Monreale Cathedral
the context 2

The cultural substrate through time

Following the difficult thirty years of the conquest, Norman rule favourably influenced a balanced synthesis between Western Latin, Eastern Byzantine and Arab Islamic cultures , although Christianity was at the heart of the restoration, thanks to the unifying power of the Church.
With William II , Monreale became the Kingdom’s most important ecclesiastical lordship, thanks to the creation of a Bishopric Abbey even before the settlement appeared.
Mons Regalis, at the foot of Mount Caputo, was located within the vast park of the Norman kings, the flourishing and luxuriant Genoard , the last to be created on top of earlier Islamic gardens.During the reign of William II, it stretched from the city of Palermo to the east, in the valley of the Oreto River, until it reached the Alto Fonte Park to the south, where there is still a  chapel and a palace from Roger's era .
The Monreale area was known for two particular places: the village of Bahalara   and the Chapel of Santa Domenica Ciriaca which, in Islamic times, preserved the Greek episcopal tradition in Palermo. The sacred space was the last Christian stronghold during the Muslim domination, and is of historical importance as it was home to the Bishop of Palermo, Nicodemus, who returned to the city when the Normans arrived to convert the large mosque into a church for Christian worship.
In the early years, the Monreale Cathedral’s foundation was often linked to the Latin phrase “super sanctam Kiriacam”, which also appeared in William II’s donation deed, published in 1176.
The fact that the Cathedral is located next to the small church of St. Cyriaca, whose liturgical name refers to the Lord’s Day, Sunday, justified the sovereign’s decision to build it in the interest of greater political power, given its proximity to the archbishopric of Palermo. Significant traces of this are evident in the hamlet of a municipality near Monreale. Its name, Santa Dominica, traces back to the Latin translation of the original Greek name for the now abandoned primitive place of prayer.

The Great Presbytery: a unique space for the cathedral

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

The king’s mark

A palimpsest of history

Under the crosses of the Bema

The beginning of the construction site

The Chapel of the Kings

The Gualtiero Cathedral

A chapel by an unknown designer based on repeated symmetries

The decorated facade

A new Cathedral

The liturgical spaces of the protesis and the diaconicon

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

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

A tree full of life

Transformations over the centuries

Two initially similar towers, varied over time

The cemetery of kings

Cefalù: settlement evidence through time

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

The Bible carved in stone

Gardens and architecture as a backdrop to the city of Palermo

The Virgin Hodegetria

The mosaics of the apses

The mosaics of the presbytery

The towers facing the facade used as bell towers

The dialogue between the architectures of the monumental complex

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

Worship services

A Northern population

Palermo: the happiest city

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

A mixture of styles pervades the floor decorations

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

Norman religious architecture with islamic influences in Sicily

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

The senses tell Context 1

The chystro: a place between earth and sky

The area of the Sanctuary

A controversial interpretation

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

The cultural substrate through time

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

Porphyry sarcophagi: royalty and power

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

The Cathedral over the centuries

Mosaic decoration

The chapel of St. Benedict

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

Layers of different cultures decorate the external apses

The original design

A polysemy of high-level artistic forms and content

The construction of Monreale Cathedral: between myth and history

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

The chorus: beating heart of the cathedral

The side aisles

The longest aisle

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

Beyond the harmony of proportions

The towers and the western facade

The Kings’ Cathedrals

Characteristics of religious architecture in the romanesque period

Survey of the royal tombs

Interior decorations

The stone bible

The transformations of the hall through the centuries

A remarkable ceiling

The Great Restoration

The balance between architecture and light

A cloister of accentuated stylistic variety

Squaring the circle

From the Mosque to the Cathedral

Roger II of hauteville: a sovereign protected by God

The rediscovered chapel

The southern portico

Artistic elements in Peter’s ship

The chapel of san Castrense: an important renaissance work

Roger II’s strategic design

The lost chapel

The Chapel of St. Mary Magdalene

The medieval city amidst monasticism and feudal aristocracy

Ecclesia munita

A space between the visible and the invisible