PalermoCefalù.
Cefalu's ancient name, Kephaloidion, would appear to be derived from Kefale, which means head or headland. The area was c.ertainly inhabited in pre-Hellenic times, as confirmed by the numerous discoveries of human settlements in the caves on the Rocca and on its W slopes. The population maintained close contact both with the Greeks of E Sicily and with the Phoenicians of W Sicily. In 254 BC it became a Roman city , flrst decuman and then stipendiary. After the Byzantine age, the Muslims succeeded in occupying it after a lengthy siege. When the Normans took the town in 1063, a period of great splendour began for Cefalù, which culminated in the foundation of the bishopric in 1131. Cefalù's importance did not diminish over the centuries, andithas always been a centre of great interest.

Having passed the town gardens, in Piazza Garibaldi, at the boundary between the old town and the new quarters, we see one of the town's ancient gates, the Porta della Terra, and remains of the ancient megalithic wall that surrounded the city, part ofwhich is incorporated in the Chiesa dell'Addolorata. We pass by the 18th c. Chiesa della Catena and come to the beginning of the long Corso Ruggero, where the Osterio Magno stands, a fortified building of great architectural dignity, possibly of Norman origin, restructured in the l3th c., from which period date the splendid three-light windows on the top floor which are characterized by the multicoloured decorations of the arched lintels and by slender elegant little colurnns; the building was restored in 1993. From here we reach Piazza Duomo, which is flanked by a number of interesting buildings, such as the Convento di Santa Caterina, now used as the Town Hall, the Oratorio del Sacramento and the l8th c. Palazzo Vescovile (Bishop's Palace). The Cathedral, dedicated to The Redeemer, closes the square and dominates the whole town, with its great mass, towering above the other buildings and forcefully symbolizing the religious power which it represents. One of the rnost imposing of all the Norman monuments, it was begun in 1131, after which date there was a long period of construction with interruptions and various changes of intent. The façade, preceded by an arthex with three supporting arches, the work of Ambrogio da Como (1472), is flanked by two Powerful towers with a nurnber of two-light windows; completed by Panittera in 1240, the façade has in the upper part a fascia of little false loggias and in the lower part an elegant decoration of Norman age, consisting of interlaced arches. The Cathedral is basilica in plan with the nave and aisles separated by two rows of columns; the raised sanctuary terminates with three apses, the central one ernerging from the lateral ones as a lofty towering body, crossed by slender pilaster-strips and crowned by a circle of suspended arches. The two wings of the transept also project to right and left. The very slender arches above the nave and the aisles are ogival with arched lintels. The presbytery is decorated in baroque style with a rich rnarble ornamentation, while in the central apse there is a splendid mosaic decoration of Byzantine character, dating from 1148, as indicated by an inscription. The great cupola is entirely dominated by the majestic figure of Christ Pantocrator. The walls of the bema, also covered in mosaics, present in three different levels: the Virgin Mary among Archangels; Saints; and Prophets and Patriarchs. Various angels and seraphs are portrayed in the ribbed cross vault. The Cathedral contains numerous funerary monuments and sculptures of considerable artistic value, including a Virgin and Child attributed to Antonello Gagini (1533), and a number of 16th c. reliefs representing the Annunciation. There is a distinguished 12th c. font in grey marble, with a circular basin and sculpted lions supported by a sturdy shaft with diagonal fluting, standing on a quadrangular base. To the left of the Cathedral is the quadrangular Cloister, with ogival arches resting on twin columns. Opposite the Cathedral, Via Mandralisca leads to the Museo Mandralisca. This Museum displays the notable collections of Baron Enrico Piraino di Mandralisca. In the entrance hall there are Greek inscriptions and various archaeological items; the famous Vase of the Siceliot tunny-fish vendor (4th c. BC) is on display in Room l, on the lst floor. We can also see an interesting coin collection, a number of paintings (including two still lifes, possibly by Ruoppolo), some Venetian views, and some 17th c. paintings of the Flemish school. The famous Portrait of an Unknown Man, by Antonello da Messina, is displayed in Room 3; the skilfully defined features and the expressiveness of the man's eyes make this a picture of exceptional artistic value. We retum to the Corso, in the direction of Piazza Duomo, and come to the Chiesa del Purgatorio, built in the 15th c. The façade is simple, with some circular apertures that act as windows; at the sides, in the upper part, there are two campaniles, of which only the left hand one is complete. A fine portal embellishes the façade with its refined decoration; the high plinths on which the columns rest are engraved with souls in purgatory. This church contains the tomb of Baron Piraino di Mandralisca. Walking down Via Vittorio Emanuele we come to the wash-house, hewn out of the rock. Climbing the Rocca we can see the remains of Cefalù's defensive system, possibly of Byzantine origin; higher still, we come to an interesting building, known as the Temple of Diana. Shaped like an enclosure, and built with great megalithic blocks, it is divided into two rooms and terminates in a door with a finely moulded architrave over the jambs. It probably dates from the 5th-4th c. BC and it incorporates a protohistoric cistem (9th c. BC); the building had a religious function, and possibly also a defensive role, as its position allowed it to dominate the city and the entire surrounding area.