Monreale Cathedral
the context 2

The senses tell Context 2

sight
An important construction site

A building such as the Monreale Cathedral, outlined by a multiform stylistic syncretism, reflected a deep religious implication promoted by William II. The ruler succeeded in consolidating the Western Christian influence through a fruitful and peaceful dialogue with the Byzantine-Oriental and Muslim-Arab cultures from the very year of his coronation in 1172. Alongside the Cathedral, surrounded by a flourishing natural setting, work began on the foundation of the Royal Palace in the same year, followed in 1176 by the construction of the Benedictine Monastery adjacent to it.

The towers facing the facade used as bell towers

The medieval city amidst monasticism and feudal aristocracy

The Cathedral over the centuries

A remarkable ceiling

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

The Great Restoration

Gardens and architecture as a backdrop to the city of Palermo

A space between the visible and the invisible

Artistic elements in Peter’s ship

The lost chapel

The side aisles

The construction of Monreale Cathedral: between myth and history

The balance between architecture and light

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

Interior decorations

The area of the Sanctuary

The senses tell Context 1

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

The original design

A Northern population

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

Worship services

Transformations over the centuries

The decorated facade

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

Under the crosses of the Bema

Characteristics of religious architecture in the romanesque period

The Kings’ Cathedrals

Norman religious architecture with islamic influences in Sicily

The king’s mark

A new Cathedral

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

Layers of different cultures decorate the external apses

The Chapel of the Kings

Beyond the harmony of proportions

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

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

The chapel of St. Benedict

The mosaics of the apses

The beginning of the construction site

Survey of the royal tombs

Porphyry sarcophagi: royalty and power

Squaring the circle

The Great Presbytery: a unique space for the cathedral

The Virgin Hodegetria

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

Ecclesia munita

The mosaics of the presbytery

The rediscovered chapel

The chapel of san Castrense: an important renaissance work

A palimpsest of history

The Chapel of St. Mary Magdalene

The liturgical spaces of the protesis and the diaconicon

The Bible carved in stone

A chapel by an unknown designer based on repeated symmetries

Palermo: the happiest city

A tree full of life

Mosaic decoration

Roger II of hauteville: a sovereign protected by God

Roger II’s strategic design

Cefalù: settlement evidence through time

From the Mosque to the Cathedral

The Gualtiero Cathedral

A polysemy of high-level artistic forms and content

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

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

The chystro: a place between earth and sky

A controversial interpretation

The longest aisle

The transformations of the hall through the centuries

A mixture of styles pervades the floor decorations

The stone bible

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

The cultural substrate through time

The cemetery of kings

The southern portico

The chorus: beating heart of the cathedral

The towers and the western facade

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

The dialogue between the architectures of the monumental complex

Two initially similar towers, varied over time

A cloister of accentuated stylistic variety