Palermo Cathedral
St. Mary Magdalene

A controversial interpretation

This document, written by Gualtiero, was mistranslated in the past, leading to errors made by later historiographers and scholars who interpreted the chapel as having been demolished, failing to identify its exact location. A careful reading and translation of the above-mentioned petition shows that Gualtiero was not asking the King for permission to demolish the Chapel, but to grant it to the Clerics of the Cathedral and their liturgical services. At the same time, he wanted to be able to move the mortal remains of the nobles of the royal family which were kept there to another place, by building a new chapel dedicated to Mary Magdalene. It should also be noted that the document is dated 1187, the 21st year of William II's reign , when the work of transforming the church had already been completed. It was reopened for worship on 6 April 1185, with a solemn consecration ceremony dedicated to the Blessed Virgin of the Assumption . The thesis that supported the belief in the chapel’s demolition was also based on a presumed rebuilding ab fundamentis of the Gualtierina Cathedral, shifting it a few metres from its former location as a former mosque and Byzantine basilica to the southern front.

Interior decorations

The Kings’ Cathedrals

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

A chapel by an unknown designer based on repeated symmetries

Gardens and architecture as a backdrop to the city of Palermo

The rediscovered chapel

The longest aisle

The chystro: a place between earth and sky

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

A controversial interpretation

Norman religious architecture with islamic influences in Sicily

The chorus: beating heart of the cathedral

The mosaics of the presbytery

The medieval city amidst monasticism and feudal aristocracy

The Chapel of St. Mary Magdalene

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

Characteristics of religious architecture in the romanesque period

The liturgical spaces of the protesis and the diaconicon

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

Worship services

Squaring the circle

Cefalù: settlement evidence through time

A tree full of life

Beyond the harmony of proportions

The mosaics of the apses

The dialogue between the architectures of the monumental complex

The original design

The beginning of the construction site

The towers facing the facade used as bell towers

A Northern population

The cultural substrate through time

Layers of different cultures decorate the external apses

Roger II of hauteville: a sovereign protected by God

A space between the visible and the invisible

The Chapel of the Kings

Artistic elements in Peter’s ship

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

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

The stone bible

Two initially similar towers, varied over time

The Bible carved in stone

Under the crosses of the Bema

The side aisles

A mixture of styles pervades the floor decorations

A palimpsest of history

The Great Restoration

Palermo: the happiest city

The decorated facade

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

Porphyry sarcophagi: royalty and power

The Great Presbytery: a unique space for the cathedral

The Cathedral over the centuries

The Gualtiero Cathedral

Transformations over the centuries

The lost chapel

Mosaic decoration

The area of the Sanctuary

The transformations of the hall through the centuries

A cloister of accentuated stylistic variety

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

The balance between architecture and light

A remarkable ceiling

Ecclesia munita

Survey of the royal tombs

The southern portico

The cemetery of kings

The senses tell Context 1

The chapel of san Castrense: an important renaissance work

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

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

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

The king’s mark

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

From the Mosque to the Cathedral

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

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

A new Cathedral

The chapel of St. Benedict

A polysemy of high-level artistic forms and content

The Virgin Hodegetria

Roger II’s strategic design

The towers and the western facade

The construction of Monreale Cathedral: between myth and history