Wooden sculpted panel

The rectangular shape panel is a particularly interesting example of the production of wood in Fatimid style, due to the combination of a rich geometrical, vegetal and zoomorphic decoration. Although it is quite lacking in its upper part, the symmetry which underlines the decoration gives a lot to read into. The geometric ornamentation is organised on three octagonal stars, situated along a vertical axis which divides the panel into two perfect halves, defined by wide cornices with multi-faceted outlines which define small polygonal panels arranged symmetrically to the vertical axis.

The central octagon is made up of three concentric and interlocking eight-point stars; the two other octagons are decorated with a two-headed eagle. These two octagons share four arrow-shaped panels organised diagonally and four others perpendicularly. In the first panels quadrupeds pursuing prey dominate; in the others couples of birds are displayed.

All the zoomorphic elements are sculpted on a background of minuscule arabesques; the quadrupeds figure in action which evokes rapidity and agility. The numerous varieties represented — eagles, hares, lions, gazelles, dogs, stags, antelopes, birds facing each other, peacocks — and their spatial arrangement make the decoration particularly rich and dynamic.

The panel is designed according to the assembly technique, widely used by Fatimid craftsmen. It consists of the use of small and medium-sized panels, slotted into each other in such a way that creates refined geometric combinations. The decorative motifs are created using deep sculpting, which requires mastery and precision.

The panel is not dated. Its technical and stylistic characteristics enable us to attribute it to the middle of the twelfth century, i.e. the latest period in Fatimid wood production. It is distinct from Coptic production, which other works present in Palermo are from, such as the door of the church S. Maria dell’Ammiraglio, known as the Martorana. Egyptian wood from the middle of the twelfth century, which the Palermo panel incontestably reflects the influence of, are characterised by complex and structured geometrical decoration, which is distinct by the presence of polygonal shapes (in particular six- or eight-point stars), filled with elaborate vegetal motifs. Among the most interesting creations of this last phase of Egyptian production we must recall the two mihrâb in mobile wood from the twelfth century, originating from the mausoleums of Sayyida Nafisa and Sayyida Ruqayya, both preserved in the Cairo Museum of Islamic Art[1].

According to numerous specialists, the panel appears to have come from the Norman palace of Palermo; there is nonetheless another hypothesis, which is less precise and less widespread, suggesting that it was originally found in the Palatine Chapel[2]. G. Ventrone Vassallo (1993), for whom the origin of the panel is unknown, nevertheless supposes that it could have been produced in Sicily, which exported wood to Maghreb. Furthermore, the presence of some decorative motifs, such as the half palm leaf with parallel nervures and certain birds – in particular peacocks – lead him to associate Sicilian panel to wood and ivories produced in al-Andalus.

[2] Cott, 1930, The Art of Falconry, 1961.