MONREALE
This picturesque town immediately inland from Palermo spreads over the lower slopes of the hills that rise into the ring of calcareous mountains surrounding the Conca d'Oro. Although the Conca d'Oro itself has become in recent decades nothing more than a configuration of the terrain, because of the inexorable advance of concrete paving and buildings which have reduced to a few gardens and isolated green patches the huge spread of citrus farms that gave it its name, Monreale is stili exceptiortal for its pleasant natural setting, the beauty of its panorama and the splendour of its art treasures. It grew up in Norman times around a Benedictine monasterv and became the favourite abode of the Norman kings, who often went hunting there. It is known today for its Cathedral and Cloister, one of the main attractions for visitors to the island, its beautiful surroundings and the distinctive character of its buildings, basically medieval with the addition of houses and other buildings of the Baroque period. The Duomo (Cathedral), counted among the purest manifestations of Norman art in Sicily, was built under the auspices of William II in the second half of the twelfth century. lts most distinctive features are the extremely beautiful mosaics which cover the inside walls, creating a fairy-tale atmosphere, and its graceful architectural forms, which show the Fatimite and Muslim influence common at the time. The upper part of the facade is an example of an recurrent Arabic ornamental motif, the interlaced arches, while the porch on the lower part, added in the second half of the eighteenth century, creates a link between two powerful turreted structures. These structures, although the left one remained unfinished, complete the picture of the front of the church, defining it spatially and giving a sense of balance to the whole, in spite of the dubiously valid eighteenth century addition. The very beautiful portal is enhanced by a splendid bronze door, the work of Bonanno Pisano, of the second half of the twelfth century. A Gagini portico runs down the left side of the building, where we find the entrance to the church. The door is by Barisano da Trani (second half of the twelfth century). The exterior of the apse is finely decorated with lava stone inlays and interlaced arches. The interior of the basilica is majestic and solemn. The Latin cross of its plan is divided into three lengthwise by ancient columns with marvellously carved.