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.

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Characteristics of religious architecture in the romanesque period

A polysemy of high-level artistic forms and content

The Chapel of the Kings

The transformations of the hall through the centuries

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The Great Presbytery: a unique space for the cathedral

The balance between architecture and light

The chystro: a place between earth and sky

The chapel of St. Benedict

The area of the Sanctuary

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

The rediscovered chapel

The southern portico

The longest aisle

The senses tell Context 1

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

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A new Cathedral

Ecclesia munita

A Northern population

A cloister of accentuated stylistic variety

The cemetery of kings

Roger II of hauteville: a sovereign protected by God

The Virgin Hodegetria

The liturgical spaces of the protesis and the diaconicon

The Bible carved in stone

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The towers and the western facade

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Worship services

The mosaics of the apses

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The Chapel of St. Mary Magdalene

Mosaic decoration

A chapel by an unknown designer based on repeated symmetries

The Cathedral over the centuries

A space between the visible and the invisible

Two initially similar towers, varied over time

Transformations over the centuries

The mosaics of the presbytery

The decorated facade

The king’s mark

The side aisles

The dialogue between the architectures of the monumental complex

Norman religious architecture with islamic influences in Sicily

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Survey of the royal tombs

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

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Roger II’s strategic design

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The Great Restoration

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Interior decorations

The Gualtiero Cathedral

Layers of different cultures decorate the external apses

Beyond the harmony of proportions

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The beginning of the construction site

The original design

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

The cultural substrate through time

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

A controversial interpretation

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The lost chapel

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

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

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

A remarkable ceiling

The stone bible