The Cathedral
In 1133, construction began on the Cathedral of Ferrara, dedicated to Saint George. The site chosen for the new cathedral was within the city walls, on marshy land that had to be reclaimed in the center of Ferrara. Prior to this, Ferrara already had a cathedral—the Basilica of Saint George—located outside the historic city, beyond the Po di Volano river, in the Borgo San Giorgio district.
The decision to relocate the Cathedral within the city walls marked the beginning of the construction of Ferrara’s most magnificent and significant church. It was also a statement of the city's growing desire to assert itself against the Papal authority that governed it during the Middle Ages. The Duomo was conceived and designed to become the focal point of the emerging Commune, which was increasingly claiming its independence. Bishop Landolfo harbored strong sentiments of defiance towards both the Pope and the Bishop of Ravenna, persistently striving to achieve substantial autonomy from both. His determination played a crucial role in shaping the identity of Ferrara as it asserted itself politically and architecturally in this transformative era.
Despite his suspension from the episcopal office between 1123 and 1124, Landolfo remained steadfast and eventually secured a papal bull from Innocent II in 1139. This decree placed the Diocese of Ferrara directly under the Pope's authority, excluding Ravenna from any influence, and granted property rights exclusively to the Bishop of Ferrara.
Guglielmo II degli Adelardi played a crucial role in the construction of the Cathedral of Ferrara. As a wealthy landowner and a prominent member of the pro-papal faction that had risen to power in the city, he forged an alliance with Bishop Landolfo. By allocating substantial funds to expedite the building process, Guglielmo not only elevated his own social standing but also secured political advantages for his family, fulfilling long-held aspirations. His influence shaped both the architectural and political landscape of Ferrara during this pivotal era.
The cathedral was likely completed between 1135 and 1147, but the official consecration of the main altar is more closely linked to 1177, when Pope Alexander III celebrated a Holy Mass of blessing there. By 1143, the episcopal seat had already been moved by Bishop Lanfranco to the new Duomo, and his successor, Grifo, was fully conducting his duties there by 1149. The canons had also settled into the new location, having abandoned the old Church of San Giorgio. This marked a definitive shift, solidifying the cathedral as the religious and administrative heart of Ferrara.
The grand façade of the cathedral, built in Romanesque style, features numerous and intricate elements, including loggias, arches, statues, rose windows, and bas-reliefs. Some details, added after the façade’s original construction, exhibit Gothic characteristics, such as the Last Judgment positioned on the porch supported by two hippogriffs, or the statue of the Madonna and Child placed in a loggia above the central portal. On the right side of the basilica, along Piazza Trento e Trieste, there was once a second entrance called the Porta dei Mesi, which was completely demolished during an 18th-century restoration.
The interior of the church presents a stark contrast to its exterior. Dominated by Baroque style, the three naves are richly decorated, while the side chapels house remarkable paintings by Guercino, Garofalo, and Francesco Francia. The bell tower, made of pink and white marble, is often attributed to Leon Battista Alberti. However, in its current form, it remains incomplete. It appears that Alberti’s 1450 design for the tower, which was meant to rise above the foundations laid in 1412, included a spire atop the marble cube holding the bells. This final pointed element, however, was never realized.
The four large sections of the tower’s masonry, divided by projecting cornices, are adorned with semi-cylindrical pilasters topped by round arches, with decorative elements placed in the spandrels between them. At the base of the tower, the symbols of the four Evangelists can be found, while the second marble cube features five fifteenth-century protruding shields representing communal-era coats of arms. During the mid-13th century, the first efforts to refurbish the façade began after the initial construction phase. These modifications led to a substantial transformation of the upper portion of the Duomo, starting with the arches positioned above the first tier of loggias, refining its architectural presence in the evolving cityscape.
The porch above the main entrance underwent significant modifications, with later sculptural and architectural additions following the European Gothic style. In 1478, merchant shops that had been built against the outer wall were formally integrated into the structure through the construction of a portico known as the “Loggia degli Strazzaroli.” Between 1498 and 1507, an esteemed architect oversaw the enlargement of the choir and the construction of the apse, resulting in a general extension of the building. These changes further enhanced the grandeur of the cathedral, solidifying its role as a centerpiece of Ferrara’s architectural and commercial landscape.
The last major works on the church took place between the 17th and 18th centuries. In 1636, architect Luca Danese reinforced the final bay before the choir, addressing structural stability concerns. Between 1712 and 1728, architect F. Mazzarelli carried out renovations on the ancient interiors. The Cathedral we see today is largely the result of Mazzarelli’s modifications—a true masterpiece of history and culture, wrapped in the mystical atmosphere of religious contemplation that echoes through its ancient, mighty walls.
The lower part of the façade, up to the first loggia of round arches, was built with the imposing grandeur typical of Romanesque churches. The three large entrance doors open onto a stark, smooth wall, devoid of excessive ornamentation. However, the visual experience changes dramatically as the gaze moves upward along the first row of loggias. Here, arches are grouped in three-light windows, topped by decorated rose windows enclosed within pointed arches. The second row of loggias is continuous, sitting beneath deeply recessed twin windows—four for each of the three massive gables that make the cathedral’s structure uniquely striking.
The majestic pediments are finally completed by three large rose windows and a gallery of small arches that embellish the slopes. On the right side of the façade, a small niche was created to house the statue of Marquis Alberto d’Este. One of his greatest achievements was securing, in 1331, the official recognition of the University of Ferrara through a papal bull issued by Pope Boniface IX. At the top of the entrance on this side of the façade, there is a small Roman-era female head. According to legend, it represents Madonna Ferrara, believed to be the city’s first founder. These architectural and historical elements enrich the cathedral’s legacy, intertwining myths with its monumental presence in Ferrara.
Near the smaller entrance on the left side of the cathedral stands a bronze bust of Clement VII, a 17th-century work by Giorgio d’Albenga. This sculpture commemorates the moment in 1598 when he brought Ferrara back under Papal control, an event recorded in the inscription beneath the statue. At the top of the cylindrical pillars supporting the façade, two notable sculptures can be seen: one depicts an armed man on horseback, widely believed to represent Guglielmo degli Adelardi, and the other features a female figure holding a book—possibly symbolizing the teachings of the Church. These artistic elements further enrich the historical depth of Ferrara’s cathedral, merging political, religious, and cultural narratives into its grand architectural presence.
The commercial portico obscures the marble plinth that runs along the four walls of the cathedral. On the right side, an inscription of a 1173 municipal decree remains—a document considered essential for reconstructing Ferrara’s medieval history, though today it survives only in fragmented form. Notable features of this side include two ancient sealed entrances: the Porta dello Staio and the Porta dei Mesi. These architectural remnants serve as quiet witnesses to the evolving cityscape, preserving traces of Ferrara’s historical transformations.
The first entrance, originally located at the eastern edge of the building, was demolished to make way for the portico that housed merchant shops. The second, many of whose decorative reliefs are now preserved in the Cathedral Museum, was destroyed in 1717. This second entrance was originally intended to feature a porch, designed to rival the grandeur of the main portal, oriented toward the street and the Monastery of San Romano. Completed around 1230, it was adorned with reliefs depicting the symbols of the twelve months and the zodiac signs. The exquisite doorway was likely the work of the renowned Maestro dei Mesi, a 13th-century sculptor known for his extraordinary craftsmanship. His artistic legacy is also visible in the Church of San Mercuriale in Forlì and the magnificent San Marco in Venice, where his talent left an enduring mark on medieval architecture.
The first inauguration of the Cathedral Museum took place in 1929. At that time, numerous artifacts from the church’s original construction were cataloged and housed in a stable location on the upper floor above the atrium, created during the 18th-century restoration. In 2000, thanks to an agreement between the Chapter of the Cathedral and the Municipality of Ferrara, the museum was relocated to the monastic complex of San Romano, just a few meters from the Duomo. Previously inhabited by Benedictine monks and later by the Canonici Regolari of Saint Augustine, this historic setting was deemed an ideal space to appropriately house such significant and valuable historical-artistic artifacts.
These Renaissance-era Atlantean chorals are truly stunning artifacts, bearing witness to a long tradition of sacred music and artistic craftsmanship. The meticulous miniatures that decorate them, created under the guidance of Ferrara’s master illuminator Guglielmo Giraldi, elevate them to works of extraordinary beauty. Assisted by Jacopo Filippo Argenta, Martino da Modena, and Giovanni Vendramir, Giraldi brought these musical manuscripts to life with intricate designs, vibrant colors, and remarkable attention to detail. Beyond their aesthetic appeal, these books played a vital role in liturgical celebrations, shaping the atmosphere of religious gatherings with hymns and prayers. Their presence in the former convent ensures their preservation within a space historically linked to spiritual contemplation and artistic devotion—a testament to the enduring legacy of Ferrara’s rich cultural heritage.
The most significant masterpieces of the Cathedral Museum are housed not so much in the conventual section, but rather in the hall of the ancient church.
