Tourist Attraction in Caltanissetta: Cattedrale di Santa Maria la Nova
The church of Santa Maria la Nova is the cathedral of the diocese of Caltanissetta. The first Mother Church whose historical news is known is the Church of Santa Maria, then called the Angels or Vetere. to distinguish it from the new Mother Church, built around the year 1000 as a palatine Chapel of the Castle of Pietrarossa and became a parish house with a decree of Frederick II in 1239. In 1570, with the solemn laying of the first stone, began building the Temple , which was completed in 1622, originally had three aisles, ending in three chaplains, the central one devoted to the Immaculate, the left one to the Blessed Sacrament, and the one to the right at St. Michael the Archangel. The aisles ended before the present transept. From 1718 to 1720, at the expense of the Archbishop Raffaele Riccobene, he was named the Flemish painter Guglielmo Borremans (1670-1744) who, together with his son Luigi, painted the vault and the central nave, and painted the altarpiece, depicting the Immaculate Conception. On July 26, 1733, the Mother Church was consecrated by the bishop of Agrigento Lorenzo Gioeni under the title of Santa Maria la Nova and San Michele Arcangelo. Meanwhile, since the diocese of Caltanissetta was established in 1844, the Mother Church was erected at the Cathedral, as the plaque on the central door is remembered. In 1922, the enlargement work (construction of the transept and presbytery) began, which, during the Second World War, resumed immediately after the violent bombing of July 9, 1943, which destroyed part of the frescoed vault. The works, including the turn of the vault, were completed in 1946. It has a large façade divided by pilasters, flanked by two bell towers and dominates the entire central square of Garibaldi. The interior, with a Latin cross, is divided into three aisles and supported by fourteen arcades, each dedicated to an Old Testament character, and before the bombing of 1943, supporting the figures of the twelve apostles. At the point of intersection between the two arms of the cross, above the altar, is the dome. The remarkable series of frescoes that adorns the central nave is the work of Flemish painter Guglielmo Borremans (1670-1744) who worked in the Nissen masterpiece in 1720. The three central scenes formed by the scenes of the Immaculate Conception, the Incarnation of the Virgin and the triumph of Saint Michele, present themselves to the visitor along with depictions of angels, cloudlets and golden floral theme stuccos. In the second chapel on the right there is a remarkable presence of the splendid Immaculate, a wooden statue of 1760 with precious silver plate drapes. In the chapel next to the main one, there are the representations of the archangel Michele (patron from the seventeenth century), a wood simulacrum born of the ability of the author Stefano Li Volsi, and of the archangels Gabriele and Raffaele, marble sculptures made by ' artist Vincenzo Vitaliano. On the main altar, you can admire the Immaculate and Saints, a great piece of Borremans. Finally worthy of attention is a precious carved and decorated organ, a canvas depicting the Madonna del Carmelo by Filippo Paladini (1544-1614) and a Crucifix once attributed to Fr 'Umile da Petralia (1580-1639). In the right nave, near the chapel of SS. Sacramento, once a chapel chapel, admires a large two-time glass window, in 1958 and 1965, by Amalia Panigati, with Stories of the Life of St. Ursula and St. Francis of Saverio.