The 1693 earthquake destroyed the church and forced Bishop Riggio to order its reconstruction.
The first task was entrusted to the Capuchin friar Girolamo Palazzotto who began work in 1709, choosing to reuse the structures that had remained standing, i.e. the three Norman apses
and the transept.
In 1729, Palermo-born Pietro Galletti was appointed bishop, and decided to entrust the supervision of the work to the abbot architect Giovanni Battista Vaccarini
.
Vaccarini made great changes to the façade and the side elevation on Via Vittorio Emanuele, where he inserted a portal from 1577 belonging to the previous destroyed church.
La cattedrale di Sant’Agata si affaccia su l’ampia piazza Duomo dominandola con la sua imponente facciata scenografica. Per accedere alla chiesa è necessario superare la breve scalinata d’ingresso delimitata dalla cancellata in ferro battuto e superare il sagrato. La facciata è suddivisa in tre piani orizzontali che si restringono verso l’alto. La fascia più basse, il primo ordine, è scandito verticalmente da sei alte colonne. Queste sono intervallate dai tre portali di ingresso, di cui quello centrale è il più grande ed è sormontato da un timpano curvo. La seconda fascia è scandita da sei colonnine ravvicinate e al centro presenta in una nicchia la statua di Sant’Agata con lo sguardo rivolto al cielo. L’ultima fascia è scandita da quattro colonnine e un timpano triangolare.
La cattedrale di Sant’Agata si affaccia su l’ampia piazza Duomo dominandola con la sua imponente facciata scenografica. Per accedere alla chiesa è necessario superare la breve scalinata d’ingresso delimitata dalla cancellata in ferro battuto e superare il sagrato. La facciata è suddivisa in tre piani orizzontali che si restringono verso l’alto. La fascia più basse, il primo ordine, è scandito verticalmente da sei alte colonne. Queste sono intervallate dai tre portali di ingresso, di cui quello centrale è il più grande ed è sormontato da un timpano curvo. La seconda fascia è scandita da sei colonnine ravvicinate e al centro presenta in una nicchia la statua di Sant’Agata con lo sguardo rivolto al cielo. L’ultima fascia è scandita da quattro colonnine e un timpano triangolare.
The design for the façade was highly criticised despite its obvious architectural qualities.
It was completed between 1730 and 1761, with the aim of adapting the building to the new Baroque style.
The architect designed a three-level elevation with vertical tension, with the image of St. Agatha in the centre inside a niche. Here, Baroque is expressed in all its grandeur: the trabeation
that divides the three levels “moves” angularly, breaking up around each capital, creating a movement and depth emphasised by the richness of the marble and the 14 granite columns detached from the façade.
The project was finally completed by Battaglia who built the dome, and in the 19th century the bell tower was rebuilt.
The illusion of light and the decorative splendour
The Badia di Sant’Agata (St. Agatha’s Abbey)
Expanded spaces, stucco and colourful lights
The senses tell about Palazzo Ducezio
Barresi-Branciforte: the lords of the fiefdom and the modernisation of the town
Art in the cathedral
The senses tell the story of the Church of San Giovanni Evangelista
The interior and works of art
The city within the city
Garden of Novices and the restorations by Giancarlo De Carlo
Palazzo della Cancelleria: from former stable to the Nicastro family
The senses tell about Palazzo Beneventano
Luminous sacred spaces
The senses tell about Palazzo Trigona
Palazzo Trigona: a building with a complex shape
Baroque and the loss of balance in the 16th century
The senses tell the story of the Church of San Paolo
The senses tell the story of the Church of the Badia di Sant’Agata
Religious architecture
Majestic exteriors, grandiose interiors
A story of rebirth
The senses tell the Cathedral of San Giorgio
Altars, saints and sculptural works
St. Agatha and the candelore
Akrai and Syracuse: an unbreakable bond
Verticality and dynamism of the façade of the Church of San Carlo
Madonna of the Militia: a singular warrior virgin
Piazza Duomo, the elephant fountain, the heart of the city
The Palazzo dei due mori
The triumph of Baroque: expansion of spaces
The Church of St. Benedict
The church and the monastery
Expansion, spatiality and light in the church of San Domenico
The senses tell the story of the Church of Santa Maria del Monte
The senses tell the story of the Church of San Carlo and the former Jesuit college
The casket of austerity under the great dome
Virtuosity, decorations and altars
The works in the church
Geometry and wonder in civic architecture in the Baroque of the Val di Noto
The Benedictines’ library
The expansion of space and changing reality
A Nobel Prize in Modica
The senses tell the story of the Church of San Giuliano ai Crociferi
Palazzo Zacco, a balance between sobriety and decoration
The church and the college
The senses tell of Palazzo della Cancelleria
Militello: The story of an enlightened fiefdom
The interiors: diffused light and Byzantine relics
A casket of precious works
Views denied, views conquered: the power of the devout Benedictines
A stone garden
Palazzo Trigona di Canicarao
The senses tell the Church of San Michele
The senses tell about Palazzo Zacco
The Madonna dei Conadomini and the art of devotion
The Church of St. Francis
The smallest Greek theatre in the world
The senses tell the Cathedral of Sant’Agata
The palace, the town, the church
The senses tell the story of the Church of San Benedetto
The senses tell the Church of San Domenico
The articulated interior spaces
The two churches
Reconstruction after the earthquake
The new roads of the city
Unusual iconographies: the Burgos crucifix
Scenography, lights and colours of the cathedral
The neo-Gothic seminary chapel: symbols, light and space
The senses tell the story of the Sanctuary Church of Santa Maria della Stella
The senses tell the Benedictine Monastery and the Church of San Nicolò l’Arena
The interior of the church: space and colour
A new site for the church of San Giorgio
The beginning of an authentic Baroque conception
The Duomo di San Giorgio (Cathedral of St. George)
The eagle-shaped city
The Staircase of Angels
The senses tell of the Cathedral of San Pietro
The city of Modica, a balance between nature and urbanism
San Domenico and Gagliardi’s work
The city palace
From the end of the world to rebirth from the rubble
The Antonino Uccello Birthplace Museum
The Franciscan convent
A heritage of votive works
The church of San Nicolò l’Arena: the majesty of an unfinished beauty
The art of maiolica
A unifying project for the city of Catania
The Church of St. John the Evangelist
Fountain of the Nymph Zizza: public water in the town
The Monastery of the Benedictine nuns
City and nature
The Infiorata of Noto, a modern tradition
The Church of Madonna della Stella
The Church of St. Mary of the Mountain
The freedom of worship and the Catholic Church’s role in the diffusion of Baroque
Baroque creativity: recurring themes
The dynamics of the Church of San Michele
A compromise between Neoclassicism and Baroque
Scenography and devotion for St. Agatha
The Monte delle Prestanze in the new city layout
Scicli, the city of Baroque scenery
Rebirth and urban planning of the city of Noto
One city, three sites
MiC – Ministero della Cultura
Legge 77/2006 - Misure Speciali di Tutela e Fruizione dei Siti Italiani di Interesse Culturale, Paesaggistico e Ambientale, inseriti nella “Lista Del Patrimonio Mondiale”, posti sotto la Tutela dell’ UNESCO Regione Siciliana.
Assessorato dei Beni Culturali e dell’Identità Siciliana, Dipartimento dei Beni Culturali e dell’Identità Siciliana.
Parco archeologico della Valle dei Templi di Agrigento.