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Any connoisseur of Bel canto opera is familiar to the complex work of Vincenzo Salvatore Carmelo Francesco Bellini, a primary figure for the Italian opera. His name started to mark the Italian music in 1803 when he is said to have sang an aria of Valentino Fioravanti at the age of eighteen months.

This prodigy child attracted considerable attention to his residential town, Catania, a Sicilian locality situated on the eastern coast of the island facing the Ionian Sea. Nowadays, the name Bellini fairly reverberates throughout the city, joining all the other great artists that marked the island on the world map. Today, the grave of the artist rests inside the notorious Cathedral of Catania which crowns the mediaeval center of the city.

The cathedral is with no doubt the most important church of the city. The local legends bolster its greatness by disseminating the idea that the church was built on exact the same place where Saint Agatha died in 251. It definitely comes in as appreciated information due to the fact that Saint Agatha is the patron saint of the city. She is a highly celebrated figure in Catania and many of the inner elements of the church prove it.

This ecclesiastic edifice began its existence soon after the Norman Conquest (1085). It was Roger I who commanded the construction of the basilica in the same place where the Roman Springs of Achilles had been. Materials from these remains and elements of other former buildings were incorporated into the construction of the church. But the entire building was subjected to massive restorations after the 1693 earthquake.

The baroque style was imminent and therefore obstructed all of the previous architectural highlights. Nevertheless, recent discoveries (1950- 1959) reveal the original eastern side, under the dominating baroque design. Also impressive are the tall lava apses of Norman origins that overlook corso Vittorio Emanuele II. The northern side is also worthy of several snapshots as it offers a beautiful entablature of finely shaped cherubs.

The inner architectural design also reveals some Norman tokens, such as the column bases from the former structure. Further, two arches signed by Renaissance artists announce the entrance to the two chapels. The southern chapel is a dedication to Saint Agatha and a clear proof of fine artistry. The choir illustrates several images from the saint’s life that perfectly match the impressive Spanish doorway. The sacristy receives well-deserved admiration for its depiction of the city prior to the 1669 eruption. It seems like the artist wanted to broadly present the domination of Mount Etna by highlighting the majesty of the mountain and the frothing lava threatening the city.

A masterpiece signed by architect G. B. Vaccarini brings a certain spotlight to the façade. He was one of the architects that led the 18th century reconstruction and obviously a name to remember, although the reconstruction was conducted by several renowned architects.

The inhabitants organize on a yearly basis a grandiose procession in the name of Saint Agatha. During this festivity, gratitude is expressed and miracles are expected. People with health problems become an active part of the event, in a way that appears to express some kind of effort worthy of the saint’s protection. Thousands of people from other parts of Sicily, Italy and other parts of the world either witness the event or become a part of it, but they certainly gather for the celebration.