Palermo Cathedral
The central body: the aisles

A remarkable ceiling

The central hall and aisles were covered by wooden roofs with massive oak beams, lacquered and decorated with resplendent shades of silver, white, yellow and black. In the concave and blue border, there were inscriptions in Greek characters, according to historical records : “the roof is adorned with a distinguished and elegant chiselling, an admirable variety of painting, the colour saffron and ‘ultramarine’ and golds, radiating splendour everywhere; gilded wooden flowers hang from the roof, resembling an inverted pyramid”.
The roof of the central hall, supported by nineteen large trusses, was made “ fairing-like ”, similar to the shape of an upturned ship, with an evangelical reference to “ Peter's ship carrying the faithful ”. Above the beams of the “ chains , a wooden walkway was placed at the centre for the control and maintenance of the entire nave. The system, which is also found in the Cefalù Cathedral , is known as the “ Dromic roof “.

Under the crosses of the Bema

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

Roger II of hauteville: a sovereign protected by God

From the Mosque to the Cathedral

The Chapel of St. Mary Magdalene

Roger II’s strategic design

A new Cathedral

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

Survey of the royal tombs

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

A remarkable ceiling

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

The longest aisle

The Virgin Hodegetria

Two initially similar towers, varied over time

The area of the Sanctuary

The cemetery of kings

The Great Restoration

The rediscovered chapel

The towers facing the facade used as bell towers

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

The decorated facade

Squaring the circle

The transformations of the hall through the centuries

Beyond the harmony of proportions

A chapel by an unknown designer based on repeated symmetries

The Gualtiero Cathedral

The cultural substrate through time

Norman religious architecture with islamic influences in Sicily

The chystro: a place between earth and sky

Palermo: the happiest city

The Cathedral over the centuries

The mosaics of the presbytery

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

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

A palimpsest of history

Interior decorations

The dialogue between the architectures of the monumental complex

Worship services

A cloister of accentuated stylistic variety

The king’s mark

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

The liturgical spaces of the protesis and the diaconicon

The lost chapel

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

The Bible carved in stone

The towers and the western facade

The beginning of the construction site

Transformations over the centuries

The senses tell Context 1

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

A tree full of life

Cefalù: settlement evidence through time

Layers of different cultures decorate the external apses

The chapel of san Castrense: an important renaissance work

The Chapel of the Kings

Mosaic decoration

The Kings’ Cathedrals

A controversial interpretation

Characteristics of religious architecture in the romanesque period

The chorus: beating heart of the cathedral

A polysemy of high-level artistic forms and content

The construction of Monreale Cathedral: between myth and history

Porphyry sarcophagi: royalty and power

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

The Great Presbytery: a unique space for the cathedral

Gardens and architecture as a backdrop to the city of Palermo

Artistic elements in Peter’s ship

The mosaics of the apses

The chapel of St. Benedict

The balance between architecture and light

The medieval city amidst monasticism and feudal aristocracy

Ecclesia munita

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

The stone bible

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

A Northern population

A space between the visible and the invisible

The southern portico

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

The original design

The side aisles

A mixture of styles pervades the floor decorations