The mosaics of the nave
, featuring scenes from the Old
and New Testaments
, as well as the interplay of columns that runs through and punctuates the interior of the cathedral, seem to accompany the faithful on a salvific journey that crosses the presbytery
and culminates, in a Christo-centric line, with the King of Kings, the Christ Pantocrator
, placed at the centre of the apsidal dome
.
In the central apse of the Monreale Cathedra, Christ Pantocrator emerges from a rich golden background. Hieratic and solemn, Christ Pantocrator is depicted as a half-length figure and, like a casket of divine light, emanates light. The Pantocrator, from the Greek word for ruler of all things, blesses the faithful with his right hand: the two arched fingers symbolise Christ’s dual nature, divine and earthly, while the other three, joined together, are an allegory of the Holy Trinity. This hand pose was also used in ancient times by Roman emperors when they asked for silence. With his left hand, he firmly holds the Gospel. The volume has an open page, either in Greek and Latin, which contains the phrase: “I am the light of the world; Whoever follows me will never walk in darkness, but will have the light of life”. Christ Pantocrator, majestic and with a stern but benevolent gaze, facing to the right, is crowned with a crusader’s nimbus in memory of his sacrifice, richly decorated with gems and jewels. He has long, flowing hair and a rosy complexion. Christ Pantocrator is the Almighty, the King of Kings. He has a golden/red robe, symbolic of divinity, and a blue mantle, symbolic of humanity. With his great, 11-metre long embrace, which spreads through the apse, he represents both God and man, welcoming and saving the faithful. The iconography, of classical Byzantine derivation, is often found in the Christian Middle East, and is widespread throughout the south of Italy in frescoes, while in Sicily it was mosaicked in Monreale, Cefalù and Palermo. The tiles are arranged in an almost concentric way around the Pantocrator. This is done so as to create two-dimensional and abstract backgrounds that make the whole depiction appear symmetrical, mystical and precious. Christ is immersed in a golden and luminous sky, a casket of light to which every believer, once inside the Cathedral, approaches on this journey towards Salvation.
A mosaic cycle which, partly thanks to the figures of over two hundred and fifty saints mainly represented in the sub-arches, invites us to contemplate and look towards Christ, the bearer of justice and salvation.
The presbytery is divided into the left wing, known as St. Louis bay
, the choir and the right wing, known as the Williams’ bay. The first is so called because it houses the reliquary altar of St. Louis
, at the end of the northern wall of the room; while the Williams’ bay houses the sarcophagi of the kings of Sicily
, William I known as “the Bad” and the commissioner of the entire complex, William II
. It may be noted that, in comparison with other Norman buildings, the presbyteral part has very slight projections in relation to the rest of the basilica, with the arms of the transept
being less pronounced transversely.
The presbytery , located in a raised position, is accessed via a few steps; the space is marked by a series of triumphal arches
, which divide this large and wide area into various sections, where architecture, decoration and colours take part in the grandiose iconographic programme that tells the story of Salvation, from the Creation of Man, through sin to the triumph of Christ.In the middle of the first large entrance ogival arch
, the Sapientia Dei is depicted, introducing the Cathedral’s entire mosaic cycle, as it accompanies all of God’s work; it is represented as a crowned and veiled woman between archangels Michael and Gabriel
. The other triumphal arches, regal and majestic, are arranged in a progressively ascending order and are decorated with clipei
, representing kings and prophets
, and images of angels and saints
leading to the last arch, the one that surrounds the apsidal basin, where the Pantocrator is depicted.
The etimasia
, i.e, the empty throne that will welcome Christ, universal judge, at the end of time, as narrated in the Revelation, can be seen in the vault.
Two other arches, depicting saints and martyrs
, give access to the presbytery from the northern and southern transepts. In the pillars, positioned above the royal throne
and the bishop's seat
, the purely political scene of William II being crowned by Christ
In the mosaic cycle of the Monreale Cathedral, the representation of the sovereign, who commissioned the complex, occurs twice: above the wall of the royal throne and on the wall of the archiepiscopal throne. The first mosaic shows the king of Sicily dressed in the classical dalmatic robe, standing and gazing deeply as he is about to be crowned by Christ. The latter is surrounded by two angels, carrying the sceptre and the crucigerous globe, respectively. Christ, at the right of the king, is seated on a golden throne studded with gems. He has a stern and proud face and utters the biblical expression “my hand will help him”, while holding firmly in his hands a volume with the same words as the Pantocrator “I am the light of the world; Whoever follows me will never walk in darkness, but will have the light of life”. This scene plays an important political role in highlighting the concept that the power of the Norman rulers descended directly from God.
In the mosaic cycle of the Monreale Cathedral, the representation of the sovereign, who commissioned the complex, occurs twice: above the wall of the royal throne and on the wall of the archiepiscopal throne. In the second mosaic, the King of Sicily is shown kneeling and offering the Cathedral to the Virgin Mary. The king, dressed in royal and silk robes, specifically with the dawn, dalmatic and superomeral crossed over his chest, is kneeling in front of the Madonna and holding a model of the Cathedral. Mary is dressed in blue and brown robes and is depicted majestically seated on a gem-covered throne as she holds out her hands towards this special gift. From above, two angels hover and move towards the archetype while a hand, that of God Almighty, blesses the entire scene.
The chapel of the crucifix: an artistic casket based on a previous model
Beyond the harmony of proportions
The medieval city amidst monasticism and feudal aristocracy
The cemetery of kings
The chapel of St. Benedict
Roger II’s strategic design
A tree full of life
Survey of the royal tombs
The decorated facade
A polysemy of high-level artistic forms and content
Characteristics of religious architecture in the romanesque period
A palimpsest of history
The Chapel of St. Mary Magdalene
A Northern population
A chapel by an unknown designer based on repeated symmetries
Biblical themes enlivened by the dazzling light of the stained – glass windows overlooking the naves
Ecclesia munita
The Chapel of the Kings
The Great Presbytery: a unique space for the cathedral
Artistic elements in Peter’s ship
Two initially similar towers, varied over time
The chapel of san Castrense: an important renaissance work
The paradisiacal “Conca d’oro” that embraces Palermo: a name with countless faces through time
A remarkable ceiling
The senses tell Context 1
Squaring the circle
A controversial interpretation
A space between the visible and the invisible
The balance between architecture and light
The towers facing the facade used as bell towers
The architectural modifications ti the cathedral building after the death of Roger II and the transformations of the cloister
Cefalù: settlement evidence through time
The stone bible
Roger II of hauteville: a sovereign protected by God
The area of the Sanctuary
The transformations of the hall through the centuries
Tempus fugit: a strategic project implemented in a short period of time
The towers and the western facade
The rediscovered chapel
Worship services
The Kings’ Cathedrals
Layers of different cultures decorate the external apses
The Virgin Hodegetria
The southern portico
Under the crosses of the Bema
The chorus: beating heart of the cathedral
The dialogue between the architectures of the monumental complex
Norman religious architecture with islamic influences in Sicily
From the Mosque to the Cathedral
The beginning of the construction site
The plasticism of the main portico and Bonanno Pisano’s Monumental Bronze Door
The columns of the nave: the meticulous study of the overall order
The links between the hauteville family and the monastic orders in Sicily
The king’s mark
From the main gate to the aisles: an invitation to a journey of faith
The side aisles
The side Portico: a combination of elegance and lightness of form
Transformations over the centuries
The mosaics of the apses
The marble portal: an intimate dialogue between complex ornamental aspects and formal structure
Gardens and architecture as a backdrop to the city of Palermo
Thirteenth-century iconography decorates the nave’s wooden ceiling, designed with new solutions
The Gualtiero Cathedral
The Great Restoration
Interior decorations
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 mixture of styles pervades the floor decorations
The mosaics of the presbytery
The original design
The construction of Monreale Cathedral: between myth and history
The liturgical spaces of the protesis and the diaconicon
A new Cathedral
Porphyry sarcophagi: royalty and power
A compositional design that combines nordic examples with new artistic languages, over the centuries
Mosaic decoration
A cloister of accentuated stylistic variety
The Cathedral over the centuries
The lost chapel
MiC – Ministero della Cultura
Legge 77/2006 - Misure Speciali di Tutela e Fruizione dei Siti Italiani di Interesse Culturale, Paesaggistico e Ambientale, inseriti nella “Lista Del Patrimonio Mondiale”, posti sotto la Tutela dell’ UNESCO Regione Siciliana.
Assessorato dei Beni Culturali e dell’Identità Siciliana, Dipartimento dei Beni Culturali e dell’Identità Siciliana.
Parco archeologico della Valle dei Templi di Agrigento.
The mosaics of the
nave
, featuring scenes from
the Old
and
New Testaments
and culminates, in a Christo-centric line, with the King of Kings,
the Christ Pantocrator
, at the end of the northern wall of the room; while the Williams’ bay houses the
sarcophagi of the kings of Sicily
. It may be noted that, in comparison with other Norman buildings, the presbyteral part has very slight projections in relation to the rest of the basilica, with the arms of the
transept
In the middle of the first large entrance
ogival arch
