Cefalù Cathedral
the chystro

The original design

The cloister of Cefalù’s Basilica of the Transfiguration is the central nucleus of that vast collection of buildings that make up the conventual complex, erected next to the Cathedral.Over the centuries, there haven’t been any documents able to give us a precise construction date, so studies are still open.
In order to reconstruct the enigmatic story of the construction of the cloister and understand the dynamics of its current location, at a level of about three metres, considerably lower than the level of the naves of the adjacent church, it is necessary to reflect on the data that emerged from the recent restoration work, which has allowed us to formulate some hypotheses. The Cloister is located next to the wall of the Cathedral’s northern aisle , and therefore in a non-canonical position in relation to the Orthodox layout of the monastic complexes, which places it next to the wall of the church’s southern aisle. It should be remembered that the Cefalù cathedral church was built at the behest of Roger II, as a dedicatory temple and royal mausoleum. However, the grandiose and majestic building project, launched by the sovereign, was only completed after about two hundred years, interrupted by the completion of the apses , the presbytery and the transept .
The cathedral was completed after a long standstill with the creation of the naves and the modification of the original architectural layout. Entrance to the cloister was gained through the regular door in the western wall of the transept, with access to the eastern aisle and the anti-clockwise route along the aisles.
The cloister is delimited, to the south, by the north aisle of the church and surrounded, to the east and west, by the conventual buildings with the canonical spaces of the Abbey: the chapter house, the refectory, the dormitory; while to the north, on the sea front, it is not unlikely that the cloister aisle could have remained in some way open to the horizon, a unique feature found in the cloister of the Benedictine Mont-Saint-Michel Abbey .

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

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

The Great Restoration

The original design

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

A space between the visible and the invisible

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

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

Survey of the royal tombs

Gardens and architecture as a backdrop to the city of Palermo

The Great Presbytery: a unique space for the cathedral

A tree full of life

A remarkable ceiling

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

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

The liturgical spaces of the protesis and the diaconicon

A controversial interpretation

The rediscovered chapel

The chapel of St. Benedict

The stone bible

Characteristics of religious architecture in the romanesque period

The Gualtiero Cathedral

The area of the Sanctuary

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

Cefalù: settlement evidence through time

The chorus: beating heart of the cathedral

The balance between architecture and light

The construction of Monreale Cathedral: between myth and history

The southern portico

The Chapel of the Kings

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

A polysemy of high-level artistic forms and content

Palermo: the happiest city

Worship services

Layers of different cultures decorate the external apses

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

The Bible carved in stone

Under the crosses of the Bema

A Northern population

A new Cathedral

A chapel by an unknown designer based on repeated symmetries

From the Mosque to the Cathedral

The king’s mark

The beginning of the construction site

Porphyry sarcophagi: royalty and power

The Kings’ Cathedrals

The cultural substrate through time

The medieval city amidst monasticism and feudal aristocracy

The side aisles

Norman religious architecture with islamic influences in Sicily

The lost chapel

The decorated facade

Mosaic decoration

The chystro: a place between earth and sky

Artistic elements in Peter’s ship

Interior decorations

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

A mixture of styles pervades the floor decorations

Ecclesia munita

The chapel of san Castrense: an important renaissance work

The towers facing the facade used as bell towers

Transformations over the centuries

The transformations of the hall through the centuries

Beyond the harmony of proportions

The towers and the western facade

The longest aisle

A palimpsest of history

The mosaics of the presbytery

The Virgin Hodegetria

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

Two initially similar towers, varied over time

The cemetery of kings

The Chapel of St. Mary Magdalene

A cloister of accentuated stylistic variety

The Cathedral over the centuries

Roger II’s strategic design

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

The senses tell Context 1

The dialogue between the architectures of the monumental complex

Roger II of hauteville: a sovereign protected by God

The mosaics of the apses

Squaring the circle

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