Today the Cathedral features an imposing 17th-century facade with a gabled tympanum, and in the center, the coat of arms of Bishop Francesco Maria Rhini (1676-1696).
The burial chapel of the Canons dates back to 1625, remembered today by the marble inlaid floor and a dedicatory inscription, now known as the Chapel of the Redeemer.
Bishop Trahina commissioned the chapel of San Gerlando, mirroring the burial chapel of the Canons (now the only two chapels present), enriched with marble decorations made by the Milanese Giovanni Giacomo Cirasola in 1637, and the silver urn of the patron saint, commissioned in 1635 to Michele Ricca, Giancola Viviano, and Michele Ferruccio.
Inside the sacred building, the Baroque style expands throughout the presbytery area and the second section of the coffered ceiling with the Habsburg eagle, created in the 17th century, by the will of Bishop Francesco Gisulfo, based on a design by the architect from Sciacca, Michele Blasco.
From the Baroque period, we find stucco decorations in the presbytery area (cherubs, festoons, garlands, floral motifs) presenting a decorative program close to the Ferraro, noted local stucco workers along with Palermo stucco artists.
The works, started during the bishopric of Francesco Gisulfo and Osorio, were completed with Francesco Ramirez, adding between the right and left walls of the choir seven fresco paintings by the Palermo painter Vincenzo Bongiovanni, depicting the history of Agrigento bishops. In the apse basin, Paradise is represented, the work of the abbot Michele Blasco of Sciacca (1628-1685).
In 1731, Bishop Gioeni commissioned the covering of the central apse floor with fine mixed marbles, designed by the architect from Licata, Angelo Italia, and executed by the master marble workers from Catania, Tommaso Amato and Francesco Battaglia.
Along the northern nave, there is a succession of sepulchral monuments of Agrigento bishops from the 17th to the 19th century. Behind the high altar is the pipe organ constructed by Monsignor Peruzzo, reusing the pipes from the two Baroque organs of the Cathedral and the decorative parts of one of the two dismantled choir lofts in the early 20th century.
Of significant historical interest is the reliquary urn of Saint Felix Martyr: popular tradition recognized in the human figure a knight of Charlemagne, Brandimarte, the king’s paladin, who died in a duel at Lampedusa.
In the Mudia Hall of the Cathedral, there is a group of four Greek and Roman sarcophagi, dated 5th century B.C. and 3rd century A.D..
