Monreale Cathedral
the Great Presbytery

The senses tell the Great Presbytery

smell
The atmosphere of the presbytery

Looking back over the centuries, one naturally wonders about the atmosphere that permeated this place, introduced by the long rows of columns in the central aisle, which accompany the eye in an ever tighter succession of pointed arches, culminating in the central apse with the grandiose image of the Blessing Redeemer. In the Sanctuary area, burning incense is a way of raising the soul to God. Its smoke recalls the great divine mystery while its sweet and spicy smell heralds the presence of Christ, creating a mystical link between heaven and earth. The thurible swings three times, symbolising the Trinity, while the faithful pray and sanctify the Almighty.

hearing
Songs and music to lift hearts to God

To add to the mystical atmosphere that characterised the Cathedral in medieval times, derived from the chants sung by the Benedictines, the space was enriched from 1503 onwards with different types of organs. The liturgy was thus enlivened by music, which, as St. Augustine claimed, was a prayer that lifted hearts and minds to God.

sight
The mosaic cycle of the aisles

The mosaics in the central aisle, with scenes from the Old and New Testaments, as well as the interplay of columns running through the interior of the cathedral, seem to accompany the faithful on a salvific journey through the presbytery, culminating in the Christocentric King of Kings, Christ Pantocrator, at the centre of the apse dome. The presbytery is divided into the left wing, known as the Campata di San Luigi, the choir and the right wing, known as the Campata dei Guglielmi. The latter is located in the southern section of the transept and houses the royal tombs. The remains of the temple’s founder are kept in a white marble sarcophagus, commissioned by Archbishop Ludovico I Torres in 1575. It is supported by brackets with a zoomorphic base, finely decorated with friezes carved with foliage and classical winged putti. On one of its larger sides, it bears a long laudatory epitaph, composed by Antonio Veneziano, a poet from Monreale, and engraved on a cartouche plaque. A red porphyry tomb houses the body of William I. The tomb, damaged by fire in 1811, was stripped of the six porphyry columns, three on each side, which supported a marble canopy.

touch
Glittering gold

Touching the glittering gold mosaic tiles that make up the immense Monreale cycle can give you an idea of the consistency of the materials used for this imposing structure which expresses the political, cultural and spiritual agenda of William the Good.

The lost chapel

Roger II’s strategic design

Artistic elements in Peter’s ship

Layers of different cultures decorate the external apses

The Great Presbytery: a unique space for the cathedral

The mosaics of the apses

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

A controversial interpretation

The Great Restoration

A chapel by an unknown designer based on repeated symmetries

Two initially similar towers, varied over time

A Northern population

The longest aisle

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

The Bible carved in stone

The cultural substrate through time

The rediscovered chapel

The southern portico

The chapel of St. Benedict

The construction of Monreale Cathedral: between myth and history

Beyond the harmony of proportions

The balance between architecture and light

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

Transformations over the centuries

A new Cathedral

A polysemy of high-level artistic forms and content

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

Norman religious architecture with islamic influences in Sicily

The liturgical spaces of the protesis and the diaconicon

A cloister of accentuated stylistic variety

Porphyry sarcophagi: royalty and power

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

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

Roger II of hauteville: a sovereign protected by God

The decorated facade

Interior decorations

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

The side aisles

A remarkable ceiling

The chapel of san Castrense: an important renaissance work

The king’s mark

The medieval city amidst monasticism and feudal aristocracy

Survey of the royal tombs

Cefalù: settlement evidence through time

From the Mosque to the Cathedral

Squaring the circle

The dialogue between the architectures of the monumental complex

Under the crosses of the Bema

The area of the Sanctuary

The Chapel of St. Mary Magdalene

Ecclesia munita

A mixture of styles pervades the floor decorations

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

Mosaic decoration

The Virgin Hodegetria

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

The Kings’ Cathedrals

The cemetery of kings

Gardens and architecture as a backdrop to the city of Palermo

The Cathedral over the centuries

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

The chystro: a place between earth and sky

The Chapel of the Kings

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

A tree full of life

A palimpsest of history

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

The stone bible

The original design

A space between the visible and the invisible

The towers facing the facade used as bell towers

The beginning of the construction site

The towers and the western facade

The Gualtiero Cathedral

The transformations of the hall through the centuries

The senses tell Context 1

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

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

Characteristics of religious architecture in the romanesque period

The chorus: beating heart of the cathedral

The mosaics of the presbytery

Palermo: the happiest city

Worship services