Cathedral of San Gerlando

The Cathedral of Agrigento, with its thousand-year history, embodies a unique charm that dates back to the time of the Crusades and evolves through the centuries, reflecting the various dominations and artistic styles that have shaped the building, its decorations, and its artworks. From medieval austerity to baroque exuberance, every corner tells a story. Visiting the Cathedral means embarking on a journey through time, exploring art, faith, and beauty. And today, this experience is enriched by an innovation that makes discovery even more captivating. Starting today, your visit to the Cathedral is enhanced with innovative, interactive, and multilingual digital tools, including AI-powered totems, touchscreens, and virtual reality headsets. These technologies break down cognitive barriers and offer all visitors an intuitive and engaging way to explore the Cathedral’s historical and architectural evolution, as well as the original placement of artworks now housed in the Diocesan Museum. Moreover, these digital tools provide an insightful overview of the key cultural landmarks that shape the Art & Faith routes within Agrigento’s historic center.

Now, let’s retrace its story, starting from its very origins.

During the time of Crusades, the Norman Count Roger de Hauteville freed Agrigento from Saracen rule in 1087. Two centuries of Arab domination had caused misery and social decline and Roger’s priorities were to reinforce the city and to bring peace and harmony to its citizens of different races. As a fervent Christian he also wished to re-establish Christianity in Agrigento; after two centuries of Islamic rule the Diocese had to be reinforced and the population converted back to Christianity.

For this difficult mission Roger appointed Gerlando de Besancon, a man of exceptional human and spiritual capabilities, as the new Bishop of Agrigento. Gerlandoimmediately commissioned the construction of a new Cathedral, located on the highest point of the city and allegedly built near the ruins of a Greek temple dedicated to Zeus. The cathedral was completed in just 6 years (1093-1099).

He was much beloved amongst both rich and poor inhabitants of Agrigento,  and many influential citizens of other religions were soon converted. In the same period the Normans changed the Arabian name of “Kerkent” to “Girgenti”, a name which the city maintained until 1929 when it was changed once more to “Agrigento”. Shortly after his canonization, Gerlando was named Patron Saint of Girgenti. Even today his name is invoked by the population of Agrigento seeking his protection in case of natural calamities, praying “San Giullannu, senza dannu” (Saint Gerlando, protect us from damage). The only Saint which can compete with him for popularity and devotion is Saint Calogero.

In the MUDIA diocesan museum there is a special hall dedicated to Saint Gerlando where you can admire a wooden statue and a portable altar which was used by the crusaders to celebrate Holy Mass on the battlefield prior to the battle. Exactly what the connection between the altar and Saint Gerlando was is one of the unsolved mysteries of the cathedral.

A small and suggestive museum space has recently been set up in the north aisle of the Cathedral: the “Sala dei Sarcofagi” an authentic archaeological treasure composed of two beautifully preserved sarcophagi from the Greek and two from the Roman age. Among them, a true sculptural Roman jewel stands out, the famous Sarcophagus of Phaedra: a masterpiece that tells the myth of Hippolytus and Phaedra with bas-reliefs of sublime beauty. “I think I have never seen anything more superb in terms of bas-reliefs “(…)” The work is perfectly preserved, for me I consider it a model of the most graceful period of art”. So wrote Goethe in 1787 during his “Journey to Italy” in front of the sublime beauty of the Sarcophagus of Ippolito and Phaedra dating back to the third century A.D. and used as a baptismal font. Today, after 40 years of custody in other locations, this archaeological treasure celebrated by Grand Tour travelers returns to the Cathedral continuing to amaze visitors.

From the Hall of Greco-Roman Sarcophagi, a small staircase leads to the evocative spaces of the Crypt. Composed of two interconnected chambers, it was originally used for the burial of the Cathedral’s Canons: the first room served as the space for drainage practices, while the smaller and more secluded chamber functioned as the ossuary. Today, the Crypt has become a place of contemplation and an exhibition area displaying architectural fragments and testimonies associated with the medieval and Chiaramontan phases of the Cathedral.

The transept with single lancet windows and the Clock bell tower are the sole remaining sections of the Norman basilica, offering a commanding view of the entire city. In the course of the centuries the cathedral was enlarged, modified and redecorated several times and today it is a fusion of different styles.  Nowadays it is a Latin-cross basilica with a main nave and two lateral aisles, pointed arches on octagonal pillars and a magnificently decorated coffered wooden ceiling. In a niche in the southern nave there is a glass coffin containing the embalmed body of San Felice Martire (although some say that it is the body of an unknown knight). The facade is in renaissance style, as is the Bell tower with its 14^th century blind windows and a balcony with the best view in town.

Inside the Bell tower some mementoes of Sister Maria Crocifissa are treasured. Before being ordained she was called Isabella Tomasi di Lampedusa, ancestor of the writer Giuseppe Tomasi di Lampedusa, famous author of the novel “The Leopard” (“Il Gattopardo“). Amongst the various objects there is a mysterious handwritten letter called the “devil’s letter” addressed to the nun and written in characters which resemble Sanskrit; to date it has never been deciphered. The choir and the central nave of the cathedral are richly decorated in baroque style and are adorned with stuccoes and frescoes. The Cathedral’s Treasures are exhibited in the halls of the MUDIA – Diocesan Museum,  located in the Bishop’s Palace, not far from the cathedral.