Thirteenth-century iconography decorates the nave’s wooden ceiling, designed with new solutions
The painted panels of the Cefalù Cathedral ceiling, arranged in horizontal axes, are 30cm high and 110m long. Traces of gold leaf, also found in the Palatine Chapel (iconographic similarities have also been found between Cefalù and the central aisle of the Palatine), and the precious blue lapis lazuli, the latter being considered royal, have been found among the bright colours. Despite the losses and the difficulty in reading some of the panels, it can be seen that the iconography, the result of a coherent process and skilled craftsmen, is diverse but features courtly, fantastic and natural world motifs. In the long continuous panels, subdivided into medallions decorated with a beaded motif, there are repeated decorative scenes with lions (the lion is often repeated as the heraldic coat of arms of the Hauteville family), antelopes, griffins, snakes, sphinxes, rabbits, birds in heraldic poses, peacocks with open tails, camels, elephants, gazelles, twin animals and the presence of hexagonal and octagonal designs, of Islamic inspiration, which recall the decorations of the carving below. The scene of the swan/ibis is particularly unique: elegant and with a long beak, the animal is caught fighting a snake, recalling the Egyptian motif of the sacred ibis. Interspersed with zoomorphic and branching plant decorations and floral motifs, other panels present depictions of warriors, falconers, hunters, horsemen, boldly outlined in black, and other men pointing at animals, playing instruments (including lutes, castanets, tambourines, cymbals, psalteries), dancing, drinking or holding cups and containers. The rendering of their costumes is refined, as is the study of expressions and physical characteristics. Other scenes are far more complex and feature the Tree of Life, the capturing of an animal, a peacock bearer, musicians on an elephant, a scribe, fantastic characters with fish tails and scenes of fighting.
Looking at the pitched roof of Cefalù Cathedral takes us back in time to when it was built as an unprecedented work in perfect harmony with the structure of the walls of the nave. It was so large and flooded with free light that special attention had to be paid to the construction aspects of its roof.
The solution adopted by the medieval carpenters was not limited to the choice of a truss configuration
, in respect of the Romanesque style, but to a system of elements extended to the entire base surface of the roof. The connection and interaction of the parts increased the absorption of thrust, using forward-looking strategies characteristic of the Gothic period.
These were already visible in the aesthetic and functional arrangement of the spindle-shaped series of chains designed to reduce weight-related inflection. Clues hidden in the outer bank of the walkway, which contains a pictorial decoration inspired by heraldic themes, lead us back to the first restorations, during the Ventimiglia period, in 1263.
The wooden ceiling subsequently underwent alterations during the 16th and 17th centuries that caused some of its elements from the period of the first construction to be moved from their original positions. In the middle of the nave of the Cefalù Cathedral, linked to a unified and, perhaps, broader decorative concept with the octagonal stars
in the attic, scenes painted
on boards arranged on horizontal axes develop with dynamic fluency.
Thirteenth-century iconography decorates the nave’s wooden ceiling, designed with new solutions
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 southern portico
The liturgical spaces of the protesis and the diaconicon
The Great Restoration
Palermo: the happiest city
The senses tell Context 1
Roger II’s strategic design
A chapel by an unknown designer based on repeated symmetries
A palimpsest of history
The area of the Sanctuary
The lost chapel
The king’s mark
Norman religious architecture with islamic influences in Sicily
The original design
The construction of Monreale Cathedral: between myth and history
Gardens and architecture as a backdrop to the city of Palermo
A Northern population
The rediscovered chapel
The towers facing the facade used as bell towers
The cultural substrate through time
The columns of the nave: the meticulous study of the overall order
The marble portal: an intimate dialogue between complex ornamental aspects and formal structure
The paradisiacal “Conca d’oro” that embraces Palermo: a name with countless faces through time
Characteristics of religious architecture in the romanesque period
The medieval city amidst monasticism and feudal aristocracy
The side Portico: a combination of elegance and lightness of form
A polysemy of high-level artistic forms and content
The mosaics of the apses
A cloister of accentuated stylistic variety
The Cathedral over the centuries
The beginning of the construction site
Beyond the harmony of proportions
A new Cathedral
Ecclesia munita
The plasticism of the main portico and Bonanno Pisano’s Monumental Bronze Door
Tempus fugit: a strategic project implemented in a short period of time
The dialogue between the architectures of the monumental complex
The Great Presbytery: a unique space for the cathedral
Biblical themes enlivened by the dazzling light of the stained – glass windows overlooking the naves
The Chapel of the Kings
Porphyry sarcophagi: royalty and power
Squaring the circle
Cefalù: settlement evidence through time
From the main gate to the aisles: an invitation to a journey of faith
Interior decorations
Mosaic decoration
The Chapel of St. Mary Magdalene
The balance between architecture and light
Transformations over the centuries
The chapel of St. Benedict
The Cefalù cathedral: a construction yard undergoing a change between a surge of faith and control over the territory
The cemetery of kings
The side aisles
Layers of different cultures decorate the external apses
The transformations of the hall through the centuries
The Virgin Hodegetria
Under the crosses of the Bema
The Kings’ Cathedrals
Survey of the royal tombs
Two initially similar towers, varied over time
A tree full of life
The longest aisle
The chorus: beating heart of the cathedral
The chapel of san Castrense: an important renaissance work
The chystro: a place between earth and sky
Artistic elements in Peter’s ship
The Bible carved in stone
The stone bible
The mosaics of the presbytery
A controversial interpretation
From the Mosque to the Cathedral
The decorated facade
A remarkable ceiling
Roger II of hauteville: a sovereign protected by God
A space between the visible and the invisible
The chapel of the crucifix: an artistic casket based on a previous model
The Gualtiero Cathedral
The towers and the western facade
A mixture of styles pervades the floor decorations
The architectural modifications ti the cathedral building after the death of Roger II and the transformations of the cloister
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.
, in respect of the Romanesque style, but to a system of elements extended to the entire base surface of the roof. The connection and interaction of the parts increased the absorption of thrust, using forward-looking strategies characteristic of the Gothic period.
in the attic,
scenes painted
