Cefalù - Cathedral

Progress in completing the cathedral was very dilatory (the consecration did not take place until 1267), with the result that the newer parts of the building, such as the nave, departed considerably from the monumental proportions of the original plans. Nevertheless, Cefalù fulfills the double intention of "representing royal authority and at the same time reflecting in a totality the various elements of the kingdom's history - Norman, Latin, Greek and also Arab" (Cassata). The cathedral is a three-aisled columned basilica with a vast transept and choir.

The east part of the building is impressive. It can be viewed by going along the south side and then up behind the east side itself, following a narrow path upwards to a narrow platform. Alternatively it can be seen from the top of the Rocca di Cefalù. The east parts are considerably higher than the nave. The semi-circular self-contained choir juts out to the east. The lower part has pilasters which support domed pillars. In the central axis there is a window, whilst in the upper part of the wall three false windows can be seen. At the top the wall is rounded off by a round-arch frieze. The type of frieze characteristic of Norman architecture, composed of pointed arches crossing over one another, is to be found on the side walls of the choir and on the eastern transept walls. The southern (left-hand) arm of the transept is higher than both the northern arm and the roof of the central aisle, as a result of vaulting which was added in the 15th century.

The square in front is dominated by the entrance facade. Between two massive square towers there is a portico designed in 1471 by Ambroglio da Como with a round arch between two pointed side arches. Two ogival friezes, one lying above the other, with the lower one crossed over, decorate the wall above the portico. Underneath it opens the king's portal, the Porta Regum.

Restoration work, which will probably still have to continue for some time yet, has meant that the west entrance and the central aisle are closed off. The visitor must therefore proceed along the south side and enter the cathedral through a doorway in the west wall of the south transept arm. The nave has two rows of granite columns, which have ancient and Byzantine capitals supporting stilted ogives. Central and side aisles have an open wooden roof truss, the beams of which are richly painted. There is a font in the right-hand side aisle (12th century) and a statue of the Mother of God by A. Gagini in the left-hand side aisle (1533). The triumphal arch, which is supported by two massive pillars, leads from the nave across to the transept. Looking back from the transept, the visitor can see that it is in fact a double triumphal arch: the higher one belonging to the original plans, while a lower one was inserted into it when it was decided to have the nave lower than was initially planned. Both transept arms have a gallery high up.

In the choir the side walls are embellished with ornamental plasterwork and there are also 15th century statues depicting the Virgin Mary and the Archangel Michael. It is, however, the gold ground mosaics which attract the gaze. They form part of the cathedral's original fittings and have been retained in the chancel (except for the edging round the plinth). They are the work of Byzantine artists whom Roger II took into his service. Dominating the others is the mosaic of Christ giving the blessing as ruler of the world (Pantocrator), which is in the semi-circular dome of the apse. The semi-circle lying underneath this is divided into four sections. In the uppermost one can be seen Mary standing in prayer between the Archangels Raphael and Michael, Gabriel and Uriel. In the third (to the sides of the central window) we see Peter and Paul, patron saints of the Norman royal house, between the four evangelists, and among them other apostles.

The adjoining side walls portray prophets and saints in four rows.

The ribbed vaulting of the chancel is also richly decorated with seraphims and cherubims. These pictures all follow the rules developed by the Eastern Christian Church for the depiction of the heavenly hierarchy; at the same time the mosaicists have adapted their work skillfully to the special requirements of the basilica's interior, in which a dome, which would usually be the place for Pantocrator, was not available for them. In spite of frequent restoration work which has had to be undertaken since the 15th century, the mosaics of Cefalù are amongst the best-preserved in Sicily.