The left nave
Along the left aisle in the first bay is a 1957 painting by Valente Assenza depicting the Baptism of Jesus. Below the painting is the baptismal font with an ancient basin and pedestal in Trapani marble.
Next we enter the Mazara chapel, built in the second half of the 17th century thanks to large contributions from prominent families in the history of the County of Modica, whose friezes are depicted in the chapel’s upper border (Mazzara family and relatives). In this chapel is the tombstone with the inscription:
‘here lies the frale of Baroness Petra Mazzara gentle woman of exalted virtues at this time consecrated herself and her patrimony. Born 29 June 1596. She died 4 June 1676. Her faithful Commissary laid down this memory’.
In fact, in-depth research has revealed the importance of the entire Mazara family, taking into account that Baroness Petra managed money and property deriving from previous inheritances from her brother Giuseppe, a priest at St Peter’s, who had already financed part of the work and rebuilding of the church due to repeated earthquakes during that period. Moreover, the priest Giuseppe Mazara in turn also managed money and property of his other sister, Francesca, wife of Francesco Echebelz (who had held prestigious positions in the County), both of whom died between 1634 and 1635.
The Mazara Chapel is now an exhibition area of the heritage of St. Peter’s Church.
Inside we find works such as: the Madonna del Soccorso(1507), the most important sculpture of the Val di Noto made by artists belonging to the Lombard School, the altar of the Holy Relics made for the safekeeping of distinguished and precious relics, including the bodies of four martyred saints taken from the catacombs of St. Callistus in Rome the altar with the painting of the handing over of the keys of Christ to St Peter (18th century) by an unknown author but probably attributable to the workshop of the Ragazzi family, the altar with the transit of St Joseph assisted by Jesus and Mary (18th century).
At the left side entrance is Christ ‘alla Colonna’. Dressed in a curious skirt that recalls the ‘Christ of Burgos’, a painting in the church of San Giovanni in Scicli.
Aula Capitolare
This leads to the hall of the Congregation of the Immaculate Conception, traditionally referred to by the faithful as the “aula capitolare”, a place where the canons met “in chapter” for prayer and the common reading of biblical passages or chapters of their rule. Although the canons lived in a monastic style, they did not belong to any monastic order, but were directly subordinate to the bishop. In the vault of the Chapter House, the Immaculate Conception is depicted in a fresco, and there is also an apsidiole with a shield with the symbol of Peter supported by putti dating back to the mid-18th century. More difficult to date is the ancient fountain, now dried up, still visible on the wall corresponding to the exterior, with the effigy of two eight-pointed Maltese crosses, probably related to the widespread presence of the Knights of Hierosolymites, who also founded an important hospital complex in Modica with an adjoining church dedicated to St. John the Baptist (now a municipal auditorium) and whose supporters included members of the aforementioned Echebelz family. Since Easter 2024, the chapter house has become an exhibition area for a large canvas found on 23 January 2023 in the Sacristy of San Pietro, as well as canvases from the Chiesa del Soccorso closed to worship since 1976
Returning to the left aisle, we find the altar with the reliquary urn in silver completed in 1643 with the precious depiction of the twelve apostles in the twelve silver panels, unfortunately stolen during the 1980s along with other precious objects that adorned the chapel of the Blessed Sacrament.
Continuing on we find the altar of Saint Lucy, in which a precious wooden statue presents the saint, a virgin and martyr from Syracuse, in traditional iconography, while holding the palm of martyrdom and the tray with eyes. Finally, the last chapel with the recently restored wooden statue of St. Joseph holding the Child in his arms, on a polychrome marble altar where the emblems of the Mazara family can also be seen. Although severely damaged by dampness problems that were belatedly resolved and compromised the stability of the chapel, the decoration that enriches the chapel and the two putti, one of which holds an open book on a page that is no longer legible due to damage and restoration, are still of value.
Closing the left aisle is the apse with the wooden sculptural group of the Pietà, believed to be from the 19th century, but further investigation is underway, attributed to sculptor Salvatore Ammatuna or master builder Giacomo Battaglia.
Follow us
