Cathedral of Palermo by Esther Singleton — Read

JOHN ADDINGTON SYMONDS

While treating of Palermo, we are bound to think again of the Emperor who inherited from his German father the ambition of the Hohenstauffens and from his Norman mother the fair fields and Oriental traditions of Sicily. The strange history of Frederick -- an intellect of the Eighteenth Century born out of date, a cosmopolitan spirit in the age of Saint Louis, the Crusader who conversed with Moslem sages on the threshold of the Holy Sepulchre, the Sultan of Lucera who presented Paterini while he respected the superstition of Saracens, the anointed successor of Charlemagne, who carried his harem with him to the battle-fields of Lombardy, and turned Infidels loose upon the provinces of Christ's Vicar -- would be inexplicable, were it not that Palermo still reveals in all her monuments the _genius loci_ which gave spiritual nurture to this phœnix among kings. From his Mussulman teachers Frederick derived the philosophy to which he gave a vogue in Europe. From his Arabian predecessors he learned the arts of internal administration and finance, which he transmitted to the princes of Italy. In imitation of Oriental courts, he adopted the practice of verse composition, which gave the first impulse to Italian literature. His Grand Vizier, Piero Delle Vigne, set an example to Petrarch, not only by composing the first sonnet in Italian, but also by showing to what height a low-born secretary versed in art and law might rise.