Palermo Cathedral
St. Mary Magdalene

The lost chapel

In 1130, Elvira , the wife of King Roger II , had a chapel dedicated to St Mary Magdalene built as a mausoleum for the royal family. Its construction came shortly after another chapel was built to the north on the opposite side, on 15 May 1129, at the behest of Roger II, dedicated to the Crowned Goddess. The Magdalene Chapel was built close to the Cathedral, on its southern front, corresponding to the presbytery area, “ in cornu epistolae “. We have information on this building because it is mentioned in the ancient chronicles and is clearly identified in the 1187 diploma, written by Archbishop Gualtiero as a petition to the King, requesting the use of the chapel following the transformation of the sacred temple. Palermo Cathedral had remained virtually unchanged in its layout since 1071, i.e. for almost 100 years, when the Normans entered the city and converted the great Gami Mosque , previously the city’s mother church during the Byzantine period, to a Christian place of worship. Over time, traces of this chapel were lost, and many documents that could provide evidence of its exact location were lost around the middle of the 19th century. This led to the belief that the chapel had been demolished during this construction work. Nor is there any evidence left of this in the book “De Principe Templo Panormitano” (1728), transcribed by priest Giovanni Maria Amato , when he quotes the text of the aforementioned diploma of Archbishop Gualtiero.

A polysemy of high-level artistic forms and content

The king’s mark

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

Roger II’s strategic design

The rediscovered chapel

Two initially similar towers, varied over time

Under the crosses of the Bema

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

The mosaics of the presbytery

The chystro: a place between earth and sky

The Virgin Hodegetria

The Great Presbytery: a unique space for the cathedral

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

The chorus: beating heart of the cathedral

The Chapel of St. Mary Magdalene

A space between the visible and the invisible

The Chapel of the Kings

The longest aisle

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

A chapel by an unknown designer based on repeated symmetries

The liturgical spaces of the protesis and the diaconicon

Characteristics of religious architecture in the romanesque period

Ecclesia munita

Layers of different cultures decorate the external apses

The mosaics of the apses

The chapel of san Castrense: an important renaissance work

The area of the Sanctuary

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

Interior decorations

The towers and the western facade

The southern portico

The construction of Monreale Cathedral: between myth and history

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

Transformations over the centuries

The medieval city amidst monasticism and feudal aristocracy

The cemetery of kings

The balance between architecture and light

The Kings’ Cathedrals

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

Porphyry sarcophagi: royalty and power

From the Mosque to the Cathedral

A palimpsest of history

The stone bible

A tree full of life

A new Cathedral

A mixture of styles pervades the floor decorations

Squaring the circle

A controversial interpretation

The transformations of the hall through the centuries

A cloister of accentuated stylistic variety

The Bible carved in stone

The cultural substrate through time

The Great Restoration

The original design

Norman religious architecture with islamic influences in Sicily

Survey of the royal tombs

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

Mosaic decoration

The side aisles

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

The Cathedral over the centuries

Palermo: the happiest city

The senses tell Context 1

A Northern population

Gardens and architecture as a backdrop to the city of Palermo

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

Beyond the harmony of proportions

The chapel of St. Benedict

The beginning of the construction site

Worship services

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

Artistic elements in Peter’s ship

The decorated facade

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

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

The lost chapel

A remarkable ceiling

The Gualtiero Cathedral

The towers facing the facade used as bell towers

Cefalù: settlement evidence through time

Roger II of hauteville: a sovereign protected by God

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

The dialogue between the architectures of the monumental complex