Apses and transept
Cefalù Cathedral

The beginning of the construction site

News of the construction of the Cefalù Cathedral must have reached all the lands of the Norman kingdom rather quickly.
As was the case for the construction of all great cathedrals, stone masters, builders, master masons and axe masters came from all over and, together with their families, flooded the small fishing village of Cefalù. The building, like any respectable medieval work, started from the east, with the first work being the construction of the most sacred area of the church. Initiating the construction of the Cefalù Cathedral was certainly not an easy task; one of the few large churches and perhaps the only cathedral to be built with staggered levels in its foundations . The area on which the grandiose temple was to be built was identified as a steep cliff that sloped down towards the sea from the slopes of the great Rocca above the town.
The first activity that the master builders carried out was the construction of the laying surface and the underlying foundations, built in steps with substructure walls .
Once the floor level had been obtained, the building’s wall perimeter plan was able to be drawn up and construction could begin.
The construction site opened with an organic and unified plan, which involved the creation of the main apse, the two service apses , the Diaconicon on the right and of the Prothesis on the left, together with the large transverse body of the transept.
The construction technique used for the foundations is evident in the plinths of the apses.
These are built in steps on different levels. The architectural composition of the high walls was strongly influenced by the Nordic style; in fact, Burgundian and more classic Romanesque stylistic features are visible.

A remarkable ceiling

A space between the visible and the invisible

Survey of the royal tombs

A chapel by an unknown designer based on repeated symmetries

The towers and the western facade

The beginning of the construction site

The chapel of St. Benedict

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

Transformations over the centuries

Mosaic decoration

The construction of Monreale Cathedral: between myth and history

Beyond the harmony of proportions

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

The Chapel of the Kings

A Northern population

Under the crosses of the Bema

The cemetery of kings

The side aisles

The chapel of san Castrense: an important renaissance work

Interior decorations

The Kings’ Cathedrals

The medieval city amidst monasticism and feudal aristocracy

The original design

Two initially similar towers, varied over time

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

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

The mosaics of the presbytery

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

The stone bible

Roger II’s strategic design

The Virgin Hodegetria

Gardens and architecture as a backdrop to the city of Palermo

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

The liturgical spaces of the protesis and the diaconicon

Layers of different cultures decorate the external apses

Artistic elements in Peter’s ship

A cloister of accentuated stylistic variety

The senses tell Context 1

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

Palermo: the happiest city

The dialogue between the architectures of the monumental complex

The rediscovered chapel

The Bible carved in stone

Norman religious architecture with islamic influences in Sicily

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

The Gualtiero Cathedral

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

The lost chapel

The Great Presbytery: a unique space for the cathedral

Worship services

Porphyry sarcophagi: royalty and power

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

From the Mosque to the Cathedral

The chorus: beating heart of the cathedral

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

The longest aisle

Ecclesia munita

The Cathedral over the centuries

A mixture of styles pervades the floor decorations

The area of the Sanctuary

The decorated facade

The southern portico

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

Cefalù: settlement evidence through time

The chystro: a place between earth and sky

A controversial interpretation

The Great Restoration

The balance between architecture and light

The towers facing the facade used as bell towers

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

The Chapel of St. Mary Magdalene

The mosaics of the apses

Characteristics of religious architecture in the romanesque period

A palimpsest of history

The transformations of the hall through the centuries

Squaring the circle

A new Cathedral

Roger II of hauteville: a sovereign protected by God

A tree full of life

The king’s mark

A polysemy of high-level artistic forms and content

The cultural substrate through time

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