Palazzina Cinese: A Far Eastern Fantasy in Palermo
Tucked away on the outskirts of Palermo, Palazzina Cinese brings Chinoiserie to life, offering a glimpse into the Sicilian fascination with the Far East.
Sense of Wander: ★★★★★
True to its name, Palazzina Cinese embraces Chinoiserie as the dominant style, particularly in the rooms on the ground level.
PALERMO, Sicily — When most travelers think of Palermo, they picture a city where Arab, Norman, and Byzantine cultures once converged — a place where centuries-old domes and shimmering mosaics whisper stories of the Emirate of Sicily (831–1072) and the later Norman Kingdom (1130—1194). For those drawn to this layered history (read: “Wander in Sicily: In the Footsteps of the Arabs”), the UNESCO-designated “Arab-Norman Palermo and the Cathedral Churches of Cefalù and Monreale” often top the list.
But there’s more. Sicily’s fascination with the exotic didn’t end with the Arab world — it reached further east, into the distant lands of Asia. The name “Cathay,” an ancient European term for China, stirred visions of magic and mystery. Tales of Marco Polo’s adventures spun a web of wonder, giving rise to an “imaginary East.”
It was in the 18th century, however, that Europe’s taste for the Orient truly flourished. By mid-century, nearly every grand European residence had a Chinese room — a space adorned with lacquered panels, delicate wallpapers, blue and white Ming vases, and tiles that hinted the marvels of distant lands.
Italy was no exception. The oldest example of chinoiserie in the country appears on the ceiling of Villa della Regina in Piedmont, painted in 1720 with arabesques and Chinese figures. The Chinese Room (La stanza delle Cineserie) at Villa Valmarana, near Vicenza, showcases Chinese scenes inspired by the engravings of Jean-Baptiste Pillement — works that set the standard for chinoiserie across Europe.
Heading south, it was Queen Maria Amalia of Saxony, mother of Ferdinand III of Bourbon (reigned 1759-1825), who first introduced Eastern-inspired decor to the Royal Palace of Portici. Her son Ferdinand and his wife, Maria Carolina, continued this tradition, commissioning Andrea and Lorenzo Giusto to design the Chinese Room at the Villa Favorita of Herculaneum.
But to discover the most opulent example of this fantasy — perhaps the finest of chinoiserie in Italy, if not all of Europe — we must venture further south, to the heart of Sicily. Nestled within Palermo’s lush landscapes is Palazzina Cinese — a hidden gem where the island’s dream of the East reaches its fullest expression.
At the entrance gate to Palazzina Cinese.
The Origins: The Birth of Sicily’s Chinese-Inspired Palace
Palazzina Cinese (The Chinese Palace), also known as “Casina alla Cinese,” is tucked away on the outskirts of Palermo within La Favorita Park. It’s just a short 25-minute drive from the Palermo Central Train Station, making it an accessible escape into a world of royal history and oriental charm.
Originally conceived in the early 19th century, Palazzina Cinese sits amidst the aristocratic villas near Monte Pellegrino, a popular retreat for the nobility of the time. The King Ferdinand III of Bourbon (reigned 1759-1825) envisioned this park as a haven for agricultural experimentation, featuring hunting grounds, lush gardens, and ornamental parterres. To bring his vision to life, he tasked Prince Giuseppe Reggio and Giovan Battista Asmundo Paternò with acquiring countryside estates for the project.
One of these sites had previously belonged to Benedetto Lombardo and Lucchesi Palli, Baron of Scala, who acquired the building amidst the fierce competition among Palermo’s noble families to win the favour of the sovereigns. Lombardo, who had commissioned Giuseppe Venanzio Marvuglia to design a Chinese-style villa, never saw the project completed before his passing. Marvuglia, however, would return to oversee its transformation into a royal residence, blending Chinese influences with the grandeur of royal architecture.
By 1799, the villa became one of the residences of Ferdinand III and his wife, Maria Carolina of Habsburg, when they fled Naples, seeking refuge in Palermo. Over the years, as the villa transformed, it became an embodiment of the artistic currents of the era, a true reflection of the eclectic styles of the time.
Marvuglia, now reappointed to oversee the renovation, preserved the Chinese aesthetic while adding new layers of royal grandeur. The villa was completed in 1807, and alongside the building, he also designed the entrance propylaea and two pavilions for a chapel and services — one in Chinese style, the other in Turkish style — making Palazzina Cinese an even more fascinating fusion of Eastern and Western architectural elements.
Palazzina Cinese has a beautiful garden designed with symmetrical layouts typical of Italian gardens.
Chinoiserie: A World of Fantasy or a Glimpse of Reality?
As we step into the Palazzina Cinese, we’ll soon be struck by the enchanting Chinoiserie decor that envelops we, from the walls to the ceilings. The real gem of this space, though, is the Audience Hall, or Galleria, where a breathtaking Chinese-themed fresco adorns the vaulted ceiling.
The figures in the fresco, painted by Vincenzo Riolo, are dressed in traditional Chinese attire: cone-shaped Mandarin hats and flowing robes. They stand amidst faux loggias designed to resemble pagodas, transporting us straight to the mystical Far East with every glance.
The walls are adorned with silk panels, beautifully painted with birds and flowers. These delicate depictions, part of the hua niao hua tradition — known for its meticulous rendering of birds, insects, and flora — bring a touch of refinement to the room.
Between the silk panels, we’ll see two distinct types of calligraphy. First, vertical panels simulate couplets, the traditional Chinese poetic lines that often frame doorways. These lines are written in gold against a rich blue backdrop, though they don’t form coherent sentences — merely decorative motifs. Similarly, pseudo-Arabic and Hebrew inscriptions in gold paint adorn the walls, also serving as decorative flourishes rather than meaningful text.
The ceiling’s Far Eastern depictions add an exotic touch to this Sicilian palace.
Pseudo-Chinese inscriptions are framed by Chinese silk panels depicting elegant scenes of birds and flowers.
Pseudo-Arabic inscriptions in gilded gold.
In the king’s bedroom, the vaulted ceiling presents as a visual feast — a stunning depiction of a peacock’s tail and serpents, their forms shifting into decorative patterns that evoke the mythical lands of the East. This design brings the exotic to life, inviting us to lose ourselves in a world of fantasy.
What’s fascinating is that King Ferdinand III, inspired by the Chinese aesthetic at the Palazzina Cinese, later commissioned Chinese Rooms in the Royal Palace of Palermo. The artistic vision for these rooms was realised by a talented group of artists: Neapolitans Rosario Silvestri, Benedetto Cotardi, and Raimondo Gioia worked on decorative paintings, while Palermitans Vincenzo Riolo and Giuseppe Velasco focused on the figurative art.
The trompe-l'œil technique on the vaulted ceiling enhances the room’s sense of space, making it feel as though the viewer is wandering through the enchanting lands of the Far East.
A few Chinese officials, dressed in their court attire, are seen curiously admiring a beautiful vase.
This scene on the vaulted ceiling depicts a Chinese official encountering what appear to be foreign missionaries dressed in Chinese court attire.
Beyond Chinoiserie: Eclectic Inspirations
While largely Chinese-inspired, the decor of the palace presents an eclectic mix, blending Oriental, Pompeian, Turkish, and Neoclassical styles. Each room offers a unique aesthetic experience that takes us on a visual journey through time and space.
The first floor, dedicated to the queen, feels like an artistic exploration of different eras and cultures. As we ascend the staircase, we’re greeted by an unexpected Turkish-style salon, where six-pointed stars and pointed arches transport us to the mystical realms of the Middle East. The design of the room creates a mirage of faraway lands, inviting us to pause and reflect.
Next, we’ll come across the Herculaneum Room (Camera Ercolana), which brings to life the wonders of the archaeological discoveries at Herculaneum and Pompeii, generously funded by the Bourbon family. The frescoes here are stunning, depicting classical scenes with ruins of Greek temples - a nod to Europe’s rediscovery of antiquity in the 18th and 19th centuries. Among them are four temples set against a golden backdrop, one of which is instantly recognisable as the Valley of the Temples in Agrigento.
Islamic influences also make their mark on the upper level of Palazzina Cinese.
In the Herculaneum Room, you’ll see ancient temple depicted against a glittering golden backdrop.
While admiring the detailed frescoes of these ancient ruins, the staff on site draws my attention to an easily overlooked detail: a portrait of Queen Carolina, subtly inscribed with “me stesso,” or “myself.” Not far from it, I spot another portrait of King Ferdinand III, bearing the words “il mio sostegno,” meaning “my support.”
These portraits, along with others of the royal family, are framed in roundels with delicate borders, blending portraiture with ornamental artistry.
A portrait of Queen Carolina is found hidden in the Herculaneum Room.
A portrait of King Ferdinand III can also be found inside the Herculaneum Room, adding historical significance to the room.
Continuing our journey, we enter a neoclassical-inspired bedroom, where Greco-Roman art comes to life through delicate revivals of classical motifs and sculptures. But it’s a small chamber nearby that fascinates me.
Here, the walls are adorned with breathtaking marble inlay, meticulously arranged in geometric patterns. Each piece of marble has been precisely cut and assembled to create a stunning visual effect, showcasing the exceptional craftsmanship that permeates the entire palace.
While predominantly inspired by Chinoiserie, Palazzina Cinese is not short of neoclassical-inspired themes.
Intricate marble inlays, arranged in geometric patterns, frame a wooden door adorned with marquetry.
Hidden Gems: Curiosities Waiting to Be Discovered
Palazzina Cinese is more than just a former royal residence — it’s a cabinet of curiosities, where surprises await around every corner. Beyond its lush chinoiserie and neoclassical elegance, the palace has a playful side brought to life by its clever use of trompe-l'œil — a technique that creates the illusion of depth.
One of such illusions can be found in the basement, where the ceiling is painted to appear partially ruined, as if crumbling to reveal an open sky where flocks of birds take flight. For me, it feels like standing beneath a forgotten ruin, with the heavens just above — a whimsical trick that brings a sense of wonder to an otherwise claustrophobic space.
The effective use of trompe l'œil enhances the architectural experience, evoking a sense of wonder.
Take a peek at the “lush” vaulted ceiling as you ascend the spiral staircase from the basement.
But the magic doesn’t end there. In the dining hall, I almost walk past what seems like an ordinary round table until someone points out the square panel at its centre.
It’s not just any table — it’s the ingenious “mathematical table,” equipped with a hidden dumbwaiter mechanism. With this clever design, dishes could be sent up directly from the basement, allowing the royal family to dine in privacy without servants hovering nearby.
We’re even taken downstairs for a closer look, where the mechanism — a wooden structure resembling a miniature elevator — still stands in remarkable condition. Interestingly, this area beneath the table wasn’t a kitchen. Instead, dishes were prepared in another building and brought here.
Palazzina Cinese is famous for its “mathematical table,” which utilises a dumbwaiter to serve food from downstairs.
A glimpse of the dumbwaiter descending to the room directly beneath the dining table.
As shown, Palazzina Cinese is far more than a showcase of chinoiserie. Despite its famous Chinese-inspired decor, the palace is a playful fusion of styles — a meeting point between East and West, where the exotic mingles with the familiar.
The Sicilian nobility’s fascination with the Far East is unmistakable, but this wasn’t an authentic portrayal of China. For European elites, exotic motifs were a symbol of sophistication, a visual indulgence. Yet, in China, these same motifs — symbols like peonies, cranes, and dragons — carried deeper meanings, promising happiness, abundance, and good fortune.
As scholars have noted, Palazzina Cinese is “a true reinvention of China,” where motifs and styles inspired by the East were adapted, transformed, and blended with European elements. But perhaps that was the point. The palace was never meant to be a faithful representation of Chinese culture. It was a retreat, a dreamscape for the royal family — a place where reality could give way to fantasy.
Not everyone saw the charm in this eclectic mix. Francesco Maria Emmanuele e Gaetani, Marquis of Villabianca, dismissed it in his Diario Palermitano as “a bizarre structure, lacking grandeur and unlikely to last.” Yet here it stands, centuries later — a testament to Sicily’s layered history and an imagination that knows no bounds.
For me, Palazzina Cinese is a window into how Sicilians once dreamed of the Far East — a dream captured in paint, silk, and stone. But more than that, it’s a quiet reminder of Sicily’s multicultural soul, where influences from distant lands have mingled and flourished for centuries.
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Reference:
Di Natale, M. C. (Ed.). (2005). La pittura dell'Ottocento in Sicilia: tra committenza, critica d'arte e collezionismo. Palermo: Flaccovio.
Renda, F. (2023). Un miraggio orientale: l'invenzione della Casina Cinese di Palermo. Kalós – L’Accento Sul Bello.
Scuderi, G. (2019). “La Casina alla Cinese e altre cineserie palermitane.” Intorcettiana, 44-47.