Palermo Cathedral
The Context 2

The Gualtiero Cathedral

The cathedral remained unchanged in its structure for almost a hundred years after the arrival of the Normans. During the reign of William II , grandson of Roger II , the church was restored and designed as an ecclesia munita from 1170 onwards,at the behest of Archbishop Gualtiero , a Proto family member of the King. The Cathedral was reopened for worship on April 6, 1185, with a lavish ceremony.
It is probable that the decision to renovate the sacred building was made not only to provide the city with a temple worthy of the kingdom’s capital, but also because of the damage caused to the church by the seismic event of 4 February 1169, known as the “ earthquake of Sant'Agata “, which caused extensive ruin throughout most of Sicily. Palermo Cathedral was rebuilt at the same time as the construction of the Monreale Cathedral, commissioned by William II, as part of his plans to govern the territory by creating emblematic places of worship.
For both sacred buildings, records tell the story of the discovery of a treasure, the one found by the Virgin Mary, who came to William in a dream to facilitate the construction of the Monreale Cathedral, and the one found during the construction of the church of the Holy Spirit , for the renovation of the church in Palermo.

Worship services

A Northern population

The columns of the nave: the meticulous study of the overall order

Characteristics of religious architecture in the romanesque period

The medieval city amidst monasticism and feudal aristocracy

A cloister of accentuated stylistic variety

Palermo: the happiest city

A controversial interpretation

The marble portal: an intimate dialogue between complex ornamental aspects and formal structure

The area of the Sanctuary

The Cefalù cathedral: a construction yard undergoing a change between a surge of faith and control over the territory

The Great Presbytery: a unique space for the cathedral

The king’s mark

The balance between architecture and light

The chapel of St. Benedict

The Great Restoration

The construction of Monreale Cathedral: between myth and history

The paradisiacal “Conca d’oro” that embraces Palermo: a name with countless faces through time

A mixture of styles pervades the floor decorations

Roger II of hauteville: a sovereign protected by God

The Bible carved in stone

The southern portico

Tempus fugit: a strategic project implemented in a short period of time

Roger II’s strategic design

The stone bible

The chystro: a place between earth and sky

Artistic elements in Peter’s ship

From the Mosque to the Cathedral

The mosaics of the presbytery

The rediscovered chapel

The beginning of the construction site

The links between the hauteville family and the monastic orders in Sicily

The Gualtiero Cathedral

The chapel of the crucifix: an artistic casket based on a previous model

A new Cathedral

The liturgical spaces of the protesis and the diaconicon

The Chapel of the Kings

Gardens and architecture as a backdrop to the city of Palermo

Mosaic decoration

The chorus: beating heart of the cathedral

The longest aisle

The side aisles

Transformations over the centuries

The transformations of the hall through the centuries

Under the crosses of the Bema

A remarkable ceiling

The chapel of san Castrense: an important renaissance work

Beyond the harmony of proportions

The cultural substrate through time

Biblical themes enlivened by the dazzling light of the stained – glass windows overlooking the naves

The decorated facade

Porphyry sarcophagi: royalty and power

The Chapel of St. Mary Magdalene

A tree full of life

Cefalù: settlement evidence through time

Norman religious architecture with islamic influences in Sicily

Interior decorations

The architectural modifications ti the cathedral building after the death of Roger II and the transformations of the cloister

The dialogue between the architectures of the monumental complex

A polysemy of high-level artistic forms and content

A chapel by an unknown designer based on repeated symmetries

Two initially similar towers, varied over time

Ecclesia munita

A space between the visible and the invisible

The towers and the western facade

The original design

Layers of different cultures decorate the external apses

The lost chapel

The plasticism of the main portico and Bonanno Pisano’s Monumental Bronze Door

A palimpsest of history

The Cathedral over the centuries

The Virgin Hodegetria

The Kings’ Cathedrals

Thirteenth-century iconography decorates the nave’s wooden ceiling, designed with new solutions

Squaring the circle

The side Portico: a combination of elegance and lightness of form

The cemetery of kings

The mosaics of the apses

The senses tell Context 1

The towers facing the facade used as bell towers

From the main gate to the aisles: an invitation to a journey of faith

A compositional design that combines nordic examples with new artistic languages, over the centuries

Survey of the royal tombs