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.

Palermo: the happiest city

The chystro: a place between earth and sky

A cloister of accentuated stylistic variety

The longest aisle

The Virgin Hodegetria

Transformations over the centuries

The mosaics of the presbytery

The lost chapel

Characteristics of religious architecture in the romanesque period

The area of the Sanctuary

Survey of the royal tombs

Beyond the harmony of proportions

The senses tell Context 1

A polysemy of high-level artistic forms and content

The king’s mark

The liturgical spaces of the protesis and the diaconicon

The transformations of the hall through the centuries

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

The beginning of the construction site

A mixture of styles pervades the floor decorations

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

Cefalù: settlement evidence through time

The medieval city amidst monasticism and feudal aristocracy

Squaring the circle

The Cathedral over the centuries

Mosaic decoration

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

The Chapel of the Kings

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

The cemetery of kings

The rediscovered chapel

Under the crosses of the Bema

The cultural substrate through time

The towers facing the facade used as bell towers

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

A tree full of life

The Chapel of St. Mary Magdalene

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

Norman religious architecture with islamic influences in Sicily

The construction of Monreale Cathedral: between myth and history

A controversial interpretation

The decorated facade

Ecclesia munita

A Northern population

Worship services

From the Mosque to the Cathedral

Roger II’s strategic design

The Great Restoration

Layers of different cultures decorate the external apses

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

The Great Presbytery: a unique space for the cathedral

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

Two initially similar towers, varied over time

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

The southern portico

The balance between architecture and light

Porphyry sarcophagi: royalty and power

A chapel by an unknown designer based on repeated symmetries

Artistic elements in Peter’s ship

The Kings’ Cathedrals

The dialogue between the architectures of the monumental complex

The Gualtiero Cathedral

A space between the visible and the invisible

Interior decorations

Gardens and architecture as a backdrop to the city of Palermo

The original design

The chorus: beating heart of the cathedral

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

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

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

A remarkable ceiling

The mosaics of the apses

The towers and the western facade

The side aisles

A new Cathedral

The stone bible

The Bible carved in stone

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

A palimpsest of history

The chapel of St. Benedict

Roger II of hauteville: a sovereign protected by God

The chapel of san Castrense: an important renaissance work

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