Cefalù Cathedral
context 3

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

The building stands out on a platform on the imposing rocky mass stretching out towards the sea, embraced by the jagged peaks of the Sicilian Apennines between the Nebrodi and the Madonie mountains. It represents the completion of a grand programme, not without its ups and downs, reflecting the sovereign’s faith and desire to control the territory.
If we look at the rest of the landscape, a sequence of silhouettes comes to life, built at different times and hierarchically dependent on the cathedral.These include the cloister , the bishop's palace , the seminary   with its adjoining courtyard and the turnial from a later period.
The latter appears as a large embankment functioning as a churchyard, also used as a burial place. Legend has it that the earth it was made from came from Jerusalem because of its special properties for preserving bodies. Originally, access to the Cathedral was gained via a wide staircase or an incline with the aim of placing the building in a predominant position with respect to the urban fabric below. Access to the temple from the outside must have been characterised by a gradual and continuous ascent, symbolically linked to that towards the biblical Mount of the Transfiguration. This was interrupted by the subsequent addition of the turniale and steps, close to today’s main doorway, where the ascent resumes from the royal gate and ends at the altar. A recurring aspect in Romanesque churches is the perception of mass, already outlined in the elevation, which then becomes more consistent in the interior spaces, brought to life by the solid dynamism of the naves and the thick walls. The Cathedral of the Most Holy Saviour, designed in its original form by Nordic craftsmen as an Ecclesia Munita , included a series of multi-level walkways built into the wall cavity. They were used to defend the Cathedral and were intended to connect the façade’s two towers with the transept . Production was interrupted immediately after the death of Roger II in 1154, leading to a downsizing of the original architecture. In fact, following the completion of the transept, according to the original model, the body of the naves was transformed by lowering the ridge height of the nave’s roof, as well as that of the side aisles.
The outcome of this re-thinking was the creation of a new triumphal arch at a lower level, resulting in the abandonment of the original arch in the outer masonry. For this reason, the planned walkways were not built, although the posterns built in the western front of the  transept, which led to the pathway to the towers, still remain.

Roger II’s strategic design

The Chapel of the Kings

The mosaics of the apses

A remarkable ceiling

A tree full of life

Palermo: the happiest city

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

The side aisles

The stone bible

Transformations over the centuries

A space between the visible and the invisible

Two initially similar towers, varied over time

The Chapel of St. Mary Magdalene

Characteristics of religious architecture in the romanesque period

The chystro: a place between earth and sky

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

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

The dialogue between the architectures of the monumental complex

The longest aisle

The Virgin Hodegetria

A cloister of accentuated stylistic variety

Artistic elements in Peter’s ship

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

A new Cathedral

A controversial interpretation

The beginning of the construction site

Squaring the circle

Gardens and architecture as a backdrop to the city of Palermo

A chapel by an unknown designer based on repeated symmetries

A palimpsest of history

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

The towers facing the facade used as bell towers

Beyond the harmony of proportions

Mosaic decoration

The Great Presbytery: a unique space for the cathedral

The area of the Sanctuary

The senses tell Context 1

The Great Restoration

The king’s mark

The liturgical spaces of the protesis and the diaconicon

The Gualtiero Cathedral

Roger II of hauteville: a sovereign protected by God

Ecclesia munita

The Bible carved in stone

Interior decorations

The decorated facade

The medieval city amidst monasticism and feudal aristocracy

The construction of Monreale Cathedral: between myth and history

The cemetery of kings

The transformations of the hall through the centuries

The rediscovered chapel

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

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

The southern portico

The chapel of St. Benedict

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

The mosaics of the presbytery

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

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

The original design

The balance between architecture and light

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

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

The chapel of san Castrense: an important renaissance work

A Northern population

The lost chapel

A polysemy of high-level artistic forms and content

Cefalù: settlement evidence through time

Porphyry sarcophagi: royalty and power

A mixture of styles pervades the floor decorations

Worship services

The Kings’ Cathedrals

Layers of different cultures decorate the external apses

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

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

The Cathedral over the centuries

The towers and the western facade

From the Mosque to the Cathedral

The cultural substrate through time

Under the crosses of the Bema

Norman religious architecture with islamic influences in Sicily

The chorus: beating heart of the cathedral

Survey of the royal tombs