Dôme de Barcellona Pozzo di Gotto

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The Basilica of St. Sebastian (Italian: Basilica di San Sebastiano, Duomo di Barcellona Pozzo di Gotto) is a church in Barcellona Pozzo di Gotto, Sicily, Italy, raised to the status of a minor basilica in 1991. It stands in the Piazza Duomo with its main façade facing the Via Roma. It is the largest of the churches (the duomo) of Barcellona and the second-largest in the whole province of Sicily, only Messina Cathedral being larger. The present church was constructed in the 1930s, replacing an earlier one, under the direction of the engineer Franceso Barbaro (nephew of Monsignor Barbaro); the works were carried out by the firm Fratelli Cardillo, who had previously collaborated with Barbaro in the construction of the Shrine of Christ the King (Sacrario di Cristo Re) in Messina. Barcellona Pozzo di Gotto is not the seat of a bishop and the basilica is not a cathedral.

The cult of Saint Sebastian in many places in Sicily dates back to around 1300, when the martyr of Narbonne, originally from Milan and who was considered the protector against epidemics of bubonic plague, encouraged the construction of many churches. The cult took root in the village of "Barsalona" on the west side of the river Longano and fraction of Castroreale around 1500, replacing the then patron St. Nicholas of Bari. St. Sebastian's miraculous survival despite the many perforating arrows was transposed onto a figure who became the holy intercessor against outbreaks of disease. The Black Death (in north Italy, better known as the plague of St. Charles Borromeo ) assailed the island in 1347, 1449, 1524, and 1575–1578.

Following the administrative merger of Barcellona and Pozzo di Gotto in 1836, the doubling of the population required a new larger church. The project was accelerated by the disastrous 1908 Messina earthquake that damaged the old church of St. Sebastian, dating from 1606, and made it unusable. The old church would also have blocked the construction of the Via Roma, the natural access to the railway station. Together with the adjacent Chiesa degli Agonizzanti ("Church of the Dying"), the Placido Mandanici Theatre (destroyed by fire in 1967) and the Monte di Pietà, it formed the old city of Barcellona until it was completely demolished during the building of the new church.

After the adoption of the plan on April 1, 1931, construction started on January 25, 1932, and ended on October 30, 1935. The church was inaugurated on March 25, 1936, by the Archbishop of Messina, Monsignor Angelo Paino. The laying out of the square in front ended with the elevation of the church to the status of a minor basilica by Cardinal Angelo Sodano on September 18, 1992.

The basilica's façade is reminiscent of that of the Basilica of Sant'Andrea della Valle in Rome. The dome drew inspiration from that of Filippo Juvarra for the Basilica of Superga in Turin. The twin ribs of Juvarra's Turin dome, simplified and lightened, also appear in the dome of the Shrine of Christ the King. Likewise, the dome for the new church of Barcellona was similar to that of the New Cathedral of Brescia in shape, size and style, although the latter lacked the small circular windows round the base. In the Barcellona church, the terraces covering the side aisles are much wider, allowing the construction of two small front entrances.

The façade is a modern representation of the neo-classical style with two rows of columns surmounted by Corinthian capitals framing the main window, the main entrance and the side niches. The eight central columns are slightly advanced with respect to the side group, and the four central columns further advanced, enclosing an embossed tympanum of a lively and dynamic character. Within the gable of the tympanum is a frieze decorated with carved elements of cardinal's symbols and festoons bearing a palm tree between two lions. The coat of arms and motto " SOLUS CUM SOLO DEO " can be traced back to the order of Saint Paul.

Entrances and windows are framed by columns surmounted by arched triangular tympani. The niches are surmounted by triangular arched pediments. The niches of the main façade contain four statues of Saint Peter, Saint Paul, Saint Francis of Assisi and Saint Catherine of Siena by Domenico Farina, which contrast with the white of the marble statues and the stonework from the quarries of Billiemi and Comiso.

On the inner wall of the entrance from top to bottom and from right to left are frescoes created by Gino Colapietro in 1997 depicting " The Creation "," The Expulsion from Eden " or " Original Sin ", " God and the Tables of the Commandments " and " The Baptism in the Jordan ".

The basilica is in the form of a Latin cross with a large central nave under a barrel vault adorned with friezes, rosettes and stucco.

The interior space is divided into three naves by means of strong pillars carrying large arches embellished by twin pilasters. The central nave is about 25 meters long from the inner entrance to the transept, 16 meters wide and 23 meters high, and both visually and acoustically constitutes the main architectural feature of the building. Within the five arches of each side aisle are arranged six altars and two side entrances.

- In the first bay to the right is a marble inscription reproducing the text of the papal bull dated 9 November 1989 from Pope John Paul II decreeing the church's elevation to basilica status. The elevation took place on 9 February 1991, with a dedication ceremony on 18 September 1992.

- Second bay: Altar dedicated to Our Lady of the Dying ( Madonna degli Agonizzanti ) from the nearby Chiesa degli Agonizzanti (Church of the Dying) from the end of the 16th or early 17th century with an altarpiece by Philip Jannelli (circa 1621 – 1696) painted in oil on canvas of Our Lady of the Dying in which the Virgin is depicted between Saint Michael the Archangel, Saint Camillus de Lellis and Saint Joseph (1655, possibly). The elevation of the altar consists of pilasters surmounted by a symmetrical arched pediment. At the centre is a refined tabernacle depicting a Roman temple colonnade surmounted by a crown.

- Fourth bay: Altar dedicated to the Patriarch Saint Joseph brought from the old church (end of the 16th or early 17th century). The altarpiece is a 1942 painting of Saint Joseph by Santa Rugolo. The elevation is pilasters surmounted by a symmetrical arched pediment with central stele. The altar table has a precious marble frontal.

- Fifth bay: Altar dedicated to Our Lady of Graces, patron saint of the city, from the old church, with pilasters surmounted by symmetrical arched pediment with central stele.

- In the first bay on the left was originally placed the baptismal font now moved to be near to the main altar. On the walls a commemorative plaque records the naming date of March 25, 1936, and the dedication date of June 8, 1936, and a second plaque credits the construction of the church to the Archbishop of Messina, Monsignor Angelo Paino.

- Second bay: Altar dedicated to Saint Anthony of Padua, made in 1940, with pilasters surmounted by symmetrical pediment with central stele. In the niche is a statue of Saint Anthony.

- Fourth bay: Altar dedicated to the Triumph of the Cross between Jesus and Mary from the old church, with pilasters surmounted by symmetrical arched pediment with central stele and a precious marble altar frontal. The altarpiece by Filippo Jannelli is " Jesus and Mary and the Triumph of the Cross ", painted in oil on canvas.

- Fifth bay: Altar dedicated to the Sacred Heart of Jesus from the old church. It has a double pair of columns, the innermost advanced and surmounted by a symmetrical pediment.

In the south transept is a modern linear marble altar in the classical style by Antonino Antonuccio, consisting of pillars ( pilasters ) combined with Corinthian capitals and surmounted by a symmetrical pediment with two volutes supporting a disc under a vase. At either and of the entablature are two further vases. In a niche framed by pilasters and an arched tympanum is preserved an 18th-century wooden statue of Saint Sebastian which is carried in procession. Overlooking the choir is a 17th-century painting depicting scenes from the life of Saint Christopher. In the fresco depicting the Miraculous shoal of fishes by Gino Colapietro (1994) on the north wall of the transept, the features of the characters recall the faces of local citizens amongst which the face of the then archpriest stands out. Below are three austere but valuable denominational works by the local cabinetmaker Antonio Genovese based on drawings by Salvatore Crinò from the 1960s. In a square frame is a painting of the Virgin and Child with Saint Francis by Gaspare Camarda (1606).

There are also four mosaics depicting The Annunciation, The Nativity, The Adoration of the Magi and The Presentation of Jesus in the Temple by Claudio Traversi. On the external wall are reproduced the figures of Saint Nicholas of Bari and Saint Francis of Paola behind the bronze statue of Saint Pio of Pietrelcina (2001).