is believed to have taken orders at this monastery. However, the site suffered under Saracen rule, possibly being converted into a mosque, until the Norman conquest around 1136 when Roger II of Sicily restored it, dedicating it to Saint John the Evangelist.

The name "Eremiti" (Hermits) may refer to the cloistered life of the Benedictine monks, or it might be linked to the nearby church of San Mercurio, known as Ermes in Greek. The exact origin of the name remains somewhat ambiguous.

Architecturally, the church is renowned for its striking red domes-a vibrant testament to the Arab influences that persisted in Sicily during the 12th-century Arab-Norman culture. These domes, however, were not originally red. They were painted in the 19th century by Giuseppe Patricolo, who based this decision on remnants of red plaster he found, aiming to restore the church's medieval appearance.

The interior of the church is largely unadorned, a stark contrast to the vivid exterior and the beautifully preserved medieval cloister. This cloister, the heart of the former monastery, features luxuriant gardens, small double columns with vegetal motifs on their capitals, and supports ogival arches, reflecting a blend of architectural influences. It also houses an Arab cistern, further highlighting the cultural intermingling characteristic of Sicily's history.

Saint John of the Hermits stands today not only as a religious structure but as a symbol of Palermo's layered history, from its Byzantine past through its Islamic period to its Norman reconstruction, encapsulating the diverse cultural influences that have shaped Sicily.