Apses and transept
Cefalù Cathedral

Layers of different cultures decorate the external apses

EXTERNAL APSES
The external architectural decoration of the three apses features twin columns dividing the semi-spherical surface, ending in the central apse with a fringe of elegant single-light blind arches, arranged in an alternating rhythm of evident Romanesque origin. The oculi were inserted in the space dividing the columns, in the middle position. The side apses, on the other hand, are influenced by Islamic architecture with their typical intertwining arches. The presence of large oculi, both in the central apse and in the transept, is reminiscent of Burgundian architecture, confirming the activity of workers of different origins on the site.

The decoration of the external architectural part of the three apses has the common feature of paired columns, which divide the semi-spherical surface, ending, in the central apse, with a fringe of elegant blind single-lancet arches , arranged in an alternating rhythm of evident Romanesque origin. The oculi were inserted in the space between the columns, in the middle position, according to a plan that was abandoned after a few years because the internal mosaic decoration concealed their presence. The side apses, on the other hand, are influenced by Islamic architecture with their typical intertwining arches .
The presence of large oculi , both in the central apse and in the transept, is reminiscent of Burgundian architecture , confirming the activity of workers of different origins on the site.
The distinctive feature at the end of the outer transept is the lively decoration, with small columns and blind arches corresponding to the internal walkway and loggia.
The roofs of these areas of the complex are different in relation to the rooms because of the many disruptions in construction affecting some parts of the Cathedral. The most evident defect, probably the result of a fire in the 16th century, concerns the southern arm of the transept, because of the presence of a high barrel vault , made of bricks and featuring with false ribs on the inside.

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The chapel of St. Benedict

A new Cathedral

The balance between architecture and light

The area of the Sanctuary

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A space between the visible and the invisible

Norman religious architecture with islamic influences in Sicily

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

A controversial interpretation

Mosaic decoration

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Worship services

The original design

The lost chapel

The towers and the western facade

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

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

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The longest aisle

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Ecclesia munita

The side aisles

The Bible carved in stone

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Two initially similar towers, varied over time

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The dialogue between the architectures of the monumental complex

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The cultural substrate through time

The stone bible

The mosaics of the presbytery

The transformations of the hall through the centuries

The Chapel of the Kings

A remarkable ceiling

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Roger II’s strategic design

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The senses tell Context 1

The cemetery of kings

Transformations over the centuries

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A polysemy of high-level artistic forms and content

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A palimpsest of history

Squaring the circle

The mosaics of the apses

The towers facing the facade used as bell towers

The southern portico

The decorated facade

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

The king’s mark

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The Chapel of St. Mary Magdalene

Layers of different cultures decorate the external apses

The Kings’ Cathedrals

Interior decorations

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