Palermo Cathedral
St. Mary Magdalene

The rediscovered chapel

It was only after recent studies carried out in connection to the restoration work performed in Palermo Cathedral since the 1980s that the Magdalene Chapel was identified in the exact place where it was built, next to the wall of the mother church, as reported in Gualtiero’s petition. It is, therefore, identifiable in the lower part of the Old Sacristy, whose external cornice decoration is the same in the first and second orders of the scalar towers, which date back to medieval times.
The interior of the building shows the difference between the two overlapping buildings. The part erected in the 15th century, with ribbed vaults covering the room, had also partially concealed two large single-lancet windows, which provided light to the inside of the Antititulo , close to the apse of the Diaconico .

The building is raised by about one metre from the external level. Underneath, there is a crypt with several chambers and a rectangular hatch in the vault, indicating its use as a burial place, according to its original purpose. The chapel, built at the behest of Queen Elvira, uncovered another interesting detail, namely a small compartment in the masonry connecting the chapel to the apse of the Diaconico.
This room, which is similar to the contemporary one in Cefalù Cathedral, was probably the Queen’s gallery, where she could attend the sacred functions without being present in the presbytery area itself. The room, about 5 metres high, could be accessed via a wooden balcony, which has now been removed. It was connected to an opening in the eastern wall, which belonged to the original chapel and could be reached by a spiral staircase, which also gave access to the crypt below.

The beginning of the construction site

The liturgical spaces of the protesis and the diaconicon

Layers of different cultures decorate the external apses

The southern portico

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

A tree full of life

The chapel of san Castrense: an important renaissance work

Roger II’s strategic design

The lost chapel

The towers facing the facade used as bell towers

The cemetery of kings

The Bible carved in stone

From the Mosque to the Cathedral

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

The chorus: beating heart of the cathedral

The longest aisle

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

A mixture of styles pervades the floor decorations

The king’s mark

Artistic elements in Peter’s ship

A controversial interpretation

The Virgin Hodegetria

Beyond the harmony of proportions

A polysemy of high-level artistic forms and content

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

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

The balance between architecture and light

The Great Restoration

Two initially similar towers, varied over time

The transformations of the hall through the centuries

The senses tell Context 1

A palimpsest of history

Transformations over the centuries

Interior decorations

A new Cathedral

The mosaics of the apses

Mosaic decoration

Survey of the royal tombs

A space between the visible and the invisible

Under the crosses of the Bema

The chapel of St. Benedict

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

The rediscovered chapel

Cefalù: settlement evidence through time

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

A cloister of accentuated stylistic variety

The decorated facade

Gardens and architecture as a backdrop to the city of Palermo

The mosaics of the presbytery

The Great Presbytery: a unique space for the cathedral

Palermo: the happiest city

The chystro: a place between earth and sky

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

Roger II of hauteville: a sovereign protected by God

A Northern population

The towers and the western facade

The Chapel of St. Mary Magdalene

Worship services

The cultural substrate through time

The stone bible

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

The Kings’ Cathedrals

The construction of Monreale Cathedral: between myth and history

The Cathedral over the centuries

Norman religious architecture with islamic influences in Sicily

Ecclesia munita

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

The side aisles

The Chapel of the Kings

Porphyry sarcophagi: royalty and power

The area of the Sanctuary

A remarkable ceiling

The dialogue between the architectures of the monumental complex

The original design

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

Squaring the circle

The medieval city amidst monasticism and feudal aristocracy

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

A chapel by an unknown designer based on repeated symmetries

The Gualtiero Cathedral

Characteristics of religious architecture in the romanesque period

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