Gorizia's cathedral

Gorizia's Cathedral, known locally as Duomo di Gorizia, stands as a testament to the rich tapestry of history and culture that has shaped this charming Italian city. Officially named the Cattedrale metropolitana dei Santi Ilario e Taziano Martiri, this magnificent structure is the principal place of Catholic worship in Gorizia and the seat of the archbishop of the metropolitan archdiocese of the same name. Its storied past and architectural beauty make it a must-visit destination for anyone exploring the Friuli-Venezia Giulia region.

The Historical Tapestry of Gorizia's Cathedral

The origins of Gorizia's Cathedral are deeply intertwined with the history of the city itself. In the early centuries following the year 1001, Gorizia was under the ecclesiastical jurisdiction of the pieve of Salcano, now known as Solkan, a suburb of Nova Gorica in Slovenia. This area likely inherited a Roman post, which was used throughout the Middle Ages. As Gorizia's prominence grew—from its humble beginnings as a villa in 1001 to obtaining the right to hold a weekly market in 1210 and eventually gaining city rights in 1307—so too did its ecclesiastical significance.

By the 13th century, Salcano had a vicar who oversaw Gorizia, and in 1398, the Church of the Holy Spirit was erected near the castle. The 15th century saw the establishment of the parish of Saints Hilary and Tatian, culminating in the end of the century with the documentation of the plebs de Goritia. This period necessitated a worthy seat for the growing ecclesiastical duties, leading to the selection of a plot south of today's Piazza Cavour, which was then known as Piazza del Comune. This area not only hosted the weekly market but also became the site of a constellation of religious buildings, with the principal one dedicated to Saint Hilary, the second bishop of Aquileia and a martyr.

Over the centuries, the cathedral underwent numerous transformations. In 1471, the powerful von Graben family likely influenced the construction of the Chapel of Saint Acacius, which remains one of the best-preserved parts of the original structure. The 16th century marked the city's transition to Habsburg rule, and the spread of Protestantism prompted significant ecclesiastical measures, including Gorizia becoming an archdeaconry in 1571. Between 1682 and 1702, the cathedral underwent a major Baroque renovation, with frescoes by Giulio Quaglio, although many were lost during World War I. In 1751, Gorizia became the seat of the archbishopric, following the dismantling of the Patriarchate of Aquileia, and part of the Aquileian treasury enriched the cathedral.

The Architectural Splendor of Gorizia's Cathedral

Exterior

The current exterior of Gorizia's Cathedral, largely designed by Emilio Karaman and inspired by Max Fabiani, was completed in 1924. The bell tower, originally built in the 16th century, was initially covered by a dome, which was replaced by the current pyramidal spire in 1865. The bell chamber was opened with biforas around 1920. The façade features a gabled design with a broken pediment, a central portal flanked by two pilasters, and a niche above housing a statue of the Madonna dating back to 1887. The roof is crowned with a double-armed cross, flanked by two truncated obelisks. The wooden doors of the central and side entrances are adorned with bronze protomes of the twelve Apostles.

Interior

Main Nave

Upon entering the cathedral, visitors are greeted by a bay adorned with stuccoes. To the left, the names of all the archbishops of Gorizia are inscribed in gold on black marble. The nave's stuccoes are simpler, often framing frescoes that did not survive the war. The spaciousness between the columns allows for a luminous atmosphere, contrasting with the darker, older Gothic sections of the church. The central nave houses the pulpit, dating back to 1711 and attributed to Angelo De Putti. The marble reliefs on the pulpit depict saints such as Gregory, Augustine, Ambrose, and Jerome, as well as Saint Teresa of Avila, Mary Magdalene, and Saint Agnes.

Presbytery

The presbytery features a silver lamp from 1845, replacing one donated by Maria Theresa that was stolen in 1830. The post-war altar with an ambo and balustrade is adorned with statues of two Aquileian martyr saints. The 1526 triumphal arch retains its original late-Gothic capitals. The presbytery's ceiling, with its semi-octagonal closure, showcases frescoes by Enrico Miani. The high altar, attributed to Giovanni Pacassi and built between 1705 and 1707, is rich in polychrome marble and features statues by Pietro Baratta. A painting by Giuseppe Tominz, depicting the Virgin with Saints Hilary and Tatian, graces the back wall. The choir stalls and bishop's throne, carved by Giuseppe Bernardis, depict scenes from the Paternoster.

Chapel of Saint Acacius

Located at the end of the right nave, the Chapel of Saint Acacius, built in 1471, is the best-preserved late-Gothic space in the cathedral. Its star vault features symbols of the evangelists and sixteen angel musicians. The chapel has served various purposes, including as a sacristy until 1918. In the 1920s, the separation from the right nave was demolished, and the altar of Saint Anne, originally from the 14th century, was placed here. In 2014, the altar was removed to highlight the chapel's Gothic architecture and donated to the parish church of San Gottardo in Mariano del Friuli.

Pipe Organ

The pipe organ, built between 1928 and 1929 by Beniamino Zanin, is located on the counter-façade gallery. The instrument features pneumatic transmission and an independent console with two keyboards and a concave pedalboard. The organ case includes three cusps of principal pipes, interspersed with twisted columns.

Sacristy

Accessible from the Chapel of Saint Acacius, the sacristy houses the 18th-century altar of Saint Peter in Cathedra, relocated in 1925 from the right nave. Attributed to the Pacassi family, the altar features a depiction of the Miraculous Catch. A painting by Giuseppe Battig from 1841, showing Saint Peter flanked by Paul and Catherine of Alexandria, adorns the wall. Portraits of various archbishops, including one by Giuseppe Tominz, also grace the sacristy.

Right Nave

The right nave currently houses five altars, though there were once as many as seven. The first altar, dedicated to the Three Kings, was established by the Formentini family and features a copy of the Madonna of Montesanto painting. The second altar, dedicated to Saint Joseph, was built by the Antonelli-De Grazia family and includes a painting by Giuseppe Battig from 1844. The third altar, also dedicated to Saint Joseph, features a 1713 chronogram. The fourth altar, dedicated to the Annunciation, is also known as the degl...

Gorizia's Cathedral is not just a place of worship; it is a living monument to the city's rich history and cultural heritage. Its walls and altars tell stories of centuries past, making it an unmissable destination for history enthusiasts and casual visitors alike. As you walk through its hallowed halls, you are transported back in time, experiencing the grandeur and solemnity that have defined this sacred space for generations.