Cefalù Cathedral
the chystro

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

After 1154, the architects and craftsmen worked to reduced the height of the nave and, consequently, that of the side aisles with their respective windows, with respect to the original design, which was followed until the construction of the triumphal arch in the transept .

The monumental arch, dating back to Roger’s reign, which can still be seen outside the building, is raised above the roof covering the lowered nave, which began being built in the second half of the 12th century, at the same time as the roof. These design changes involved the construction of an internal counter-arch , connecting the western front of the transept with the nave. There is no doubt at this point that if the original unitary project was intended to reflect a unitary design, it should have included the architectural development of the entire complex without creating the current difference in height between the church and the cloister. However, the project was addressed the area from the apse up to the end of the transept, as well as the great triumphal arch, part of the foundations and the first elevation of this area. It is assumed, from these changes that occurred over time, that the cloister was built at a later date, concomitant with the construction of the aisles, as it must have stood on the outside front of the northern aisle.The entrance to the cloister, contemporary with the work of Roger II, was located, in accordance with liturgical rules, on the left side of the transept and had to coincide with the floor level of the naves, which at the time were already laid out but had not yet been completed. The transformations made to the volumes of the architecture after the death of the king of Sicily never allowed the original door to be used in its complete form. In a first phase, in order to reach the level below, the ogival-arched room was lowered with the creation of an architrave. Steps were created inside the imposing masonry, from which a lateral staircase, of which traces remain in the stone, descended to the level of the porticoed courtyard, in the eastern aisle. Subsequently, the initial opening was abandoned, and a new door was opened in the 16th century, located in the left aisle, close to the tower. A wide stone staircase departed from this room, towards the western aisle, largely cluttering the space. Following recent restoration work, the first large door can now be better seen. Inserted in the western front of the transept, it was certainly designed to lead into the adjoining cloister, even though it was placed on the exit level of the transept floor. It is now about three metres higher than the current walkway of the cloister aisles. The direct connection between the Cloister and the Cathedral, originally intended to be coplanar, was irreparably compromised during the construction of the left aisle. The reduction in the heights of the walls and the setting of the relevant windows resulted in a strong inconsistency with the heights of the door and the position of the windows in the aisle. The idea of creating an embankment in order to level Cloister with the Cathedral was never considered.

A space between the visible and the invisible

Worship services

The original design

Transformations over the centuries

A tree full of life

The chapel of St. Benedict

Gardens and architecture as a backdrop to the city of Palermo

The towers facing the facade used as bell towers

A palimpsest of history

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

Ecclesia munita

Layers of different cultures decorate the external apses

The senses tell Context 1

Palermo: the happiest city

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

Squaring the circle

Survey of the royal tombs

The king’s mark

The cemetery of kings

Mosaic decoration

The Chapel of St. Mary Magdalene

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

Roger II of hauteville: a sovereign protected by God

The southern portico

The decorated facade

A Northern population

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

Beyond the harmony of proportions

The transformations of the hall through the centuries

The longest aisle

A polysemy of high-level artistic forms and content

The chorus: beating heart of the cathedral

The lost chapel

The Cathedral over the centuries

The beginning of the construction site

The dialogue between the architectures of the monumental complex

The area of the Sanctuary

The liturgical spaces of the protesis and the diaconicon

A new Cathedral

A chapel by an unknown designer based on repeated symmetries

The chapel of san Castrense: an important renaissance work

The mosaics of the presbytery

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

Cefalù: settlement evidence through time

Roger II’s strategic design

A remarkable ceiling

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

Two initially similar towers, varied over time

The cultural substrate through time

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

Norman religious architecture with islamic influences in Sicily

The rediscovered chapel

A mixture of styles pervades the floor decorations

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

The balance between architecture and light

The stone bible

The Chapel of the Kings

The Virgin Hodegetria

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

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

The Kings’ Cathedrals

A controversial interpretation

The Gualtiero Cathedral

Artistic elements in Peter’s ship

Interior decorations

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

Porphyry sarcophagi: royalty and power

The mosaics of the apses

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

The chystro: a place between earth and sky

From the Mosque to the Cathedral

The side aisles

The medieval city amidst monasticism and feudal aristocracy

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

The towers and the western facade

The construction of Monreale Cathedral: between myth and history

Under the crosses of the Bema

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

The Great Restoration

The Great Presbytery: a unique space for the cathedral

Characteristics of religious architecture in the romanesque period

The Bible carved in stone