Palermo Cathedral
St. Mary Magdalene

A controversial interpretation

This document, written by Gualtiero, was mistranslated in the past, leading to errors made by later historiographers and scholars who interpreted the chapel as having been demolished, failing to identify its exact location. A careful reading and translation of the above-mentioned petition shows that Gualtiero was not asking the King for permission to demolish the Chapel, but to grant it to the Clerics of the Cathedral and their liturgical services. At the same time, he wanted to be able to move the mortal remains of the nobles of the royal family which were kept there to another place, by building a new chapel dedicated to Mary Magdalene. It should also be noted that the document is dated 1187, the 21st year of William II's reign , when the work of transforming the church had already been completed. It was reopened for worship on 6 April 1185, with a solemn consecration ceremony dedicated to the Blessed Virgin of the Assumption . The thesis that supported the belief in the chapel’s demolition was also based on a presumed rebuilding ab fundamentis of the Gualtierina Cathedral, shifting it a few metres from its former location as a former mosque and Byzantine basilica to the southern front.

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

Roger II’s strategic design

The towers and the western facade

The medieval city amidst monasticism and feudal aristocracy

A tree full of life

The construction of Monreale Cathedral: between myth and history

The beginning of the construction site

The cultural substrate through time

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

Cefalù: settlement evidence through time

Beyond the harmony of proportions

Artistic elements in Peter’s ship

The liturgical spaces of the protesis and the diaconicon

The balance between architecture and light

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

Worship services

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

A palimpsest of history

The Cathedral over the centuries

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

Interior decorations

The Chapel of St. Mary Magdalene

The senses tell Context 1

The Kings’ Cathedrals

A new Cathedral

A polysemy of high-level artistic forms and content

Porphyry sarcophagi: royalty and power

Characteristics of religious architecture in the romanesque period

The Great Restoration

The area of the Sanctuary

The stone bible

Two initially similar towers, varied over time

The mosaics of the apses

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

Transformations over the centuries

The chorus: beating heart of the cathedral

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

Palermo: the happiest city

A cloister of accentuated stylistic variety

The Gualtiero Cathedral

A chapel by an unknown designer based on repeated symmetries

Mosaic decoration

Gardens and architecture as a backdrop to the city of Palermo

The southern portico

Squaring the circle

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

The Virgin Hodegetria

A Northern population

The Great Presbytery: a unique space for the cathedral

The Chapel of the Kings

The mosaics of the presbytery

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

The decorated facade

The chystro: a place between earth and sky

The cemetery of kings

The chapel of san Castrense: an important renaissance work

The lost chapel

The king’s mark

The side aisles

The dialogue between the architectures of the monumental complex

The rediscovered chapel

Roger II of hauteville: a sovereign protected by God

The longest aisle

A controversial interpretation

Layers of different cultures decorate the external apses

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

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

The transformations of the hall through the centuries

The chapel of St. Benedict

Under the crosses of the Bema

From the Mosque to the Cathedral

The towers facing the facade used as bell towers

The Bible carved in stone

Survey of the royal tombs

The original design

Norman religious architecture with islamic influences in Sicily

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

A mixture of styles pervades the floor decorations

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

A space between the visible and the invisible

Ecclesia munita

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

A remarkable ceiling