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It has gotten argumentatively obvious by now that Palermo is the crown city throughout the island. The architectural eclecticism of the city doesn’t cease to raise admiration. In the row of must-see landmarks of Palermo stays aligned La Martorana or Santa Maria dell’Ammiraglio (Saint Mary of the Admiral). This church offers the ultimate proof on how various styles can be combined in a harmonious way.

The “Admiral” part of the name derives from an important character of the reign of Roger II, George of Antioch, the Greek admiral and minister of Roger. The year of the construction’s early days is not precise but it was definitely complete by George’s death in 1151. He kept honoring the church even after his death as he was buried next to his wife in the narthex.

“La Martorana” has a different story, this time of ecclesiastic origins. It comes from the name of the founder of the Benedictine nuns’ convent (1193-94), Eloisa Martorana. The church became part of the convent in 1433-34 and in that moment the present name was inaugurated. The nuns didn’t only rename the church but also built a strong delicious tradition of molded marzipan, designed in various fruit shapes. The name “frutta di Martorana” still reverberates throughout Palermo.

The architecture of the building receives its own spotlight. The first century of its existence was marked by a major expansion. Firstly, a narthex was added to offer shelter to the tombs of the Admiral and his wife. Secondly, a fore-hall was built and thirdly a centered campanile that still marks the western entrance to the church was added. Expansion follow-ups brought the construction of the Baroque façade and the 19th century restorations that implied the preservation of the original appearance.

The detail diversity requires close attention if what you want is a complete outlook. The exterior displays elements that underline the Islamic influence over the Norman Sicily. The interior also enables an interesting journey. Arabic inscriptions that originate from the Christian Liturgy join the carved wooden doors that mark one of the facades. This compilation of Islamic and Byzantine characteristics is also embedded in the Capella Palatina, a feature that often generates comparisons between the two. Other similarities are revealed by the mosaic work.

But even so, despite the common elements, it becomes quite obvious that each art work was executed by different artists. An interesting study material is offered by the mosaic image of Roger II that represents quite accurately the way Roger presented himself to the world. The omnipresent image of Christ Pantocrator marks the nave dome as the dominating figure of the entire art work. Still, you should look for small details in order to create a full image of the artists’ original ideas.

Patience is required in order to fully enjoy the visual experience that the church energizes. After all, history took time to happen, so why not be respectful and offer proper time to get to know it?