Composition characteristics and language

Despite alterations, overall reading of the monument as an urban magnate’s residence is still possible.  It is a quadrangular block, almost square, subdivided into four adjoining rectangular wings. The distribution of the rooms presents a particular vortex arrangement, such that – as Camillo Filangeri writes – “one of the short sides is connected to a long one of the adjacent wing”, around a square inner court, porticoed on two levels. This double portico presents eight bare columns on the ground floor with capitals and pulvini and twelve mullions on the upper floor. The second level, attainable in the 14th century via the only staircase in masonry situated transversally inside the west wing, was perhaps added later; this would explain a series of formal incongruities like the location of the big apertures present in the wall below the arcade not in line with its intercolumniation. The system of entrance to the building involved three passages positioned not axially to the courtyard, but, respectively, along the south side, on which there was the main door, with a double ferrule with bevelled edges, adjoining the smaller one on the east side, which gave rapid access to the complex of stables. Both entrances led into the hallway that opened up on the courtyard, while a further door directly led to the so-called tirrana room, giving autonomous access on the north front. The original lack of doors on the west side is probably due to the difference in height (1.80 metres) existing at that time between the Marina area and the building. In general, each wing of the Steri is divided on the inside, on all levels, by transversal walls positioned so as to form big rooms, small rooms or narrow mezzanine and vaulted spaces, the latter placed between the main rooms and having a function still to be deciphered (probably they were service stairs or latrines). The north wing is rendered exceptional by the greater size and by the function of representation assigned to it, on every level. The big terrana room, to be used for hearings of the Captain of Justice and the big institutions subsequently housed there, is longitudinally divided by three arcades on two extreme pillars and two bare median columns. This structural system strengthens the floor of the big room on the piano nobile. It was used by King Martin as his official dining room and subsequently one of the private rooms of the viceroys, and the importance attributed to this room from its creation is also testified by the fine wooden ceiling with beams with extradoses, commissioned in 1377 by Manfredi III and painted by Simone da Corleone, Cecco da Naro, Pellegrino Darenu or De Arena from Palermo.