Catania

Reconstruction after the earthquake

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 fil di ferro
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
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.

statua di sant'Agata nella nicchiaThe 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 palace, the town, the church

The Badia di Sant’Agata (St. Agatha’s Abbey)

The new roads of the city

The eagle-shaped city

The senses tell the story of the Sanctuary Church of Santa Maria della Stella

The church and the college

The city of Modica, a balance between nature and urbanism

Madonna of the Militia: a singular warrior virgin

Expanded spaces, stucco and colourful lights

The neo-Gothic seminary chapel: symbols, light and space

Palazzo della Cancelleria: from former stable to the Nicastro family

Garden of Novices and the restorations by Giancarlo De Carlo

One city, three sites

The smallest Greek theatre in the world

The city within the city

Expansion, spatiality and light in the church of San Domenico

The church of San Nicolò l’Arena: the majesty of an unfinished beauty

Scenography, lights and colours of the cathedral

The Monte delle Prestanze in the new city layout

The Infiorata of Noto, a modern tradition

Palazzo Zacco, a balance between sobriety and decoration

A story of rebirth

Baroque creativity: recurring themes

A compromise between Neoclassicism and Baroque

The Franciscan convent

The senses tell the Cathedral of Sant’Agata

The illusion of light and the decorative splendour

From the end of the world to rebirth from the rubble

The senses tell about Palazzo Ducezio

City and nature

The triumph of Baroque: expansion of spaces

A casket of precious works

The Church of St. Julian on Via dei Crociferi

The city palace

A heritage of votive works

The senses tell of Palazzo della Cancelleria

The casket of austerity under the great dome

Unusual iconographies: the Burgos crucifix

The senses tell about Palazzo Beneventano

Baroque and the loss of balance in the 16th century

The art of maiolica

Majestic exteriors, grandiose interiors

Art in the cathedral

St. Agatha and the candelore

Geometry and wonder in civic architecture in the Baroque of the Val di Noto

The dynamics of the Church of San Michele

The senses tell the Church of San Michele

Reconstruction after the earthquake

A Nobel Prize in Modica

The senses tell the story of the Church of San Giovanni Evangelista

The Church of St. Paul

The freedom of worship and the Catholic Church’s role in the diffusion of Baroque

The senses tell the story of the Church of San Benedetto

Luminous sacred spaces

Barresi-Branciforte: the lords of the fiefdom and the modernisation of the town

The senses tell the Benedictine Monastery and the Church of San Nicolò l’Arena

The senses tell about Palazzo Trigona

Palazzo Trigona: a building with a complex shape

San Domenico and Gagliardi’s work

The senses tell about Palazzo Zacco

Militello: The story of an enlightened fiefdom

Piazza Duomo, the elephant fountain, the heart of the city

The works in the church

The interior and works of art

Altars, saints and sculptural works

The senses tell of the Cathedral of San Pietro

The beginning of an authentic Baroque conception

The church and the monastery

The senses tell the story of the Church of San Giuliano ai Crociferi

The Church of St. Benedict

The articulated interior spaces

The interior of the church: space and colour

Scenography and devotion for St. Agatha

Views denied, views conquered: the power of the devout Benedictines

The Church of Madonna della Stella

The interiors: diffused light and Byzantine relics

The Church of St. John the Evangelist

A unifying project for the city of Catania

Akrai and Syracuse: an unbreakable bond

The Church of St. Francis

A stone garden

Religious architecture

A new site for the church of San Giorgio

Fountain of the Nymph Zizza: public water in the town

The Duomo di San Giorgio (Cathedral of St. George)

The senses tell the Church of San Domenico

The Madonna dei Conadomini and the art of devotion

The Staircase of Angels

The Church of St. Mary of the Mountain

The two churches

The senses tell the story of the Church of Santa Maria del Monte

Virtuosity, decorations and altars

Rebirth and urban planning of the city of Noto

The senses tell the Cathedral of San Giorgio

The senses tell the story of the Church of the Badia di Sant’Agata

Scicli, the city of Baroque scenery

The expansion of space and changing reality

The Palazzo dei due mori

The Monastery of the Benedictine nuns

The senses tell the story of the Church of San Carlo and the former Jesuit college

The Antonino Uccello Birthplace Museum

Verticality and dynamism of the façade of the Church of San Carlo

Palazzo Trigona di Canicarao

The Benedictines’ library

The senses tell the Cathedral of San Giorgio

The senses tell the story of the Church of San Paolo