The Cathedral of Syracuse, set in the beating heart of Ortigia, is not simply a place of worship; it is a living entity, an architectural organism that breathes Sicily‘s thousand-year history.
Its walls tell of Greek splendour, Christian conversions, foreign domination, earthquakes and reconstructions. To cross its threshold is not just to enter a church, but to embark on a journey back in time, an exploration of overlapping cultural layers, an uninterrupted dialogue between paganism and Christianity, East and West.
Ortigia: Sacred Island, Crossroads of Civilisations
The island of Ortigia, the original core of Syracuse, is a microcosm of Mediterranean history. Inhabited since the 14th century BC (as evidenced by Bronze Age artefacts), it became the hub of the Greek colony founded in 734 BC by Archia, a Corinthian aristocrat.
Its strategic location, the presence of freshwater springs (the mythical Arethusa Spring) and its natural harbour configuration made it an ideal place for the settlement and development of one of the most powerful poleis of the Greek world.
The Temple of Athena: Doric Naos, Pulsating Heart of the Polis
The building of the temple dedicated to Athena, the poliàs (protector of the city), was not only a religious, but also a political and symbolic act. Its construction, probably begun under the tyrant Gelon after the decisive victory of Imera over the Carthaginians (480 BC), definitively consecrated Syracuse’s power in the Mediterranean.
Ancient literary sources, in particular Cicero in the Verrines, give us an image of a temple of extraordinary wealth and magnificence. It was a hexastyle Doric peripteral, with 6 columns on the short sides and 14 on the long sides (a slight difference from the Temple of Concordia in Agrigento, which has 13).
The dimensions were imposing: about 55 metres long and 22 metres wide. The orientation, with the façade facing east, followed the Greek canon, allowing the first rays of the sun to illuminate the statue of the goddess inside the cella.
Cicero describes the temple doors, inlaid with gold and ivory, and the famous golden shield on the top of the pediment, which served as a beacon for sailors. Inside, the cella probably held a chryselephantine (gold and ivory) statue of Athena, similar to the one made by Phidias for the Parthenon in Athens.
Fragments of polychrome architectural terracotta, found during the excavations, testify to the lively chromatic decoration that originally characterised the temple, in contrast to the monochrome image we have today of ancient monuments. The metopes, now lost, must have depicted mythological scenes, perhaps linked to the figure of Athena or episodes from Syracuse’s history.
The Conversion: A Gradual and Complex Process
The transformation of the Temple of Athena into a Christian cathedral was not a sudden event, but a gradual process that took place over several centuries. Christian tradition attributes St Paul, on his way to Rome (Acts of the Apostles, 28, 12), with a brief stop in Syracuse, where he is said to have preached for three days. Saint Martian, sent by Saint Peter, is considered to be the city’s first bishop and the founder of the Christian community in Syracuse.
It is likely that, in the first centuries of Christianity, the temple continued to coexist with the new Christian places of worship. The final transformation into a basilica probably took place under Bishop Zosimus in the 7th century AD.
The adaptation work involved closing off the intercolumniums of the peristyle with walls, thus creating the side aisles. Eight arcades were opened on each long side of the cella, transforming it into the nave. The orientation of the building was maintained, unlike in many other cases of conversion of pagan temples into churches (where the entrance was often moved to the west).
Architectural Evolution: A Continuous Addition
Zosimos’ intervention was only the first in a long series of alterations and extensions that shaped the cathedral’s current appearance. In Byzantine times, the building was enriched with mosaics, of which very few traces remain. With the Norman conquest (1086), the cathedral underwent further transformations: the bell tower was raised and the roof was probably redone.
The earthquake of 1542 and, above all, the devastating one of 1693, caused severe damage to the structure, making a radical reconstruction of the façade necessary. The commission was given to the Palermo architect Andrea Palma, who designed the present Baroque façade, completed in 1754.
The Baroque Façade: A Hymn to Light and Movement
Andrea Palma’s façade is a masterpiece of Sicilian Baroque, characterised by an exuberant decorative richness and a dynamism that contrasts with the severe static nature of the Doric columns. The façade is divided into two orders, marked by columns and pilasters.
The lower order is dominated by the central portal, flanked by two pairs of twisted columns, which create a strong chiaroscuro effect. The upper order, further back, features a large central window and two niches with statues of St. Martian and St. Peter.
To crown it, a curvilinear tympanum surmounted by the statue of the Immaculate Conception. The use of different materials (white limestone for the architectural members, yellow sandstone for the backdrop) accentuates the chromatic contrast and plasticity of the forms.
The Interior: A Dialogue between Ancient and Modern
The interior of the cathedral, with its three naves, is an extraordinary example of the integration of architectural elements from different eras. The Doric columns of the temple, incorporated into the pillars, are immediately visible and constitute the most striking element of the building. Their massive presence, with their sharp-edged fluting, evokes the power and solemnity of Greek architecture.
The nave, covered by a wooden coffered ceiling (rebuilt in the 19th century), leads to the high altar, surmounted by an elaborate Baroque ciborium in polychrome marble. Numerous chapels, also richly decorated in Baroque style, open onto the side walls.
Among the chapels, the following deserve special mention:
- The Chapel of the Sacrament: a triumph of mixed marbles, gilded stucco, frescoes and sculptures, a superb example of Baroque horror vacui. The altar, by Luigi Vanvitelli, is a masterpiece of marble inlay.
- The Chapel of Saint Lucy: Dedicated to the patron saint of Syracuse, it is the devotional heart of the cathedral. Caravaggio’s masterpiece, The Burial of Saint Lucy (1608), now on display in the Regional Museum of Palazzo Bellomo for conservation reasons, was originally located here. The chapel houses the silver simulacrum of the saint, made in 1599 by Pietro Rizzo, which is carried in procession during the lucian feasts (13 December and the first Sunday in May).
- The Baptistery: located in a room that is believed to be part of the opisthodomos of the Greek temple, it preserves a baptismal font from the Norman era made from an ancient basin.
Saint Lucy: Popular Devotion and Iconography
The figure of Saint Lucy, a virgin and martyr from Syracuse, is inextricably linked to the cathedral and the city. Her story, handed down through legendary passiones, presents her as a young Christian woman who, during Diocletian’s persecution (early 4th century), suffered martyrdom for her faith. Her traditional iconography depicts her with the attributes of martyrdom (the palm tree) and with a plate or cup containing her eyes, torn out according to legend.
Visiting the Cathedral: An Immersion in History and Art
The Cathedral of Syracuse is a place that requires a careful and conscious visit in order to fully grasp its historical and artistic richness.
Practical information: Always check up-to-date times and access arrangements, which may vary.
Visiting tips:
* Light: natural light plays a key role in lighting the interior. Different times of day offer different atmospheres, now enhancing the Doric columns, now the Baroque details.
* Contemplation : Take time for silent contemplation. Sit on a bench and let the atmosphere of the place envelop you.
* Connection: Look for connections, try to imagine the Greek temple, the pagan rituals. The cathedral is a continuous passage.
* Ortigia: A visit to the Cathedral is an opportunity to explore Ortigia, a jewel of history, art and beauty. Lose yourself in its alleyways, admire the Baroque palaces, discover traces of its Greek and medieval past.
A Living Monument, a Heritage to Share
The Cathedral of Syracuse is not an archaeological find, but a living organism that continues to evolve and bear witness to the faith, culture and art of a people. It is a heritage of humanity that we have a duty to preserve and enhance, but above all, to understand and pass on to future generations. It is an invitation to rediscover our roots, to dialogue with the past and to build a future aware of our identity.