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.

A remarkable ceiling

Beyond the harmony of proportions

The stone bible

The longest aisle

The towers and the western facade

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

A new Cathedral

Under the crosses of the Bema

The original design

The Kings’ Cathedrals

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

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

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

A chapel by an unknown designer based on repeated symmetries

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

A polysemy of high-level artistic forms and content

Characteristics of religious architecture in the romanesque period

The rediscovered chapel

The towers facing the facade used as bell towers

The Great Presbytery: a unique space for the cathedral

A controversial interpretation

A space between the visible and the invisible

A palimpsest of history

Gardens and architecture as a backdrop to the city of Palermo

The medieval city amidst monasticism and feudal aristocracy

Ecclesia munita

The Great Restoration

The cultural substrate through time

Roger II’s strategic design

The beginning of the construction site

Survey of the royal tombs

Transformations over the centuries

Interior decorations

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

The balance between architecture and light

Cefalù: settlement evidence through time

The mosaics of the apses

Palermo: the happiest city

The dialogue between the architectures of the monumental complex

The construction of Monreale Cathedral: between myth and history

The Cathedral over the centuries

The southern portico

Artistic elements in Peter’s ship

Two initially similar towers, varied over time

A tree full of life

The chapel of san Castrense: an important renaissance work

A cloister of accentuated stylistic variety

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

The liturgical spaces of the protesis and the diaconicon

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

The Chapel of the Kings

The Gualtiero Cathedral

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

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

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

The area of the Sanctuary

The senses tell Context 1

The cemetery of kings

The Virgin Hodegetria

A Northern population

Roger II of hauteville: a sovereign protected by God

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

Porphyry sarcophagi: royalty and power

The Bible carved in stone

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

The side aisles

A mixture of styles pervades the floor decorations

The chystro: a place between earth and sky

Mosaic decoration

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

The transformations of the hall through the centuries

Worship services

The king’s mark

The Chapel of St. Mary Magdalene

The chorus: beating heart of the cathedral

Norman religious architecture with islamic influences in Sicily

Squaring the circle

Layers of different cultures decorate the external apses

The chapel of St. Benedict

The mosaics of the presbytery

The decorated facade

From the Mosque to the Cathedral

The lost chapel