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Agatha was a pious virgin from a noble Catania family in 231 AD. The Roman prefect Quintianus made amorous moves on her. She rebuffed him. He martyred her. But things went bad for Quintianus. His horse kicked him in the river. He hasn't been seen since.

The Cathedral of Catania, also known as Cathedral of Saint Agatha, stands in the Cathedral Square (Piazza del Duomo). It is built in Italian Baroque style. The facade was fashioned in 1700 after a devastating earthquake in 1693. It has three levels with niches and columns of Corinthian granite.

The main entrance has a carved wooden door showing 32 plaques of the life of the Saint. The dome was created in 1802. The bell tower is a rebuilt. A parvis with a white stone balustrade harbors five statues of saints in Carrara marble.

The interior has a Latin Cross plan and three naves. The apse dates from the 12th century. In the north transept is the Chapel of the Holy Crucifix. The cathedral holds the tombs of Vincenzo Bellini, the great Italian composer, and King Frederick III, John of Randazzo and Constance of Aragon.

They say Saint Agatha protects Sicily against enemies, corrupt officials and even Mount Etna. Carved into the facade of the cathedral are the letters N.O.P.A.Q.V.I.E. which are the initial letters of each word in a sentence in Latin that says "Agatha will revenge any injustice perpetrated by those who offend her land".

A promise that has been kept for 1,800 years.

The Church of the Abbey of Saint Agatha (Badia di Sant'Agata), a masterpiece of 18th-century Baroque architecture, stands prominently in Catania, Italy, across the street from the left transept of the city鈥檚 cathedral. This Roman Catholic church, part of a female Benedictine convent, is dedicated to Saint Agatha, the patron saint of Catania, and embodies a rich history intertwined with resilience and devotion.

The nunnery was originally founded in 1620 under the Benedictine rule. However, the devastating 1693 earthquake destroyed the convent, claiming the lives of 15 of its 28 nuns. Reconstruction efforts began modestly with cloisters and a perimeter fence, but the ambitious rebuilding of the church itself only commenced in 1736 under the architect Giovanni Battista Vaccarini. His design incorporated a surviving 17th-century portal by Giovanni Maria Amato, preserving a tangible link to the pre-earthquake structure.

The church鈥檚 fa莽ade, completed by 1742, exudes Baroque elegance, while the octagonal dome, finished in 1768, offers panoramic views of Catania and the imposing Mount Etna. The elongated octagonal interior features a harmonious blend of white marble flooring and yellow Castronovo marble, handpicked by the architect Nicol貌 Daniele. A metal grill behind the main altar enables the cloistered nuns to observe mass discreetly, while a glass chandelier hangs beneath the dome, adding a touch of grandeur.

The side altars house stucco statues crafted in 1782 by Giovanni Battista Marino, Mario Biondo, and Giovanni Battista Amato, depicting Saint Benedict, the Immaculate Conception, Saint Joseph, and Saint Euplio. The centerpiece of the main altar is a striking statue of Saint Agatha, a fitting tribute to the saint to whom the church is dedicated.

The church was consecrated in 1796, marking its completion as a spiritual and architectural triumph. Over the centuries, the structure endured additional challenges, including earthquake damage in 1990. A comprehensive restoration completed in 2012 ensured its preservation for future generations.

In 1334 the Church of Saint Benedict of Nursia was completed. In 1693, like most of Catania, the church was destroyed by the great earthquake. Only five nuns lived to tell the tale. In 1714 the church was rebuilt but the monastery was not finished until 1763. Rebuilding was mainly the the work of architect Giovanni Battista Vaccarini.

The facade has pilasters and several statues. The pediment of the tympanum has two feminine figures representing Fortitude and Temperence. Above the entrance is a statue of the Virgin Mary. The wooden main door has panels showing scenes from the life of Saint Benedict. The marble Angel Staircase has angels and railings of wrought iron.

The interior has one nave. It is lushly adorned with stucco and frescoes on the walls, vault and semi-dome. Artists include Matteo Desiderato and Giovanni Tuccari. Pictures of the life of Saint Benedict are everywhere in scenes both lively and cheerful. The main altar is of polychrome marble with panels of bronze.

The Church of Saint Francis Borgia in Catania is a former Jesuit church now repurposed as a cultural venue under the administration of the Regional Superintendence of Cultural Heritage. Located adjacent to the Collegio Gesuita and parallel to the Church of San Benedetto, this deconsecrated church is notable for its Jesuit heritage and the preservation of much of its original artwork.

The church鈥檚 facade exemplifies classical design, adorned with five statues of Jesuit saints. Central to this arrangement is a statue of the titular Saint Francis Borgia positioned above the portal. Flanking him are Ignatius Loyola and Francis Xavier on the lower level, with Aloysius Gonzaga and Stanislaus Kostka depicted on the upper tier. This sculptural ensemble underscores the Jesuit influence on the church's identity.

The church's Latin cross layout features a central nave and two aisles lined with chapels. Completed in 1740, its interior boasts frescoes, altarpieces, and sculptures. Highlights include the first altar on the right, depicting the Vision of Madonna and Child to San Giovanni Francesco Regis; the second altar, showing Saints Stanislaus Kostka and Aloysius Gonzaga; and the main altar, adorned with polychrome marble and sculptures by Giovanni Battista Marino. At its center is a 1567 copy of the Madonna of the Snow (Madonna della Neve), gifted by Saint Francis Borgia.

The dome鈥檚 base is adorned with statues of the four Evangelists, complementing frescoes that celebrate the Triumph of Saint Ignatius and the Jesuits over heresy. The apse features trompe-l'艙il painted curtains, adding to the grandeur of the space. On the left altars, notable artworks include depictions of Saint Agatha visited in jail and the Glory of Saint Joseph, further enriching the church's artistic legacy.

Although no longer serving as a place of worship, the Church of Saint Francis Borgia remains an important cultural and historical landmark in Catania, hosting exhibits and events that continue to draw attention to its artistic and architectural significance.

The Church of San Giuliano in Catania is a remarkable testament to the city鈥檚 architectural and spiritual heritage, earning its reputation as one of the most beautiful places of worship in the area. This late-Baroque masterpiece was built between 1739 and 1751 on the ruins of an older church destroyed by the devastating 1693 earthquake. The design was entrusted to Giuseppe Palazzotto and Vincenzo Caffarelli, who created a space dedicated to Saint Julian the Hospitaller.

The church鈥檚 convex fa莽ade is an elaborate and captivating feature. Its upper-story windows, shielded by a dense iron grate, allowed the Benedictine nuns from the adjacent convent to discreetly observe the vibrant Sant鈥橝gata processions. Above the fa莽ade, a striking pediment features a reclining maiden sculpted by Gaspare Ciriaci, adding a touch of elegance and mystique. The entrance door is adorned with the cross of the Order of the Holy Sepulchre, a nod to the order鈥檚 restoration of the church after 1939.

The interior is no less impressive. Shaped as an elongated asymmetric octagon, the nave boasts a main altar and four minor altars, each rich in detail and devotion. The main altar, a polychrome marvel, was designed by Giovanni Battista Vaccarini and sculpted by Giovanni Battista Marino, featuring allegorical statuettes of Faith and Charity alongside a painted cross.

The crowning glory of the interior is the cupola fresco painted by Giuseppe Rapisardi in 1842, depicting God the Father and Saint Peter, a work that fills the space with divine radiance.

Visiting the Church of San Giuliano offers a glimpse into the profound artistry and religious devotion that shaped Catania鈥檚 post-earthquake resurgence. It鈥檚 a place where history, art, and faith converge in a symphony of Baroque splendor.

Formerly a Benedictine establishment, the monastery is located at Dante Square in Catania. It is part of Val di Noto Works Heritage Site. There are no monks to be found on the premises but the humanities department of the University of Catania has found a home here.

The monastery was founded in 1558 and dedicated to San Nicolo "l'Arena." The monastery is in the center of town. It stands beside the Church of San Nicolo l'Arena. After the 1669 eruption of Mount Etna and the 1693 earthquake, the monastery was level with the ground.

Rebuilding commenced in 1702 and continued until the monastery was confiscated by the government in 1866. The current monastery rests on top of the original one (what was left of it). It has a new cloister and area designed by Giovanni Battista Vaccarini.

The original monastery used a square floor plan. A cloister in the center was called the "marble" cloister. It had a marble colonnade and a clover shaped fountain with refined renaissance decorations. In 1693 all this was destroyed.

The "Marble" cloister was rebuilt with late baroque decorations. The Eastern Cloister was a new addition. A new area on the North side was also added.

Giancarlo De Carlo, architect, has said, "...the old meanings have been substituted by a new one that allows the old architecture get a new structure and an important role for the contemporary world."

The Church of Santa Maria dell鈥橝iuto is a 17th-century religious landmark in Catania. This sanctuary is celebrated for housing a reproduction of the Holy House of Loreto, making it an important site for religious tourism.

The church originated as a medieval chapel dedicated to Saints Peter and Paul. In 1372, it gained prominence with the veneration of the miraculous Madonna dell鈥橝iuto icon. Transferred here in 1641 to accommodate growing crowds, the current church was rebuilt after the 1693 earthquake by architect Antonino Battaglia.

The Church of Santa Maria dell鈥橝iuto showcases Battaglia's style with a single nave leading to a deep presbytery framed by a triumphal arch. Its 19th-century fa莽ade features two orders of Corinthian columns, statues of Saints Peter and Paul, and a tympanum with Mary鈥檚 monogram surrounded by marble angels. A shield above the entrance depicts the Madonna dell鈥橝iuto, while a clock-equipped bell tower enhances the right side.

Inside, golden stucco, Marian symbols, and writings adorn the space, with four side altars dedicated to San Francesco de Sales, the Crucifix, Saints Peter and Paul, and a replica of Sant鈥橝gata鈥檚 martyrdom by Filippo Paladini.

In the 1740s, a small-scale reproduction of the Holy House of Loreto was added by Canon Giuseppe Lauria, reflecting deep local devotion. The main altar enshrines the Madonna dell鈥橝iuto icon, which survived the 1693 earthquake. While it has been repainted over time, it remains the focal point of veneration. The altar itself is a masterpiece of colored marble and slender columns, crowned by a dynamic marble representation of the Eternal Father surrounded by angels.