Cefalù Cathedral
the chystro

The original design

The cloister of Cefalù’s Basilica of the Transfiguration is the central nucleus of that vast collection of buildings that make up the conventual complex, erected next to the Cathedral.Over the centuries, there haven’t been any documents able to give us a precise construction date, so studies are still open.
In order to reconstruct the enigmatic story of the construction of the cloister and understand the dynamics of its current location, at a level of about three metres, considerably lower than the level of the naves of the adjacent church, it is necessary to reflect on the data that emerged from the recent restoration work, which has allowed us to formulate some hypotheses. The Cloister is located next to the wall of the Cathedral’s northern aisle , and therefore in a non-canonical position in relation to the Orthodox layout of the monastic complexes, which places it next to the wall of the church’s southern aisle. It should be remembered that the Cefalù cathedral church was built at the behest of Roger II, as a dedicatory temple and royal mausoleum. However, the grandiose and majestic building project, launched by the sovereign, was only completed after about two hundred years, interrupted by the completion of the apses , the presbytery and the transept .
The cathedral was completed after a long standstill with the creation of the naves and the modification of the original architectural layout. Entrance to the cloister was gained through the regular door in the western wall of the transept, with access to the eastern aisle and the anti-clockwise route along the aisles.
The cloister is delimited, to the south, by the north aisle of the church and surrounded, to the east and west, by the conventual buildings with the canonical spaces of the Abbey: the chapter house, the refectory, the dormitory; while to the north, on the sea front, it is not unlikely that the cloister aisle could have remained in some way open to the horizon, a unique feature found in the cloister of the Benedictine Mont-Saint-Michel Abbey .

Artistic elements in Peter’s ship

The construction of Monreale Cathedral: between myth and history

A cloister of accentuated stylistic variety

The rediscovered chapel

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

Squaring the circle

Roger II’s strategic design

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

The southern portico

The area of the Sanctuary

A palimpsest of history

A tree full of life

A polysemy of high-level artistic forms and content

The balance between architecture and light

The medieval city amidst monasticism and feudal aristocracy

The dialogue between the architectures of the monumental complex

Layers of different cultures decorate the external apses

The transformations of the hall through the centuries

The longest aisle

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

Survey of the royal tombs

A chapel by an unknown designer based on repeated symmetries

The senses tell Context 1

The chapel of St. Benedict

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

A remarkable ceiling

From the Mosque to the Cathedral

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

The stone bible

The mosaics of the apses

Ecclesia munita

Porphyry sarcophagi: royalty and power

The chorus: beating heart of the cathedral

Transformations over the centuries

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

The Great Presbytery: a unique space for the cathedral

A controversial interpretation

The original design

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

The Bible carved in stone

Characteristics of religious architecture in the romanesque period

A mixture of styles pervades the floor decorations

The towers facing the facade used as bell towers

Palermo: the happiest city

Mosaic decoration

The cemetery of kings

The Great Restoration

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

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

The lost chapel

Beyond the harmony of proportions

Interior decorations

Under the crosses of the Bema

The Chapel of St. Mary Magdalene

The beginning of the construction site

Gardens and architecture as a backdrop to the city of Palermo

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

The side aisles

The Virgin Hodegetria

The mosaics of the presbytery

A Northern population

The Gualtiero Cathedral

A new Cathedral

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

Roger II of hauteville: a sovereign protected by God

Norman religious architecture with islamic influences in Sicily

The liturgical spaces of the protesis and the diaconicon

Cefalù: settlement evidence through time

The king’s mark

Worship services

The chapel of san Castrense: an important renaissance work

Two initially similar towers, varied over time

The Chapel of the Kings

The chystro: a place between earth and sky

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

The cultural substrate through time

A space between the visible and the invisible

The Cathedral over the centuries

The towers and the western facade

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

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

The decorated facade

The Kings’ Cathedrals