Monreale Cathedral
the cathedral's exterior

The senses tell the exterior of the cathedral

sight
The buildings of the monumental complex

Originally, the Monreale Cathedral was connected to all the surrounding buildings, from the cloister, adjacent to the right side of the church to the south, to the monastery, whose northern wing touched it. The rich external decoration of the Cathedral’s three east-facing semicircular apses was linked to the eastern façade of the Royal Palace, echoing its majestic compositional rhythm. The decision to emphasise the ornamental composition of the east-facing architecture was prompted by the desire to enhance the noblest part of the building, located in the sanctuary area.

hearing
Musical and architectural harmonies

The orderly ensemble of the many mouldings that make up the outer walls of the apses is formed by ogival arches, lower in height, which intersect each other on the same axes with a sinuous rhythm, almost as if to compose a silent melody. The contrast of colours seems to form the musical accompaniment, animated by the notes of the brown limestone, the grey-black lava tuff from Vesuvius, and the red bricks used in the thin horizontal bands. Softening this varied concert of colours is the warm golden-brown hue of the background.

touch
The Bonanno Pisano door

The front elevation of the Cathedral is distinguished by the sense of grandeur of its portico. From its very foundation, it was intended to take the faithful by the hand on a journey, steeped in mysticism and wonder, into the imposing building of Monreale, dedicated to Santa Maria la Nuova. As early as the external square, you are invited to enter the Temple through the Gate of Paradise, built by Bonanno Pisano, whose ogival arch stands at the centre of the façade between the two towers. The monumental bronze door, commissioned by William II of Altavilla, consists of a wall of relief images, closed by architectural frames decorated with motifs that differ in form and materials used.

The transformations of the hall through the centuries

The Great Presbytery: a unique space for the cathedral

The senses tell Context 1

The chapel of san Castrense: an important renaissance work

The cemetery of kings

The balance between architecture and light

Gardens and architecture as a backdrop to the city of Palermo

The king’s mark

Two initially similar towers, varied over time

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

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

A tree full of life

Porphyry sarcophagi: royalty and power

The Great Restoration

From the Mosque to the Cathedral

Characteristics of religious architecture in the romanesque period

The Gualtiero Cathedral

Palermo: the happiest city

The stone bible

A chapel by an unknown designer based on repeated symmetries

Layers of different cultures decorate the external apses

A controversial interpretation

Cefalù: settlement evidence through time

Norman religious architecture with islamic influences in Sicily

The Bible carved in stone

Roger II of hauteville: a sovereign protected by God

The beginning of the construction site

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

The towers and the western facade

The towers facing the facade used as bell towers

The dialogue between the architectures of the monumental complex

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

The chorus: beating heart of the cathedral

Worship services

The side aisles

The mosaics of the apses

The mosaics of the presbytery

The decorated facade

Squaring the circle

A palimpsest of history

The lost chapel

Mosaic decoration

The area of the Sanctuary

The Chapel of the Kings

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

Transformations over the centuries

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

The longest aisle

The Cathedral over the centuries

A Northern population

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 liturgical spaces of the protesis and the diaconicon

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

A space between the visible and the invisible

The southern portico

The chystro: a place between earth and sky

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

Survey of the royal tombs

The cultural substrate through time

The construction of Monreale Cathedral: between myth and history

The Chapel of St. Mary Magdalene

The Kings’ Cathedrals

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

A polysemy of high-level artistic forms and content

The chapel of St. Benedict

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

A remarkable ceiling

A cloister of accentuated stylistic variety

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

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

The original design

Under the crosses of the Bema

The Virgin Hodegetria

The medieval city amidst monasticism and feudal aristocracy

A mixture of styles pervades the floor decorations

Interior decorations

The rediscovered chapel

A new Cathedral

Beyond the harmony of proportions

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

Ecclesia munita

Artistic elements in Peter’s ship