Abstract
The muqarnas ceiling of the Cappella Palatina was constructed in 1140 and is painted with themes ranging from court life to animals, mythical creatures to magnificent gardens. The ceiling is a testament to Roger II’s ambition for power, legitimacy, and multicultural harmony under Norman rule. Many scholars have tried to pinpoint the provenance of the ceiling as purely of Fatimid origin. However, upon inspection of the interconnectivity of the 12th-century Mediterranean and the incorporation of various Fatimid, Byzantine, North Syrian, and North African visual models, such a claim warrants scrutiny. This essay will consider how the subject matter, style, materials, and structure of the muqarnas ceiling function to form a new Norman language that addresses all the people of the Mediterranean. By synthesizing the iconography and style of different cultures, Roger uses material culture to symbolize his universalistic ambitions and elevates himself as an equal to other contemporary powers. The fluidity in the Norman visual language is also demonstrated.
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