Chiesa Matrice, Erice

The Chiesa Matrice (formally Chiesa Madre di Erice 'Mother Church of Erice'), is the principal Roman Catholic church in Erice, Sicily. Commonly referred to as the Duomo di Erice or Real Duomo (Royal Cathedral), it was built in the early 14th century during the reign of King Frederick III of Aragon and is dedicated to the Assumption of the Virgin Mary. The church stands as a prominent example of Sicilian Gothic architecture, with later additions and restorations reflecting changing liturgical and artistic styles. Its full historical name, Real Chiesa Madrice Insigne Collegiata (Royal Distinguished Mother and Collegiate Church), reflects its collegiate status—served by a chapter of canons but not a bishop. The term matrice, from Latin matrix ("origin" or "source"), is traditionally used in Italian ecclesiastical language for a town's main church. The Sicilian dialect form madrice is also common and appears in local signage and usage. Situated at the entrance to the historic centre in Piazza Matrice (named after the church itself), it remains one of Erice's most recognisable and architecturally significant landmarks. History Early Christian Tradition According to local tradition, Christian worship in Erice began in the 4th century AD, during the reign of Emperor Constantine, when the population gradually adopted Christianity. This coincided with the closure, and possibly the destruction, of the ancient Temple of Venus Erycina a major pagan sanctuary that had long stood at the summit of Mount Erice. Dedicated to Venus Erycina, the Roman adaptation of the Greek goddess Aphrodite, the temple was one of the most important centres of worship in the ancient Mediterranean world, attracting pilgrims from across the region. Some sources suggest that two early churches were established: one, Our Lady of the Snow (Nostra Signora della Neve), constructed within the former temple complex itself; the other, also dedicated to Mary, built further west to serve members of the community who were reluctant to worship at the old pagan sanctuary. The ruins of Our Lady of the Snow are still visible today in the courtyard of the Castle of Venus. Gothic Foundation and Aragonese Patronage (14th century) According to local tradition, during the War of the Sicilian Vespers King Frederick III stayed in Erice (1314) and, on returning to Palermo, resolved to thank the town by enlarging its main church. Work on the present church began in 1314, using stone taken from the ancient Temple of Venus Erycina. Nine Greek marble crosses—traditionally linked to the temple—are set into the church's south exterior wall; they were affixed there in 1685. Building progressed slowly. In 1329 Pope John XXII granted indulgences to those who contributed to the church's completion (ad fabricam manus porrexerint adiutrices), confirming that work was still underway at that date. The project is generally held to have reached completion around 1372, with an interior articulated on a three-aisled basilican plan; contemporary descriptions note mosaic decoration in the main vaulting and a richer distribution of chapels than today. Renaissance and Baroque Expansions (15th–18th centuries) From the 15th century, as Renaissance and later Baroque patronage reshaped the complex, additional chapels and external structures were added; notably, about a century after the Gothic core a rectangular portico on high ogival arches was built in front of the façade. The church originally had no side chapels. In 1512, a large late-Gothic chapel was opened halfway along the left nave, originally dedicated to All Saints; its star-patterned ribbed vault is particularly notable. Along the same (left) side, three smaller chapels were added between the early and late 16th century, now forming a continuous suite: the first, called De Scrineis, has a mammiform (breast-shaped) dome with a pendant keystone depicting Christ Pantocrator. It was built in 1568 by archpriest Cesare de Scrineis. the second has a barrel vault carried by a cornice of repeating arches; the third is topped by a polylobed dome. Collapse and Neo-Gothic reconstruction (19th century) The interior collapsed in 1853. Reconstruction followed in a Neo-Gothic idiom, and the church was reopened in 1865. The works were directed by Fra Francesco La Rocca (OFM Conv.), who adopted a double-transept plan that heightens the building's sense of monumentality. The 19th-century decorative program includes elaborate ribbed vaults and rich stucco work consistent with contemporary Sicilian Neo-Gothic practice. Architecture The church has a three-aisled basilican plan with a double transept (one immediately inside the entrance and one before the presbytery). The 19th-century reconstruction was directed by Fra Francesco La Rocca; the design is associated with the circle of Federico Travaglini. Façade Built in the Chiaramontan Gothic idiom, the church has a gabled façade with Ghibelline battlements. The main portal, dating to the 14th century, is framed by a double saw-tooth (seghettata) arch; above it is a Gothic-style rose window installed in the 1950s, flanked by two small oculi. On the north side the elevation resembles a civil building incorporated into the church's perimeter. A Catalan-style portal with diamond-point rustication is surmounted by a refined window and flag-holders, while to the south (along Via Chiaramonte) an earlier ogival portal survives. During the tenure of Archpriest Vito Carvini (late 17th century), nine stone crosses—traditionally from the Temple of Venus Erycina—were set into this south wall; they are recorded as having been affixed in 1685. Two external features define the monumentality of the complex: the freestanding bell tower and the portico. Bell tower The bell tower (28 m high) stands on a raised platform and is divided into three levels: the ground floor has single-light (monofore) openings and the upper storeys feature decorated double-light (bifore) windows. Rebuilt at the end of the 13th century under King Frederick III, it incorporates a more ancient sighting tower traditionally dated to the era of the Punic wars. A staircase of 108 steps leads to the summit with panoramic views of Erice and its surroundings. Portico and staircase The small portico known as the "Gibbena" (traditionally glossed from Latin age bene), built in 1426 by Archpriest Bernardo Militari, provided shelter for penitents who had not yet been readmitted to the church. The stone staircase around the entrance was rebuilt in 1766 by Archpriest Antonino Badalucco and bears dated inscriptions on the steps. Modern Restoration In 2013, the church underwent structural consolidation of the vaulted decorations and general restoration works. The historic pipe organ returned to service in June 2021 after restoration; a Requiem Mass, presided over by the Bishop of Trapani, marked the occasion. Museum Within the former sacristy, the church houses a small museum display (part of the diocesan “MEMS – Museo di Erice, La Montagna del Signore”) that presents sacred artworks from the Chiesa Madre and other Erice churches, including silverware, chalices, candlesticks, textiles and other liturgical objects. A diocesan notice describes the “Tesoro della Chiesa Madre di Erice” as a curated selection of works of sacred art; around seventy pieces were selected by the art historian Maurizio Vitella when the display was set up. The collection includes metalwork and textiles of the 15th–18th centuries and is documented in scholarly literature. Gallery References External links