Apses and transept
Cefalù Cathedral

Layers of different cultures decorate the external apses

EXTERNAL APSES
The external architectural decoration of the three apses features twin columns dividing the semi-spherical surface, ending in the central apse with a fringe of elegant single-light blind arches, arranged in an alternating rhythm of evident Romanesque origin. The oculi were inserted in the space dividing the columns, in the middle position. The side apses, on the other hand, are influenced by Islamic architecture with their typical intertwining arches. The presence of large oculi, both in the central apse and in the transept, is reminiscent of Burgundian architecture, confirming the activity of workers of different origins on the site.

The decoration of the external architectural part of the three apses has the common feature of paired columns, which divide the semi-spherical surface, ending, in the central apse, with a fringe of elegant blind single-lancet arches , arranged in an alternating rhythm of evident Romanesque origin. The oculi were inserted in the space between the columns, in the middle position, according to a plan that was abandoned after a few years because the internal mosaic decoration concealed their presence. The side apses, on the other hand, are influenced by Islamic architecture with their typical intertwining arches .
The presence of large oculi , both in the central apse and in the transept, is reminiscent of Burgundian architecture , confirming the activity of workers of different origins on the site.
The distinctive feature at the end of the outer transept is the lively decoration, with small columns and blind arches corresponding to the internal walkway and loggia.
The roofs of these areas of the complex are different in relation to the rooms because of the many disruptions in construction affecting some parts of the Cathedral. The most evident defect, probably the result of a fire in the 16th century, concerns the southern arm of the transept, because of the presence of a high barrel vault , made of bricks and featuring with false ribs on the inside.

The Bible carved in stone

The beginning of the construction site

Roger II’s strategic design

Cefalù: settlement evidence through time

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

Survey of the royal tombs

Two initially similar towers, varied over time

Ecclesia munita

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

The Kings’ Cathedrals

A Northern population

A mixture of styles pervades the floor decorations

Interior decorations

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

The chystro: a place between earth and sky

The lost chapel

The mosaics of the presbytery

The original design

The Gualtiero Cathedral

Mosaic decoration

Gardens and architecture as a backdrop to the city of Palermo

Under the crosses of the Bema

A space between the visible and the invisible

The Cathedral over the centuries

The chapel of san Castrense: an important renaissance work

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

The cultural substrate through time

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

The decorated facade

A remarkable ceiling

The construction of Monreale Cathedral: between myth and history

The side aisles

A tree full of life

The liturgical spaces of the protesis and the diaconicon

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

Beyond the harmony of proportions

The rediscovered chapel

The southern portico

The Great Presbytery: a unique space for the cathedral

The cemetery of kings

The towers facing the facade used as bell towers

The area of the Sanctuary

Porphyry sarcophagi: royalty and power

The Great Restoration

The Chapel of the Kings

Roger II of hauteville: a sovereign protected by God

The balance between architecture and light

A controversial interpretation

Palermo: the happiest city

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

A new Cathedral

From the Mosque to the Cathedral

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

The towers and the western facade

The king’s mark

The Chapel of St. Mary Magdalene

Transformations over the centuries

A palimpsest of history

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

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

The stone bible

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

The longest aisle

The chapel of St. Benedict

Squaring the circle

Characteristics of religious architecture in the romanesque period

A cloister of accentuated stylistic variety

The chorus: beating heart of the cathedral

The medieval city amidst monasticism and feudal aristocracy

Norman religious architecture with islamic influences in Sicily

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

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

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

Artistic elements in Peter’s ship

A chapel by an unknown designer based on repeated symmetries

The Virgin Hodegetria

Layers of different cultures decorate the external apses

The senses tell Context 1

Worship services

The dialogue between the architectures of the monumental complex

A polysemy of high-level artistic forms and content

The mosaics of the apses

The transformations of the hall through the centuries