The presbiterial area of Catania’s Cathedral deserves detailed description because of the importance of the structures of its walls and its side chapels. At the end of the three naves, three steps mark the border between the eighteen century structure and the original Norman portion which has been brought to light by the restoration of the late fifties; the solemn profiles of the ogive arches, made with lava stone (now cleared by the stuccos of 1700 and 1800 that used to cover them) seize the attention for their severity and essentiality.
On the outside it is possible to see the three Norman apses crowned by a battlement (159 Via Vitt. Emanuele). In the inside, along the main apse, is the wooden choir of the XVI century. The light comes from a Norman single lancet window closed by a stained glass window with the image of St. Agata. In the right apse is the chapel of St. Agata with the shrine (preceded by a portal of late 1400) which holds the relics of the saint. The mortal remains of the saint are kept in different relics shrines, all made of gold, silver and precious stones: the trunk is enclosed in the silver bust covered with a very thick layer of jewels, chains, necklaces, medallions etc… offered by the devoted to the saint as a pledge of their faith.
Other fragments of the body (among them a breast) are saved in artistic relic shrines which are carried in procession, during the celebrations. The exit of the Saint’s bust from the chapel to her dedicated takes place at the dawn of February 4th and is welcomed by a crowd of faithful in ovation who jam the church before the mass that precedes the procession of the fercolo (monumental chart) along the streets of the city.
The apse to the left of the main altar holds the tabernacle with the Holy Sacrament. On the sides of the three Norman apses are two artistic chapels derived from the inside of two side towers: the one on the left, figuring scenes of Christ’s Passion on the portal posts and a “pietà” in the “lunette” above (work by Gian Domenico Mazzolo dating 1563) is dedicated to the crucifix and contains sculptures and relic shrines of 1700.
The one on the right, preceded, too, by an engraved portal and by a “lunetta” figuring the crowning of the Virgin (Mazzolo 1545) and in the gate post with the episodes of the life of the Virgin Mary, encloses two sarcophagi, one with the remains of different members of the Royal Aragonese family, the other contains the body of Costanza of Aragon.
The fresco picturing the eruption of 1669
In the sacristy of the Cathedral it is possible to view a fresco of both historical and documentary interest which describes the eruption of Mount Etna of 1669. Though the painting cannot be labeled as a masterpiece under the artistic profile, it must be acknowledged for its intense fascination deriving from the direct involvement of its author, an eye-witness of this event and its terrific consequences. The eruption of 1669 was one of the most frightful ones which invested directly the city of Catania; it started from the crater opened in the territory of Nicolosi (Monti Rossi) and reached the city, licked the monumental complex of Benedectine convent and invested the Ursino Castle up to seclude it from the sea where originally it had been built for defensive reasons. With regard to this eruption we must remind also the attempt to deviate the course of the lava flow. The fresco of the Cathedral is attributed to the painter Giacinto Platania from Acireale, who came to Catania to follow the development of the dreadful event.
Bibliography
S. Boscarino, Sicilia Barocca. Architettura e città, 1610-1760, Roma 1981.
G. Dato, La città di Catania. Forma e struttura, 1693-1833, Roma 1983.
Guida di Catania e provincia, a c. di N. Recupero, Catania 1991.
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