WBM a THE :•'/ YC. PUBLIC LIBRARY DUPLICATE I’ DEFACE. It is the object of this Work to afford a View of the Architecture of the Normans in Sicily, of the singular difference of the style which they employed in Sicily from that which they employed in any other country, and to explain how that difference arose. The Drawings were taken from the buildings themselves by a professed architect, and have, at least, the merit of exact fidelity. But, in order to make the subject more completely understood, a few introductory words may not be out of place. It is scarcely necessary to remind the reader that, in the beginning of the eleventh century, various parties of Norman adventurers ropaired from Neustria, in Franco (the province of which the Normans first obtained possession), to Calabria, and, at first entering into the service of the Lombard Princes, as stipendiaries, gradually possessed themselves of Apulia as well as Calabria, and wrested the neighbouring island of Sicily from the hands of the Saracens, who, two centuries before, had severed it from the Greek empire. These men of the North were not less remarkable for strength of mind than for bodily prowess; for the wisdom with which they governed, than for the valour with which they conquered; for the arts of peace, than for the arts of war. No sooner had they restored order and tranquillity to the countries subjected to their sway, than they began to adorn them with splendid edifices. It may be said, that Architecture flourished wherever the Nonnans ruled. In the construction of these buildings the Normans adopted the style, and employed the workmen, of the conquered country, but not without imparting to the fabric a character of their own. At that time the style of architecture in France was a corrupt Roman; as close an imitation of the Roman as the then state of the arts would allow. In consequence, all the arches in the French buildings of that lime were round, and, as the Normans took the French buildings for their model, the arches in the Norman buildings were round also. The Normans had been settled in Neustria for above a century before they obtained possession of Sicily, and it might have been expected that, in the buildings which they constructed in their new dominions, they would have employed the style to which, by that time, they had become accustomed. But this was by no means the case — and what was it that caused the dissimilarity ? In Sicily the Normans fell in with a new nation, a nation perfectly distinct from the Romans. In Sicily the Normans found a style entirely different from that with which they had become acquainted. Flic Saracens, who had ravaged the south as the Normans had ravaged the north, had established themselves in Sicily about two centuries before, and had introduced into that island the new style which tho Normans found on their arrival. The Saracens, attached to architecture no less than the Normaus, like them habitually employed the workmen of the conquered country', but, influenced by the ardent imagination of warmer climes, either suggested, or required, a wider departure from ancient models. In the buildings which had been constructed for the Saracens in Sicily, the Normans beheld, not the round arches of France, but. pointed arches; and adopting, as on former occasions, the style which they found, as they had built in the round style in France, so did they proceed to build in the pointed style in Sicily — marking their works, however, with ornaments not of Saracenic extraction. Thus was it that the Normans employed the pointed style in Sicily at the same time that they were employing the round style in France and England. Tho rule was not without exceptions. In the eastern districts of Sicily, the districts nearest to Calabria, the districts of which the Normans first became masters, some Norman buildings exist which are built in the round style: such as the more ancient portions of the Cathedral of Messina, and the ancient portions of the Church of Traina. But such instances are comparatively few. The Normans soon employed no other than the pointed style in every part of the island. The “ Illustrations ” exhibited in the following pages are the evidence adduced to establish the truth of what has been advanced. The Drawings arc arranged in chronological order. Tho first in the series are representations of buildings still extant in Sicily, which arc believed to have been constructed by the Saracens, and to be anterior to the Norman conquest. Before the Saracens were masters of Sicily, there were no buildings of the kind in the island. The inhabitants of Sicily were a mixed race of Romans and Greeks, and whatever was built in Sicily before the arrival of the Saracens was built in the old classic style. The new style was not invented in Sicily, but brought from Africa by the Saracens. Pointed arches were first commonly used by the Saracens in that quarter of the globe. Saracenic buildings in the pointed style still exist at Cairo, of a date little remote from that of the Saracenic invasion of Sicily; and the new form found so much favour in the eyes of the Saracens, that they introduced it wherever they swayed. m PREFACE. i, that mpossible The Norman buildings in Sicily so exactly resemble the Saracenic buildings in all their leading featur to refuse to see in those Saracenic buildings the models which the Normans copied. --- - s . nic ..- S» . . in i, an*,, . ! 13v smiths' I, it. cupel:.. .mi moseies ; Greek in it. ourichmcnt. ; a combination to be M only » Sidy, and natural there f „ m mixture „f the thffitrent earious. Amoug.t these contrihutiou. from vttriou, pM the *H* ™> «- ™"‘ -*“• i the buildings erected by the Normans —the patterns of which omamer _ .._ Ecclesiastics, who came in numbe: architects. The Greeks, who formed so larg< —os sculptors oml as schismatics i and, in the latter character, produced those built by subjects who were nativi inn nf the Greek cross: the latter, generally spcaiung, were hi tue *whu M . msidered to be tbe orthodox iriahly appes ; from Net lave been easily supplied by bishops and monks were frequently tart, of the population of Sicily, had a twofold influence on the buildings of the Normans difference in the churches built by the kings and The Greek churches differed in plan essentially from the Latin churches. The former more square, m imitation of the Greek cross , the latter, generally speaking, mere in the form of the long, or Latin cross. The Norman sovereigns of Sicily, who were all of the Church of Rome, invariably adopted what p,„. but alt.frill th.uiier ..built b, their native subjects (.11 of mb.progenitors, haring been autjects of the Greek emperors, had embraced theGreok heresy,) arc buill in thesquare shape, mhich emo from Byaantium. _ . eks were in Sicily the architects and tbe sculptors; and consequently introduced Greek designs in the them with that delicacy, and that peculiar method, which belongs only to the Greek chisel. splendid Mosaics which adorn the walls of the Siculo-Norman churches were 0 m Byzantium. But when it is considered that the Greeks of Sicily had ms, during which time they had not been allowed to decorate their the Mosques which they built for their masters—that the arts, especially stantinople than any where else —and that the Mosaics of and with a sentiment, which implies no little proficiency, — it appears to be most probable that, in the first instauce, the kings and nobles of Sicily, who spared no expense must have sent to Constantinople for the most celebrated artists of the day. But whateve times, the art of Mosaic design was, beyond a doubt, eventually cultivated, and with success, by the Sicilians. 3 d, by the following Drawings, that the pointed style of Sicily has peculiar features, and, m many respects In Sicily, the arches of the windows and doors aro not adorned with projcctin, face of the arch is always flat. The windows exhibit neither tracery nor mullions Again, the Gr mouldings, cxecutm; It is still a matter of controversy, whether the the work of Sicilian Greeks, or Greeks imported f languished for above two centuries under the yoke of the i own miserable chapels, or to represent the human form ii the art of design in Mosaic, were in a better state of preset the Norman churches a mibcllishment of their churches, lave been the case in those early n behold it without admiration, < ave left behind. It wall he pere differs from the pointed style of the North, mouldings, but only relieved by sinkings. The and when divided, are divided only by slender pillars. This sort of pointed s.jlo prevailed in SMI,, aloo.t without an, variation, till th. end of tho fourteenth eentnry. The external appearance of the Siculo-Norman building, i. of rather a plain character. The di.pln, «, reverted for the interior, and there the object aimed at was foil, attained. Of this the Capelin Palatittn at Palermo, and the Cathedral at Mon. reale, arc sufficient proofs. No ono who beholds the interior of those works of the N will fail to rank them amongst the most splendid productions which the middle In the fifteenth century a eh.nge began to ereep in -various novelties were attempted t sometimes tho forms adopted circular; sometimes square; sometimes ellipt projecting mouldings and a little of its tracery, but later in Sicily than any where else; and of an exotic. In the second half of the sixteenth century all these varieties gavo place to the llenaiss gradually introduced. By the examples offered in the following pages, it will be seen, 1. That the Normans in Sicily employed the pointed style. 2. That the pointed style was used in Sicily at least two centuries before it 3. That it was introduced by the Saracens. How the pointed style found its way, at a later period, into Fra which it first made its appearance, is a problem that still remains to b Normandy, as an intercourse was constantly kept up between what n . but the pointed style did uot appear in Normandy s. seen as it did in ether parts of Northern France. Neither dad the pomted style steal a march to France and Germany through Italy, for it is remarkable enough, that whilst the Normans bui t m t le build in the round style in Apulia and Calabria; and, in feet, the pointed style did not it from the South, but from the North. Amongst other novelties, the pointed style of the North was introduced, with i i Sicily it has always the a ce, and the Italian style \ i the Continent of Europe. nee and Germany, the countries of Continental Europe in e solved. We might have expected to have found it first in ,ay l)o called the mother-country and the Sicilian colony — pointed style in Sicily, they continued t.t make its appearance in Italy till so late as the thirteenth century, and then c the origin of the introduction of the pointed style in Continental Europe, appears, The Sicilian buildings clearly shew that the Saracens were lands. Warriors, pilgrims, or captives, may have remarked y have introduced it, on their return home, into their respective countries. 1 lie the countries of Continental Europe, compared with the date of the Crusades, The old hypothesis of the Crusades, as the origin o after all, to be entitled to more attention than any other suggestion, the inventors. The Crusaders saw the works of the Saracens in other the new shape, in the course of those wars, a date of the first appearance of the pointed a ordance with this view of the subject. H. G. K. ; -:fr/.' : - V DESCRIPTION PLATES. OF THE Plate I. — TITLE-PAGE. THE INTERIOR OF THE PAVILION IN THE GARDENS OF LA CUBA, PALERMO. Plate II. THE EXTERIOR OF THE SAME PAVILION. This is an undoubted Saracenic building. It is one out of many Pavilions which adorned the extensive gardens of a Moorish Palace which still exists. It is entirely built of ashler stone, and consists of four pointed arches, which support a small cupola. In this little building we find the type of the Siculo-Norman style—the pointed arches, the cupola, and the curious billet moulding with which the arches arc surrounded. The cupola is supported at each angle by a series of corbels, which ingeniously connect the circle with the square. Plate III. THE PALACE OF LA CUBA, PALERMO. This is the Palace in the gardens of which the Pavilion stood. It is very strongly built of stone, and remains nearly as the Saracens left it. It is large and lofty, oblong in shape, and constructed on the usual plan of the East: that is to say, it is built round a court, with all the windows looking into the court. The external walls are relieved and ornamented with tiers of long pointed panels. Round the summit is a parapet of large stones, placed horizontally, on which is sculptured an inscription in Cuphic characters. The Palace derives its name of La Cuba from the Arabic word Cubat, which signifies a vault, or vaulted work. It stands about a mile out of Palermo, on the way to Monrcalc. The external walls of the remaining Norman Tower of the Palazzo Reale, at Palermo, are ornamented with the same long pointed panels. Plate IV. THE HALL IN THE PALACE OF I.A ZIZA, PALERMO. This Plate represents a large open Hall on the ground-floor of another Saracenic Palace, which is situated about a mile out of Palermo to the west. The Hall is an exact counterpart of the luxurious retreats so universally seen in Mahomedan countries. It is not the less curious for having been worked upon by the Normans. 'I he small pillars, which are introduced at the angles, and at intervals along the walls, were added by the Norman King, William 1. In one ot the recesses of the Hall is a fountain, the waters of which are conducted in channels across the floor. The vaulted part of these recesses is formed of that elaborate species of honeycomb work which is common in the Alhambra. The Palace itself, in all its leading features, is very similar to La Cuba; but, having been adapted to the purposes of modern habitation, has undergone much alteration. This Palace is called La Ziza, and derives its name from Alazis, the last word of the Cuphic inscription on the walls of the open Hall. The exact date of these Saracenic buildings is not accurately known, but they cannot have been built later than 1037; after which year, all was confusion in Sicily till the Normans were established. From the indirect evidence which history supplies, there is reason to believe that the Saracenic Palaces, still existing in Sicily, were built in the second half of the tenth century. Plate V. THE BATHS OF CEFALU. These Baths arc situated about eighteen miles to the south-east of Palermo, on the road from Palermo to Messina. The mineral waters, which originally brought the Baths into existence, have secured them from destruction. They are still in tolerable repair, and in good repute. Externally, the Baths are a large oblong pile, about ninety feet long. At the height of the springing of the vaulted rool, a frieze, with Cuphic inscriptions, was originally carried entirely round the four sides of the building. Internally, you find a spacious Hall, covered with a stone vault of considerable span, which is here and there perforated with circular apertures, to admit light and air. The upper end of the Hall is divided off by three pointed arches, supported by pillars with capitals. ... . ,, . . The learned Gregorio, in his Dissertation on the Public Baths of Sicily, assigns the construction of the original portions ot this building to the Saracens. Plate VI. SAN GIOVANNI DEGL1 EREMITI, PALERMO. This Church has so Oriental an appearance that, at first sight, it might be supposed to have originally been a Mosque, and afterwards consecrated to Christian purposes; but the period of its construction is established by authentic documents. It was built by the Norman King, Roger, and must have been finished before llSS. I DESCRIPTION OF THE PLATES. 'I'his building is in the shape of the Latin cross, with three apses at, the end. It has no si cupolas, three over the nave, and one over each transept,; of these, four remain. All the original arches in this building, as well as the doors and windows, arc pointed, dissimilar from the buildings which the Normans were at that period constructing in Fran resemblance of the Saracenic buildings still existing in Sicily. It had originally five s Church is totally land, and an exact Pi. VI DISTANT VIEW 01" Tit AINA Traina is situated in the interior of Sicily, about cighte from the strength of its position, and was the scene of mi Saracens. After the conquest of the island had beei the Church. A very small portion of the original building remains. This portion is in the Romanesque miles to the south-west of Bronte. It was a place of great importance jinny a daring exploit during the struggle between the Normans and the •hieved, Count Roger founded at Traina the first Catholic See, and built LA NUNZIATELLA DEI CATALANI. This is one of the oldest Churches in Messina. It is a nearly square building, and h adopting the Greek plan, as also in the central dome which it once possessed. The eastern round Norman arches, resting on small pillars, with foliated capitals. At the west end are tl mixture of Greek aud Norman ornaments. On the lower part, of the jambs of the principa inscription. The stonos must have been taken from some Saracenic building. The exact date of this Church is unknown, but it is incidentally mentioned as an ancient, building in II69. Dei Catalani, because, under the Arragoneso kings of Sicily, it was given up to the separate use of the Catalans. is but one apse: in these respects end is decorated with two tiers of rue curious portals, which exhibit a entrance is an imperfect Saracenic Pla IX. 1. Capitals in the Cathedral of Messina, which was begun about 1008 by the Norman Count Roger, and finished by his son. The greater part of the Cathedral has been rebuilt. The original portions which remain arc in the Romanesque, or round style. This Church is in the shape of the long, or Latin, Basilica. The arches of the nave do not rest oil piers, hut on pillars of granite, taken from earlier buildings. 2. Windows of the Cathedral. 3. One of the Doors of the Nunziatella. t. An ancient Font, which is now in the Chapel of the Fort built by Charles V., to guard the entrance of the harbour of Messina. The Font is believed to have stood originally in the Church of San Salvador, built on the same spot by Count Roger, at the close of the eleventh century. Pi.a X. The history of this Portal is curious. It. originally belo front of the Cathedral was modernised) to the Palazzo Publico ; and fr 17 . 00 , it was again removed to the Church of Santo Carccrc. ANTO CAItCEltE, CATANIA, the Cathedral. From thence it was TIUltCH OF removed (when the west the Palazzo Publico, when that building was altered in The Portal is entirely of white marble, and exhibits another striking example of the mixture of the Greek and Norman styles. From the manner in which the ornaments a that they must have been the work of Greek artists. The Cathedral, to which the Portal belonged, was Roger, in 1092, and the probability is, that the Portal is not of a much later date. executed, it is evident iginully built by Count Plate XI. THE CATHEDRAL OF CEFALU. Cefalu is a town of the middle ages, on the northern coast of Sicily, about halfway between Messina and Palermo. Its Cathe¬ dral is a building of groat interest from the certainty of its date. In the autumn ot 1131, King Roger, in danger of perishing by shipwreck when he was on his return from Calabria to Sicily, vowed, if he were permitted to escape, to build a church wherever he first set his foot, on shore. lie landed at Cefalu, and this Cathedral was begun in the course of the following y This building affords a complete proof of the adoption of the pointed style, at. that remote period, by the Normans, in Sicily. It is a building of considerable size, in the shape of the Latin cross. This Plate represents the west end of the Cathedral. The Portico is an addition of a date much later than that of the rest of the building. Plate XII. THE EAST END OF THE CATHEDRAL OF CEFALU. the usual apse which former! the east end of early Churches ; here are the interlac Here seen in France and England ; and In¬ frequently the pointed style. THE INTERIOR OF THE XIII. 1THEDRAL OF CEFALU. i that all the arches of the nave are pointed. The arches rest on pillars taken from earlier liuild- t of which imitate the Corinthian. The roof of the nave is of wood. The elioir and transepts DESCRIPTION 01' THE PLATES. Plate XIV. THE WESTERN PORTAL OF THE CATHEDRAL OF CEFALU. Here is again that singular mixture of the Greek and Norman style. Four of the mouldings are d la Grecque, whilst on the fifth, next the door, appears the Norman zig-zag. The whole is of white marble. The figures in the upper corners of this engraving exist in the interior of the Cathedral, and are of truly Norman character. Plate XV. THE CLOISTER OF THE CATHEDRAL OF CEFALU. This Cloister consists of plain, pointed arches, resting on coupled columns, which arc covered with a variety of elaborate patterns. The capitals of the column arc far from uniform. Some have figures ; others are a very close imitation of the Greek : all are of marble, and beautifully executed. Plate XVI. AN ANCIENT MOSAIC IN THE CHURCH OF LA MARTORANA, AT PALERMO. The subject is our Saviour placing the crown on the head of the first Norman king of Sicily. The king, in addition to the royal robes, wears the Dalmatic tunic, which could be assumed only by ecclesiastical dignitaries, and was never omitted by the Norman kings ; to shew that they were, what Urban II. made them, hereditary apostolical legates in Sicily, and, as such, entitled to nominate the bishops within their realm without reference to Rome. Over the head of the king appears, in Greek characters, Rogerius Rex — a curious jumble of languages. The mosaic is as old as the older portions of the Church, which was finished in 1143. Plate XVII. 1. THE RUINS OF LA FAVARA. A Saracenic Palace, afterwards repaired and occupied by the Norman kings. 2. THE PONTE DEL AMMIRAGLIO. About a mile and a half to the east of Palermo. It was built by George Antiochenus, King Roger’s High Admiral, who also built the Church of La Martorana. Plate XVIII. THE INTERIOR OF LA CAPELLA PALATINA, OR CHAPEL ROYAL OF THE PALACE, AT PALERMO. This Chapel was built by King Roger, and appears to have been finished in 1132. It is evident that, in the construction of this building, both Greeks and Saracens were employed ; for, if its pillars and decorations are in the Greek style, its arches are pointed; and its roof is not only Saracenic in character, but is covered with Arabic inscriptions. Though not of large dimensions it has all the features of a church — a nave, side-aisles, and three apses at the east end. It is built in the long Latin form, but has a Greek cupola at the intersection of the cross. Every part of the interior of this building is covered with mosaics on a gold ground, the effect of which is splendid. The Chapel is in complete preservation — a perfect gem of its kind, and a most singular and interesting specimen of that mixture of style which is to be found, and could be found, in Sicily alone. Plate XIX. THE TOMB OF KING ROGER IN THE CATHEDRAL OF PALERMO. This tomb stands in a side chapel, with three more royal monuments of nearly similar design. The sarcophagus is of porphyry ; the pillars and the canopy arc of white marble; the workmanship is elaborate, and must have been executed by Greek artists. The greater part of the Cathedral has been rebuilt at different times. The oldest part is a remnant of the fabric which was consecrated in 1185, and which was the work of Walter Offamilio, an Englishman, who was Archbishop of Palermo in the reign of William I. Plate XX. A ROOM IN THE PALAZZO VECCIIIO OF PALERMO. This part of the Palace was built by William I., who died in 1166. The walls and coved ceiling of this room are encrusted with mosaics, amongst the designs of which are seen Norman hunters with the cross-bow, and stags. Plate XXL PORTAL OF THE CONVENTUAL CHURCH OF MANIACE, NEAR BRONTE. This Church was built in 1194, by Margaret, the daughter of a king of Navarre, and the wife of King William I., who founded at this place a Convent of Benedictine Nims. The caps of the pillars on each side of the door are foliated, and ornamented with rude figures in the Norman style. Three of the mouldings of this Portal reproduce the Norman cable. r^m DESCRIPTION OF THE PLATES. The first story the French Norman. Plate XXII. THE BELFRY OF THE CHURCH OF LA MARTORANA, AT PALERMO. tower is very Saracenic in its character. The upper story, which is of later date, strongly resembles Plate XXIII. INTERIOR OF THE CATHEDRAL OF MONREALE, FOUR MILES TO THE SOUTH OF PALERMO. This Cathedral WM built K William II., summedthe Good ; it .aa begum in 1171, and is tl.e late.t and most splendid of the works of ,1,0 Nonna,, kings. It is of largo dimensions, and in the shape of the Latin cross. Externally it is plant, lmf maomifieent within for every part of its walls is covered with mosaics on a gold ground. Single pillars, taken from Roman buildings, support the arehe. on each side the nave. Some of the capital, of those pillar, are antique, but tho , n .,. ater part . are of the time, and of exquisite workmanship. All the arches in this building arc pointed. The interior of Monrealc offers a striking contrast to the contemporary Norman churches of the North. Plate XXIV. THE GREAT WESTERN PORTAL OF THE CATHEDRAL OF MONREALE. This Portal very much resembles the Portal at Cefalu. Here is the same mixture of tho Greek and the Norman style; but at Monreale the' whole is more enriched. The Door itself is bronze. It was wrought at Pisa by Bonanus, a citizen of that city, in 1186. It is ornamented with a series of Scriptural subjects in compartments. The figures are weU designed and bold. Plate XXV. THE CLOISTER OF THE CATHEDRAL OF MONREALE. This Cloister very nearly resembles that of Cefalu, consisting of small, coupled pillars, supporting pointed arches. The capitals are varied, and are ornamented with foliage and figures delicately worked. In one comer of the Cloister is a marble fountain of a Saracenic character. This Cloister was also the work of William II. Plate XXVI. THE OSPEDALE GRANDE, AT PALERMO. This building was originally a private habitation. It was built in 1330 by Matthew Salafanus, Count of Adriano, in the course of a single year, and is an enormous pile to have been raised in any country, or any age, within so short a space of time. It is on the usual plan, built round a large internal court, with arches below and open galleries above. On the outside, the fabric is plain below, but ornamented above with a series of large interlacing arches. The windows arc pointed and divided by a single pillar. This edifice was purchased by King Alphonso, in 1432, and by him converted into a Public Hospital. Plate XXVII. SOUTH PORTAL OF THE CATHEDRAL OF PALERMO. This highly ornamented Portal was inserted in 1426, and exhibits a style greatly enriched, hut retaining both Norman and Byzantine features. Plate XXVIII. SPECIMENS OF PORTALS AT PALERMO, EXHIBITING THE VICISSITUDES OF STYLE DURING THE FOURTEENTH AND FIFTEENTH CENTURIES. The pointed portals are the oldest. In one of these the Norman zig-zag still holds its ground, whilst the other is ornamented with variegated patterns in lava and stone. Plate XXIX. PORTAL OF THE GREAT HALL IN THE CASTLE OF MAN I ACES, AT SYRACUSE. The Byzantine General, whose name this fabric bears, certainly built a castle on this spot in 1025, and it is not improbable that portions of the existing building may be remains ol his work; hut the Great Ilall and its Portal^ belong to another era. In the Hall are pointed arches and round-headed windows —that mixture of style which, in England, is called the Transition. The mouldings of the Portal are bold, and enriched with a variety of elaborate ornaments. No record has come down to our time to tell us by whom, or when, this part of the Castle was erected; but, from various indications in the style, there is reason to believe that it is not older than the fourteenth century. As Cefalu is less generally known than that a general view of this town and its nt rocks, at the base of a rocky, insulated hi on elevated ground, at one extremity of the City — the ancient Cephaledium. Plate XXX. GENERAL VIEW OF CEFALU. other towns of Sicily, and as all its features are picturesque, it was conceived lighhourhood might not be without interest. The town is built, on a ledge of 11, of singular form. The Non® Cathedral stands, most fortunately, alone, town. On the summit of the height are faint vestiges of the original Greek m ( // , / ■-,„)/ _ _V- ■ ’ - 7ll/t /btfu’/n/aw■ <•/iAt/bn/nn ut//n //ait/tn.' •/ fa Ctthn /h/avtu Ac/trtor rf /At ■tttttu /U vtAon Tin /hiact of /,aCu/a, /hltrmv /'At //oil tn //n flzlvif i f/a ZtS-a Pa/tfittc /tUc, ter of /At fiuAa a/ (i/ii/u Sait On ra.tuu Any ft /iiinUt fa/e.ntu K&t