The Church of Holy Mary of the Annunciation and
Assumption

The Mother Church of Forza D'Agrò represents the ambition of village citizens who, conscious of their cultural riches and proud of their independence from
the feudal Lords and governors, decided to rebuild a large church as a symbol of their civilisation. The reconstruction of the Cathedral was completed at the beginning of the 18th century. The original church, built in the 15th century, underwent serious damage in 1648 and then again in 1693 due to earthquakes. The reconstruction was clearly influenced by the religious and architectural ideas of the time: the resulting counter-formation style and characteristic influences of the Sicilian baroque are obvious.

The general layout of the new church is different, its floor plan intersects that of the old church, of which the apse and the transept behind the sacristy still remain. The beautiful and elaborate entrance door dating from the 16th century, and miraculously spared during the earthquakes, was reused from the original church. As well as another two doors also surrounded by sandstone with carvings shaped into the upper parts.

As often happened in the 18th century, the church was seen as the monumental conclusion of a designed urban space, with an elevated facade and a wide staircase leading up to the church. In the new, north-west facing facade, the architecture of the church reflects Spanish compositional and decorative elements. However, the undulating and pyramidal shapes of the structure create a predominantly dynamic form with snailing spirals and plumes, reflecting the typical style of the Sicilian Baroque.
 

The facade of the church proudly points towards a sky that seems to be made of the same material as the earth itself only coloured differently. The two, round side windows and the small central one are surrounded by full-circled arches decorated with floral motifs. The large architraved window that opens onto the central nave is also wonderfully ornate. Two very tall pilasters extend up the front of the church and together with two horizontal ashlars positioned corresponding to the side naves, divide the facade into five areas. The pilasters, ashlars and ornamentation of the doors and windows, made from the local grey sandstone, stand out magnificently against the background of the facade. Running the length of the right side wall of the church, that also contains an entry door, is an open space bordered by a low wall with a bench. To the left of the facade an archway opens into a small courtyard which contains a well and the entrance to the presbytery.

The bell tower of the church is distinctive for its simple and harmonious architectural line, with well placed large arched windows on each side. Restored several times over the years, it has always been impressive for its green colour that stands out beautifully against the spectacular countryside scenery.
 

Already admired for its architectural harmony, the Cathedral of Forza D'Agrò was refined in the 1500's by the addition of the main entrance door, "delicate work designed with a vivid and detailed elaboration and a rare sensitivity" (from "Forza D'Agrò" by Stefano Bottari).

The new entrance, made entirely of ornate sandstone, adds further expression to the facade with two long, grooved columns topped by classical capitals. Over the thick architrave graced by an "angel's face", another decoration in sandstone is probably the frame of a painting.

The interior of the Cathedral is equally elegant due to the light succession of arches and columns that divide the space into three well proportioned naves. On the inner surface of each of the ten arches is found a circular decorative motif. The slender columns are made from stone extracted in the nearby Magghia district, near the church of St. Sebastian. About
three quarters of the way along the length of the church, the transept traverses the three naves. The walls of the central nave end in a wide curve (the apse) over which is the "scratched" basin of the apse, referring to the semi-cupola subdivided into "segments" and finely decorated in gold, with two side windows and a third in the centre. In the apse, at the
top of four marble steps masterfully crafted by the artists of the time, is the main altar of inlaid marble in varied colours.

The Cathedral has a trussed roof with exposed beams of solid wood from which were suspended delicate crystal drop chandeliers. On the arch of triumph, among bas-reliefs of angels and gold friezes, and above a recently positioned wooden crucifix is the inscription:

D O M I N U M

that emphasizes the devotion of the church to the Virgin as these were the words spoken by the Madonna after the angel's annunciation. On the large arch over the main altar, between gold friezes and cupids holding wreaths, is written:

P L E N A

The background is stark white and embellished by the finest decorative mouldings. Architecture, sculpture, painting and decorative marble work integrate successfully and harmoniously. Various materials are used in the adornments enriched by stucco reliefs, the
placement of statues and especially by the chapels and their polychrome marble compositions with intertwining leaves and flowers. The most frequently used colours of marble are grey, green, white, red and brown. The two side chapels on either side of the main altar, and also resting on marble steps, particularly stand out for their excellent workmanship. The other thirteen altars of the church are true works of art in themselves that highlight the skill and careful work of the artisans.

Of particular note is the first altar on the right as you enter, dedicated to the Souls of Purgatory, with pairs of small columns and capitals decorated with both floral and geometric motifs and on which appear bas-reliefs of skulls and souls emerging from flames. At the top is written the following:

PENITUS  OVE  RUAT.

On the same wall, the holy stone of St. Gaetano is noteworthy for the bas-relief of the Saint in white marble and for the following inscription placed above the altar itself:
 

ERIT

Various works undertaken over the years of reconstruction have left behind faith inspiring inscriptions that can be read at several places around the church.
 

On the third roof beam is written:

Hoc opus fecit M. Antoninu S. Villarà 1707

On the central window it reads:

Hoc opus elemosinis completum

On the left part of the arch of triumph there is the following wording:

ECCLESIA HUIUS CIVITATIS MATER DEO BONORUM OMNIUM LARGITORI EIUSQUE INTEMERATAE VIRGINI MATRI TOTIUS CLERI AC POPULI LABORIBUS: DEVOTIONEQUE PARATA SUMMA OMNIUM LAETITIA DE ORD.ne REV.m VIC: GEN: BENEDICTA FUIT PER A. R. D. IACOBUM GARUFI APOST.cum PROT.m COMM.m SANTI OFFICII AC ARCHIPRESBITERATUS LOCUMTENENTEM.

XXIV DECEMBRIS MDCCXVI

Thus, on the 24th of December 1716, the church of the people dedicated to the Virgin Mother was completed, with the contribution of all the clergy and citizens, it was adorned with great devotion and rejoicing and blessed by the Rev. Iacopo Garufi acting for the archpriest.
 

The following wording dating from 1747 is on the last pillar on the left before the transept

D.O.M.

CAROLO BORBONIO UTRIUSQUE SICILIAE HIERUSALEM DEI GRATIFICANTE GRATIA GLORIOSISSIMO REGE HISPANIARUM INFANTE PARMAE PLACENTIAE CASTRI DUCE, MAGNO HEREDITARIO ETRURIAE PRINCIPAE REGII AC FIDELES PATRIAE PATRES D: DOMINICUS TRIFATI N. s D: NICOLAUS PAGANO D: IOSEPH GIARDINA IURATI IN AMPLIOREM IURATORIAE DIGNITATIS CULTUM HANC EREXERE SEDEM ANNO DOMINI MDCCXLVII.

It is dedicated to the then reigning King of the two Sicily's, Charles III the Bourbon, by the Jurors of Forza D'Agrò who placed the inscription in observance of religious rites carried out in the Cathedral.

Between the third and fourth altars on the right, a tombstone commemorates the "mortal remains" of the Marquis Giovanni Mauro, descended from a long line of nobles, who died on the 29th January 1867.

To commemorate his appointment as parish priest on the 14th of September 1901, Father Sebastiano Riolo attached a marble crucifix on the left of the arch of triumph.

Above the main altar, a true work of art in itself for the polychrome marble work, is a large painting of the Annunciation.
 

The Mother Church of Forza D'Agrò is a good example of the development of religious craftsmanship between the 1600's and 1700's, particularly in reference to the tradition of wood carving and the work of goldsmiths, that resulted in an abundant and polished production of sacred ornaments. The lower part of the apse behind the main altar is adorned by a choir stall in carved walnut wood, by an unknown artist belonging to the Messinese school from the middle of the 18th century. The choir stall is composed of 24 "stalls" in two rows and is where the church singers were seated during religious celebrations.
 

Scenes relating to the life of the Madonna and Jesus Christ are depicted on the back of each stall. The choir stall has recently been restored.

The priests of the village were buried in the underground crypt.

The left nave ends with a side chapel that is exceptional for its marble walls and ceiling frescoes. The altar of the Sacrament is also found here.

Without a doubt, the most "famous" altar is that of the Holy Crucifix, the patron of Forza D'Agrò, represented by a wooden crucifix from the 14th century, originally in the church of the same name in the Castle. Also noteworthy is the altar where the statue of St. Catherine of Alexandria is now situated, previously in the church of the same name.

Of particular excellence among the sacred vestments are a lively and delicately embroidered pluvial from the end of the 17th century in which the central part depicts the Annunciation, also a chasuble and two silk cassocks embroidered with floral motifs.

Eighteenth century motifs are found on some chalices and a crucifix with reliquary. The Cathedral of Forza D'Agrò once possessed other ornaments from previous centuries. In particular, a 43 centimetre high reliquary in silver filigree dating from the end of the 16th century. It was oval in shape and decorated with floral motifs on a gold background which gave it a distinctive chromatic effect. Unfortunately, in 1981 two chalices were stolen. The typical form of the 16th century is seen in a characteristic zinc flask that is 60 centimetres tall.

Dating back to the 18th century is the magnificent, manually activated pipe organ featuring pedals and bellows. Until recently, it accompanied the religious ceremonies carried out in the Cathedral. With its finely detailed and spacious "balcony" directed towards organist and choir, the organ is still supported on the nave to the left as you enter. The structure has recently been restored.

The "Mother Church" also contains some paintings from the 17th and 18th centuries, including works by well-known Sicilian artists such as Celi and Filocamo. The former is the author of "St. Gaetano and the Virgin", the latter of a "Sacred Family". Also worthy of note is the painting by Giovanni Comandè representing the "Madonna of the Rosary between Sts. Dominic and Catherine" (17th century).

In recent times the parish priest Father Di Natale, at his own expense and that of the community, commissioned a representation in relief of the Annunciation for the cathedral dedicated to Holy Mary of the Annunciation and Assumption.

All over the region since the times of feudalism the dead have been buried in churchyards. "Our" Cathedral was no exception, underneath which are enclosed numerous tombs in various crypts that, until the 18th century and for part of the 19th century, was the graveyard of the citizens. The areas in front of the entrance and along the side of the church, dedicated to the burial of the faithful and as such called "upper cemetery", may even conceal a tomb that is larger than what it seems, possibly even extending beyond the street below.

From the elevated wooden pulpit of the church, also now restored, you can almost hear the "sermons" of the old priest, the series of advice, admonishments and reprimands directed to the faithful for their instruction and spiritual benefit. Exhortations to the fulfilment of personal duties and virtuous practices made to a proud community, forever sensitive to the religious word.