Located on a high embankment and connected to the square by an imposing staircase, is the Church of San Cataldo. It was the Normans who introduced the figures of Saints Cataldo, Martino, Leonardo, Eligio, who joined the Latin and Greek ones already present such as Bartolomeo, Tommaso, Agata, Lucia Calogero, Cosma and Damiano etc. From a Vatican document recovered by Pietro Sella, we know that the Church of San Cataldo had to pay a tithe equal to 20 tarì to the church of Rome already in the years 1308-1310. The figure appears considerable and makes us understand how the church's income was so high as to allow it both to pay such a large tax and to equip itself with many works as well as to provide for a reconstruction of the same around the eighteenth century to allow for a greater number of faithful to participate in religious services. The original Church was prior to 1528, the year in which Father Sigismundo Bongiovanni equipped the bell tower with a clock which was then replaced in 1662 by another clock designed by Giovanni Battista D'Amato of Castel di Lucio. The elevation to a parish took place in 1561, and shortly afterwards, in 1595, the painting of the eponymous saint was painted by Giuseppe Albina (or Alvino), an artist from Palermo known as "Sozzo". Next to the canvas of San Cataldo, we recognize "the Assumption" by Giovan Forte (or Fortis) La Manna signed and dated 1636 and indicating the parish priest Parasporo as the client; the “Nativity”, perhaps also a work by La Manna; the “Deposition” by Ignoto (19th century); the “Holy Family” attributed to Saverio Marchese, a painter from Enna; the “Baptism of Jesus” from 1881 by Carmelo Giunta, a local painter; the painting of the "Patriarch Saint Joseph" that Ignazio Di Vincenzo delivered to the parish priest Croce Varisano in 1792.
In 1749 the reconstruction works of the church began which had to first be carried out following the project developed by the architect Andrea Amato who in the same years worked on the Duomo, but who due to his premature death was replaced by the architect Ferdinando Lombardo who was responsible for the current project, under the direction of Filippo Clemente and master Vincenzo Alessandra. The completion of the Church will take place definitively in 1770, and in 1771 the monumental staircase will be built, which will be dismantled and rebuilt in 1850. The foresight of the architects of the renovations and reconstructions has allowed the recovery of the marble baptismal font with wooden cover attributed to Domenico Gagini and dates back to 1572, as well as a marble icon depicting the Prophets, the Evangelists and the Via Crucis, the Last Supper at the bottom and the Ascension at the top. Around the 1960s, the Church risked being demolished to facilitate the widening of Via Vittorio Emanuele. The danger was averted even if the vault which has now disappeared and the wooden roof above it were damaged, which was completely redone according to the original design and which left a mark in the masonry which is still visible today. The reorganization works made it possible to bring to light, through an archaeological excavation carried out by the Superintendency, the various phases of use of the area. Some walls were investigated, most likely pertaining to an older cult building with a pre-eminent funerary function, attributable to a period up to the 15th century. as evidenced by the Aragonese coins found in the pit tombs carved into the rock placed next to the inhumed people and the vast ceramic typology. Traces of the old flooring are still visible behind the apse and testify to the increase in the walking level during the renovation works.