The Capella Palatina, the cathedral of Palermo, the Martorano and the other churches of the city proper hardly prepare one for the magnificence of this gorgeous church that stands, glowing with the golden stain of time, on a hill between the Conca d’Oro and its enfolding mountains. It is the work of Saracen architects, who built for Norman Kings and Christian prelates, with Byzantine, Italian, Greek, Arab, and Norman artists and workmen to help them! The result, instead of being an architectural Babel, is the world’s most truly cosmopolitan cathedral, one of the most stupendous and glorious of existing sanctuaries. The cathedral is in the shape of a Latin cross with three apses. The façade is flanked by two square towers, handsome and imposing enough; the great beauty of the exterior, however, is the outside of the choir, at the back of the church. The lovely pattern of inlaid lava stone in two colors is the fullest, most splendid expression of this style of decoration we first saw on the façades of the palaces at Taormina. The interior--it is a place to pass hours, days, alone. Here set ajar the door of your soul, let the wind of the ages blow through, as you have done in the Parthenon at Athens, or the great Egyptian temple of Karnak. Drink from the cup of beauty, bathe in the well of light and glory, so shall an echo of that thrill of passionate love for their art that moved the artists who wrought this gemmed casket of delight vibrate through your inmost being. Every inch of wall space is covered by gold Byzantine mosaics with jewelled pictures representing the whole of Christian history. You may read here as in a book the great scenes from the Old Testament, the story of the life and passion of the Saviour, the history of the Virgin, and of the Apostles. The central figure that dominates the whole cathedral, that you [Illustration: MONREALE. REAR OF THE CATHEDRAL. _Page 399._] [Illustration: MONREALE. THE CATHEDRAL. TOMBS OF WILLIAM I. AND WILLIAM II. _Page 399._] [Illustration: PALERMO. MONTE PELLEGRINO. _Page 397._] [Illustration: MONREALE. FAÇADE OF THE CATHEDRAL. _Page 400._] must look at first on entering and last on leaving, is the majestic half-length figure of Christ, over the high altar. The right hand is raised in the act of blessing; the left holds an open book, with the words in Greek and Latin: “I am the Light of the World.” The face is severe in expression and very Oriental in type; it is the face of the judge rather than the Saviour of mankind, with nothing of that super-sweetness introduced by the Italian artists of the Renaissance who produced what we now call the Christ-like type. In my diary for this day I find three words: “Monreale; past belief!”