221 Best Sights in Sicily, Italy

Affectionally called Idda (or "she" in Sicilian dialect), Etna is basically always active, and occasionally there are airspace closures due to the spewing ash. But for the locals who live in her shadow, Etna is not some ever-present doomsday reminder. She's a living part of the dynamic landscape, loved and revered.

In 387 BC, Plato sailed in just to catch a glimpse of it; in the 9th century AD, the first granita of all time was shaved off its snowy slopes; in 1669, it erupted continuously for four months and lava flows reached Catania; and in the 21st century, the volcano still grabs headlines on an annual basis. Significantly notable eruptions have occurred in the modern era, such as in 1971 (when lava buried the Etna Observatory), in 1981 (when the village of Randazzo narrowly missed destruction), in 2001 (when there was a large flank eruption), in 2002 (when a column of ash spewed that could be seen from space), and in 2008 (when the eruption lasted 417 days and triggered some 200 earthquakes). In February and March 2021, she erupted 11 times in a matter of three weeks, scattering windblown ash throughout the towns below, including Catania. Traveling to the proximity of the crater depends on Mount Etna's temperament, but you can walk up and down the enormous lava dunes and wander over its moonlike surface of dead craters. The rings of vegetation change markedly as you rise, with vineyards and pine trees gradually giving way to birch forests and growths of broom and lichen.

This vast, multibuilding museum is terrific, with an intelligently arranged collection of prehistoric finds—some dating as far back as 4000 BC—from various sites in the archipelago, as well as Greek and Roman artifacts, including an outstanding collection of Greek theatrical masks, and even interesting information on volcanoes. Basic descriptions about the exhibits are provided in English and Italian, though more comprehensive information is in Italian only. That said, there is so much to see, the museum is worth at least a few hours of your time.

In 2005, after four years of painstaking restoration in Rome (and several attempts to keep it there in the capital), the Dancing Satyr, the ancient Greek statue found by fishermen off the town's coast, found its permanent home here in the deconsecrated church of Sant’Egidio. Exquisitely lit and larger than life, it is a truly extraordinary work (despite missing both arms and a leg) caught mid-air, mid-dance in the throes of ecstasy, with the musculature and grace of movement associated nowadays with contemporary ballet. Scholars think it probably formed part of a group with other dancing Maenads, lost when the ship carrying them capsized in the Sicilian Channel. Ancient Greek bronze statues are extremely rare—only five have survived—as bronze was precious, and most were melted down. The satyr was created using the lost wax process, a technology designed to use as little bronze as possible: a clay model of the statue was made and fired, and when it cooled, it was covered with a layer of wax, followed by another layer of clay, this time with several holes. Then liquid bronze (heated to something like 1800°F) was poured through the holes. The melted wax then ran out, and the clay core turned to sand, leaving a bronze shell that would then have been polished. Other finds from under the sea are displayed in the museum, the most intriguing of which is the bronze foot of an elephant.

A natural salt deposit that was once one of the largest salt mines in Europe has been converted into the town's Museum of Contemporary Art. Aside from browsing the artwork, you can also visit the underground mining caves and see how the salt has been carved into a kind of underground cathedral filled with sculptures. The museum is currently only open one day a week, so be sure to book your tickets in advance to ensure your spot.

This museum comprises the private collection of Baron Enrico Pirajno di Mandralisca, a member of a local aristocratic family. Throughout his life, he collected antiques, artwork, fossils, ancient ceramics, and various other geological and natural history objects to form this extensive collection. His library and other items were eventually donated to the town and became the Museo Mandaralisca. The most significant piece of art here has to be the Portrait of an Unknown Man by Antonello da Messina. Monikered as the Sicilian Mona Lisa, the mysteriously smirking man is one of the early Renaissance artist's masterpeices.

Ancient Akragas (the Greek name for Agrigento) was synonymous with decadence and excess, a lifestyle perfectly summed up by the philosopher Plato who remarked that its people "built as if they are going to live forever, and eat as if they will never eat again." This museum is testimony to the fact that the people of Akragas had the means to buy the very best, from the high quality of the red-figured Greek banqueting ware to scenes on some of the magnificent kraters (used for mixing wine and water) that evoke life at an ancient dinner party in vivid detail. Look out as well for the double-walled wine jar, with space between its two walls for snow to chill the wine.

Joseph Whitaker's former home now holds the Museo Whitaker, displaying a good selection of the finds excavated from Mozia Island. As you enter you'll see useful aerial photographs and models showing the island now and as it might have looked under Carthaginian rule. Most of the exhibits consist of steles, pottery, painted vases, and a scattering of spearheads and jewelry, but the centerpiece is the so-called youth of Motya, an elegantly sinuous life-size statue of a poised young man, one hand resting on his hip, exuding a powerful air of self-assurance. The statue is also known as the "charioteer,"  though there is no evidence that this was his role.

Outside the museum, walk in any direction to take in the dispersed archaeological site. You can't go wrong tracing the perimeter of the island, which will bring you to the Tophet (shrine and burial ground) on the northern shore, and the Cappiddazzu sanctuary, close to where the youth of Mozia was unearthed. There is little above thigh-height until you come to such imposing structures as the north gate, the city's main entrance that stood at the end of a causeway (now submerged) that formerly linked it to the Sicilian mainland; the eastern tower; and the remains of the sturdy Carthaginian city walls. There are panels and charts throughout, providing explanations and background on what you're seeing.

Allow at least three hours for a thorough exploration of the museum and island, or longer if you want to bring a picnic lunch or pick up a snack at the café. Sunhats are strongly recommended.

It's best to hire a guide to explore the over 5,000 tombs covering limestone cliffs that make up this Iron and Bronze Age burial site. Located on a huge plateau over the Anapo River, the necropolis dates back to between the 13th and 8th centuries BC. If you decide not to hire a guide, be prepared to drive to get here. There are two main entrances: one near the town of Sortino, and the other from the town of Ferla. The entrance by Sortino involves a good walk down the sides of the gorge while the Ferla entrance is more of a gentle stroll along a well-beaten path. Set aside a minimum of two hours for your visit, but it is better to allocate at least half a day; be sure to wear a good pair of walking shoes and bring plenty of water.

Dating from the 18th century but closed for most of the last four decades, the Palazzo Butera has been transformed by its gallerista owners, Massimo and Francesca Valsecchi, into one of Sicily’s (and Italy’s) most imaginative museum collections. Its labyrinthine rooms now display a heady mixture of old and new art. The collection’s strength lies in its bold juxtapositions, with works by an international roster of experimental modern artists of the likes of Gilbert and George, and David Tremlett, exhibited alongside classical landscapes and graceful Sicilian furniture from the 19th century. Painted ceilings remain from the palace's Baroque beginnings, some of them artfully peeled back to reveal the wooden construction behind them. Diverse temporary exhibitions displayed on the ground floor add to the mix. There’s a lot to take in, but if you need a break from all the hectic creativity, head for the terrace, accessed from the second floor, which provides benches and a walk around one of the two courtyards as well as views over the harbor. You can get even better views from the viewing platform reached from the roof, while further up, steps lead to a lofty view of the harbor, Monte Pellegrino, and, inland, the whole of the Conca d’Oro bowl in which the city sits.

This historic palace, also called Palazzo dei Normanni (Norman Palace), was the seat of Sicily's semiautonomous rulers for centuries; the building is a fascinating mesh of 10th-century Norman and 17th-century Spanish structures. Because it now houses the Sicilian Parliament, parts of the palace are closed to the public from Tuesday to Thursday when the regional assembly is in session. The must-see Cappella Palatina (Palatine Chapel) remains open. Built by Roger II in 1132, it's a dazzling example of the harmony of artistic elements produced under the Normans and the interweaving of cultures in the court. Here the skill of French and Sicilian masons was brought to bear on the decorative purity of Arab ornamentation and the splendor of 11th-century Greek Byzantine mosaics. The interior is covered with glittering mosaics and capped by a splendid 10th-century Arab honeycomb stalactite wooden ceiling. Biblical stories blend happily with scenes of Arab life—look for one showing a picnic in a harem—and Norman court pageantry.

Upstairs are the royal apartments, including the Sala di Re Ruggero (King Roger's Hall), decorated with ornate medieval mosaics of hunting scenes—an earlier (1120) secular counterpoint to the religious themes seen elsewhere. During the time of its construction, French, Latin, and Arabic were spoken here, and Arab astronomers and poets exchanged ideas with Latin and Greek scholars in one of the most interesting marriages of culture in the Western world. From Friday to Monday, the Sala is included with entry to the palace or chapel; it sometimes hosts special art exhibits.

Siracusa is most famous for its dramatic set of Greek and Roman ruins, which are considered to be some of the best archaeological sites in all of Italy and should be combined with a stop at the Museo Archeologico. If the park is closed, go up Viale G. Rizzo from Viale Teracati to the belvedere overlooking the ruins, which are floodlit at night.

Before the park's ticket booth is the gigantic Ara di Ierone (Altar of Hieron), which was once used by the Greeks for spectacular sacrifices involving hundreds of animals. The first attraction in the park is the Latomia del Paradiso (Quarry of Paradise), a lush tropical garden full of palm and citrus trees. This series of quarries served as prisons for the defeated Athenians, who were enslaved; the quarries once rang with the sound of their chisels and hammers. At one end is the famous Orecchio di Dionisio (Ear of Dionysius), with an ear-shape entrance and unusual acoustics inside, as you'll hear if you clap your hands. The legend is that Dionysius used to listen in at the top of the quarry to hear what the enslaved people were plotting below.

The Teatro Greco is the chief monument in the Archaeological Park. Indeed it's one of Sicily's greatest classical sites and the most complete Greek theater surviving from antiquity. Climb to the top of the seating area (which could accommodate 15,000) for a fine view: all the seats converge upon a single point—the stage—which has the natural scenery and the sky as its backdrop. Hewn out of the hillside rock in the 5th century BC, the theater saw the premieres of the plays of Aeschylus, and Greek tragedies are still performed here every year in May and June. Above and behind the theater runs the Via dei Sepulcri, in which streams of running water flow through a series of Greek sepulchers.

The well-preserved and striking Anfiteatro Romano (Roman Amphitheater) reveals much about the differences between the Greek and Roman personalities. Where drama in the Greek theater was a kind of religious ritual, the Roman amphitheater emphasized the spectacle of combative sports and the circus. This arena is one of the largest of its kind and was built around the 2nd century AD. The corridor where gladiators and beasts entered the ring is still intact, and the seats (some of which still bear the occupants' names) were hauled in and constructed on the site from huge slabs of limestone.

Segesta's imposing temple was actually started in the 5th century BC by the Elymians, who may have been refugees from Troy—or at least non-Greeks, since it seems they often sided with Carthage. In any case, the style of the temple is in many ways Greek, but it was never finished; the walls and roof never materialized, and the columns were never fluted.

Wear comfortable shoes, as you need to park your car in the lot at the bottom of the hill and walk about five minutes up to the temple. If you're up for a longer hike, a little more than 1 km (½ mile) away near the top of the hill are the remains of a fine theater with impressive views, especially at sunset, of the plains and the Bay of Castellammare (there's also a shuttle bus to the theater for €2 that leaves every 15–30 minutes). Concerts and plays are staged here in summer.

Castelbuono is located just outside this 80,000-acre regional park of the Madonie Mountains, which means it is a perfect spot to explore the splendid natural reserve. There are walking paths, camping areas, horse-riding, mountain biking, and caving activities to experience. You can even just simply take a scenic drive out into the park for a picnic.

For the island's most panoramic views—and the best sunsets—head to the southwestern coast for the Punta Stimpagnato lookout point. Descend from the main road down a mule path with a wooden handrail to a sort of rock balcony that overlooks the sea, with Alicudi in the distance. 

Extending for 7 km (4½ miles) along the western edge of the Golfo di Castellammare, the Riserva dello Zingaro nature reserve is one of the few stretches of coastline in western Sicily that is not built up. It's only accessible on foot, using a good choice of paths, and offers exhilarating views and some fabulous small beaches. The best time to visit is late spring when both wildflowers and birds are plentiful.

The reserve's two entrances are roughly 1 km (0.6 miles) north of Scopello and, at its northern end, 12 km (7½ miles) east of San Vito Lo Capo. Entry costs €5 per person. The reserve is open daily (until 6) all year, and in winter (Oct.–May) it is possible to stay overnight in very rudimentary shelters for up to two nights. The shelters, which lack electricity, gas, heating, beds, toilets, and drinking water, can be booked for €10 per person per night via the reserve's website.

Route maps can be picked up from either of the entrances. There are three main routes, color-coded green (for the coastal trail), yellow (for the central trail), and orange (for the high trail). A few trails connect the routes, but these are not always where you might want them. The coastal trail is the easiest, while the high trail is the hardest.

The terrain is mostly rock and scrub, with little shade. Along with the variety of vegetation, there is plenty of unusual wildlife to look out for, including buzzards, kestrels, hoopoes, owls, and the rare Bonelli's eagle. Bees, grasshoppers, and lizards are ubiquitous, and snakes (mostly harmless) are also common. You can pick up illustrated guides to the reserve's flora and fauna at the two entrances.

The only food and refreshments you'll find are also at the two entrances, where you can fill up your water flasks. Be sure to carry plenty of water, and you should also come equipped with sun protection and sturdy footwear (sandals are definitely not recommended).

There are numerous small, niche swimming spots in the Capo San Vito area, but the grandest and by far the most popular beach of all—and the centerpiece of the whole town—is San Vito Lo Capo's beach, a blissful arc of silky, white sand at the foot of Monte Monaco. Most of its length of nearly 3 km (1.8 miles) is public and free to use, but sections have been roped off as private lidos, where you'll pay €15–€20 for a full day's use of sunbeds and a parasol, plus access to bars and bathroom facilities. Needless to say, both public and private beaches get intensely crowded in July and August, which is the perfect time to seek out all those other lesser-known beaches in the vicinity. Amenities: food and drink; lifeguards; toilets. Best for: families; swimming; watersports; walking.

A beautifully kept hill village of neat stone houses and cobbled streets, Sant'Angelo Muxara is where locals have collaborated to give travelers a firsthand look at rural traditions. Programs can be adapted to meet individual needs and interests, but highlights include cheese-making and tasting with a local shepherd, making bread or pizza in the wood-fired oven of the village’s ancient bakery, and visiting a herbalist in his remote cabin and learning how to gather edible wild greens. Guided walks can also be organized, led by an archaeological and nature guide, that take in ancient cave dwellings and tombs and the town’s small but very well-presented archaeological museum. Mindful walks with yoga and meditation are also on offer and highly recommended.

A very old place of worship, the Santuario di Tindari has been an important place for religious pilgrims since the Middle Ages, after a mysterious statue of the dark-skinned Madonna was retrieved from a nearby beached ship and claimed to be a miraculous image by locals. Today Tindari is still popular with religious visitors and the clergy in general; Pope John Paul II even visited to perform mass in the 1980s. The stunning modern cathedral has been built around the original tiny medieval church, and you can access the old church from a side gate near the front altar. The newer church is filled with mosaic art, stained glass windows, an impressive church organ, and an elaborate building that still houses the famed Madonna statue.

Located high up in the mountains, Tindari has lovely views along the coast in both directions. Along a side road from the church, past a collection of tourist shops, you will find the archaeological area that includes an ancient Roman theater and several ruins of bathhouses and villas that once accommodated Roman visitors.

Below the Church of Tindari, there are also the natural lakes of Marinello and the pristine Spiaggia Mongiove, which are popular places for local beachgoers to explore. Even though the beaches are devoid of facilities, the spot is secluded and quite stunning.

After the active volcanoes of Mount Etna and Stromboli, the tilted white "staircase" of the Scala dei Turchi cliff is the most stunning geological site in Sicily. Formed by eroded strata of pure white marl, with a silken gold sandy beach below, the cliff was allegedly named after the so-called Turkish (actually Saracen) pirates who plagued the Sicilian coast in the 16th century. The Scala and its beach are extraordinarily popular, so try if you can to visit in low season. The best access is from the signposted paid car park just to the south of the cliff (follow the sign to Majata Beach/Ingresso Scala dei Turchi).

While you can see examples of Caltagirone's long ceramic tradition throughout the city, the most impressive display can be found in the 142 individually decorated tiled steps of this monumental staircase leading up to the neglected Santa Maria del Monte church. On July 24 (the feast of San Giacomo, the city's patron saint) and again on August 15 (the feast of the Assumption), the stairs are illuminated with candles that form a tapestry design. Months of work go into preparing the 4,000 coppi, or cylinders of colored paper, that hold oil lamps—then, at 9:30 pm on the nights of July 24, July 25, August 14, and August 15, a squad of hundreds of youngsters (tourists are welcome to participate) spring into action to light the lamps, so that the staircase flares up all at once.

An appealing village in two parts, Scauri's upper part is set around a church with a clock tower high above the sea and has a couple of good places to eat, a fishmonger, and a small grocery store as well as gorgeous views down to the sea from the wiggly maze of tiny streets behind the church. You could drive straight down to Scauri Porto, but if you like walking, leave the car in the car park and follow the main road down hill past La Nicchia restaurant, until you reach a minor side road called Via Sopra La Scala. This becomes a track that leads downhill through meadows to the intriguing remains of a Roman or Byzantine settlement with the ruins of lava-stone buildings scattered among prickly pears, wild grains, and capers. The path continues along the coast, passing a tiny rocky bay with a natural hot pool, before arriving at a tiny quayside where you’ll find the La Vela restaurant-bar and usually some kayaks to rent. From here a small road crosses a low headland to the rest of Scauri, with a handful of picturesque places to eat or rent boats set around a well-protected harbor. The wind-lashed west coast is not alluring, and in places has been marred with shoddy beach villas and hideous hotels, though anyone interested in archeology may want to see the Sesi Grande, a huge dammuso-like structure, with 11 spooky tunnels leading to 12 oval cells, created as a burial mound by the island’s prehistoric inhabitants.

The Greeks put a premium on finding impressive locations to stage their dramas, such as Taormina's hillside Teatro Greco. Beyond the columns, you can see the town's rooftops spilling down the hillside, the arc of the coastline, and Mount Etna in the distance. The theater was built during the 3rd century BC and rebuilt by the Romans during the 2nd century AD. Its acoustics are exceptional: even today a stage whisper can be heard in the last rows. In summer, many music and dance performances are held in the Teatro Greco after sunset, when the marvelous vistas of the sparkling Ionian Sea are shrouded in darkness, but the glow of Sicily's most famous volcano can sometimes be seen in the distance.

This wonderful little winery is run with passion and energy by three young locals. Many wineries run tours, but few make the experience as personal and interesting as the Valle delle Ferle. Call ahead to book a personal tour of the vineyards, where Nero d’Avola and Frappato—the two grapes used to create Cerasuolo di Vittoria wine—are planted together, a traditional practice that has died out as newer joint plantings are not permitted. Guests are encouraged to taste blind, in order to demonstrate how the wines produced in these heavy clay hills are characterized by a far longer life and softer palette than those produced at lower elevations in the sandier soils closer to the sea. Tastings are accompanied by carefully selected local cheeses and salamis, so guests can experience the way the wines work with a salty or fresh cheese, or a fattier or chill-spiked salami. Tours also take in the cantina, where there is often a chance to taste immature wines straight from the tanks.

An excellent road with some fabulous coastal views, the Perimetrale encircles the entire island, although its most interesting stretch is along the east and south coasts between Cala Cinque Dente and Scauri. Although you could drive the entire stretch in far less than an hour, exploring all the little coves and villages and taking a few walks could easily keep you busy for several days.  

Cala Cinque Denti may literally mean "Bay of the Five Teeth", but opinions vary over which of the fearsome jagged rock formations inspired the name. The bay is most dramatically approached on foot from the signed car park at Punta Spadillo, from where a well-marked 30-minute path crosses a lunar landscape of black lava formations, scattered among which are doughnut-shaped gun emplacements dating back to World War II. A rocky branch of the path clambers down to the Laghetto Ondine, a natural pool fed by the sea, where you can swim under fabulous formations of lava. The main path continues along the clifftop, with more fantastic views, before climbing up to the top of Cala dei Cinque Denti. 

The next stop along the Perimetrale is the picturesque village of Gadir, set around a sheltered inlet. The harborside has been smartly decked for sunbathing, and there are ladders into the inlet, from which you can swim out into the cove. Right by the water are three tomb-shaped pits enclosing hot water springs.  Be warned that the temperature in one of them is dangerously hot so check before choosing which one to dunk yourself in. Following the path around the headland brings you to another (cool but protected) natural swimming pool, with two hot water springs behind it. 

Driving on, you come to photogenic Cala Levante and Cala Tramontana, twin bays divided by a small peninsula. There is good swimming and sunbathing from each, and a narrow road continues south along the coast to the island’s most famous rock formation, the Arco dell’Elefante, which is said to resemble an elephant dipping its trunk into the sea. Little paths across the rocks lead to the best places to access the sea for a swim.

Returning to the Perimetrale, carry on south until the sign to Martingana, where a very steep but asphalted road curves down to a pretty settlement of lava stone and white-domed dammusi. The road then becomes a track (drivable even in an ordinary car) leading to a small car park where a path leads to a cove (with more good swimming) and where you can sunbathe atop a solidified river of lava. The next bay, Balata dei Turchi, can be reached by several clearly marked footpaths or along a rough and steep road, best attempted only by an adventurous driver. The bay is jaw-droppingly beautiful on a calm sunny day, backed by cliffs stained ochre, china blue, and rose by volcanic minerals, but can be quite inhospitable and forbidding in strong winds. Punta Nikà, reached by a steep track a little farther along the Perimetrale, has similar polychrome cliff formations and offshore hot springs accessible only in calm seas. The path to them is not signposted, but they're fairly easy to find. Instead of going downhill to the main bay, look for a narrow path after the first house on the left (with contemporary metal gates). Follow this downhill and along the perimeter of the house’s garden. At the bottom of the garden, follow the white arrows (a bit faded) which will guide you down to a place where you can get into the sea. Don’t attempt this track unless you are a fit and experienced hiker.

This imposing 1337 Norman tower is attached to the facade of the church Chiesa di Saint Niccolò of Bari, with a square bell tower built upon three levels and Arabesque arched windows. It was part of the feudal kingdom of the Ventimiglia family, who left marks of their wealth and dominance all over the island. After an extensive renovation, it now houses a permanent exhibition of local artists and Christmas nativity models. The church itself is filled with artwork from the 17th and 18th centuries and its mysterious and macabre catacombs contain the mummies of 60 priests from Gangi.

The seemingly endless pristine sands of Torre Salsa, overlooked by cliffs of crystal selenite, are one of the best-kept secrets of coastal Sicily. This is in part because they are easily reached only in summer. The rest of the year underground springs make the several dirt tracks to the sands inaccessible, not only by car but also on foot except for those intrepid enough not to be put off by knee-deep mud. If the sea is calm, those prepared to paddle can usually walk along the sands from the beaches at either end: Bovo Marina to the north and Siculiana Marina to the south. Bring plenty to eat and drink, as there are no facilities. If approaching by car in the dry months, the easiest access is via the Pantano entrance towards the northern end of the reserve.

The temples of Agrigento, a UNESCO World Heritage site, are considered to be some of the finest and best-preserved Greek temples in the world. Whether you first come upon the valley in the early morning light, bathed by golden floodlights after sunset, or in January and February when the valley is awash in the fragrant blossoms of thousands of almond trees, it's easy to see why Akragas (Agrigento's Greek name) was celebrated by the poet Pindar as "the most beautiful city built by mortals." The temples were originally erected as a showpiece to flaunt the Greek victory over Carthage, and they have since withstood a later sack by the Carthaginians, mishandling by the Romans, and neglect by Christians and Muslims.

Although getting to, from, and around the dusty ruins of the Valle dei Templi is pretty easy, this important archaeological zone still deserves several hours. The temples are a bit spread out, but the valley is all completely walkable and usually toured on foot. However, since there's only one hotel (Villa Athena) that's close enough to walk to the ruins, you'll most likely have to drive to reach the site. The best place to park is at the entrance to the temple area. The site, which opens at 8:30 am, is divided into western and eastern sections, linked by a bridge. The best way to see them both is to park at the Temple of Juno entrance and walk downhill through the eastern zone, across the footbridge into the western zone, and then return back uphill, so that you see everything again but from a different angle and in a different light. The best time to go is a couple of hours before sunset, although if you are in Agrigento in high summer you might want to consider a night visit; the gates open a short while before sunset, with the temples floodlit as night falls.

You'll want to spend time seeing the eight pillars of the Tempio di Ercole (Temple of Hercules) that make up Agrigento's oldest temple complex, dating from the 6th century BC. The Tempio di Giunone (Temple of Juno) at the top of the hill is perhaps the most beautiful of all the temples, partly in ruins and commanding an exquisite view of the valley (especially at sunset). The low wall of mighty stone blocks in front of it was an altar on which animals were sacrificed as an offering to the goddess. Next down the hill is the almost perfectly complete Tempio della Concordia (Temple of Concord), perhaps the best-preserved Greek temple currently in existence, thanks to having been converted into a Christian church in the 6th century, and restored back to being a temple in the 18th century. Below it is the valley’s oldest surviving temple, the Temple of Hercules, with nine of its original 38 columns standing, the rest tumbled around like a child’s upended bag of building bricks.

Continuing over the pedestrian bridge, you reach the Tempio di Giove (Temple of Jupiter). Meant to be the largest temple in the complex, it was never completed, but it would have occupied approximately the site of a soccer field. It was an unusual temple, with half columns backing into a continuous wall, and 25-foot-high telamon, or male figures, inserted in the gaps in between. A couple of the telamon have been roughly reassembled horizontally on the ground near the temple. Beyond is the so-called Temple of Castor and Pollux, prettily picturesque, but actually a folly created in the 19th century from various columns and architectural fragments.

In the 19th and 20th centuries, the twin hill towns of Cammerata and San Giovanni Gemini were famous throughout Sicily for their traveling ice cream and granita makers. The key to this ice-cream industry was the collection and preservation of snow, and a local family of ice-cream makers has restored several of the neviere, circular buildings resembling stone igloos, strewn over the forested slopes above the towns. Snow was shoveled into the neviere, trodden down until it turned to a thick layer of ice, then covered with a mat of rushes and straw before another layer of snow was added on top. Stored like this, the snow would keep frozen for months, and with the giant blocks of ice fetching the equivalent of €3,000, it had to be carefully guarded. The best way to see the neviere, learn how to make Sicilian granita, and visit a small private ice museum, is on a guided tour, which can include a lunch of cold cuts, local cheeses, and grilled meat and vegetables in a pretty family-run café.

Stroll down Via Bagnoli Croce from the main Corso Umberto to the Villa Comunale to enjoy the stunning views from the seaside city's best terrace walkways. Also known as the Parco Duca di Cesarò, the lovely public gardens were designed by Florence Trevelyan Cacciola, a Scottish lady "invited" to leave England following a romantic liaison with the future Edward VII (1841–1910). Arriving in Taormina in 1889, she married a local professor and devoted herself to the gardens, filling them with native Mediterranean and exotic plants, ornamental pavilions, and fountains.

Probably the most intriguing of all Bagheria's villas is the Villa Palagonia, which can either be viewed as a delightful flight of whimsy or the product of a disturbed mind. The villa was erected in 1705 by Francesco, Prince of Palagonia, and his architect, Tommaso Napoli, but what makes it stand out today is the work of Francesco's grandson, Ferdinando, a hunchback who commissioned a weird assembly of sculptures depicting monsters and bizarre figures said to be caricatures of his wife's lovers. Visitors will see a parade of them on either side of the front and back entrances as well as atop the walls of the surrounding garden, a grotesque gallery of monsters, gnomes, and gargoyles. Only 64 of the original statues remain—they are once said to number 200—and these are in a poor state of repair.

You'll find the same air of dereliction when you climb the once-grand double staircase to enter the palace itself, where only five rooms are currently open to the public. Most striking of these is the Salone degli Specchi, a large hall whose domed ceiling is covered in mirrors, now cracked and fogged. Along the marbled walls here and in other rooms are arrayed flamboyant busts, faded frescoes, and trompe l'oeil effects that recall the grandeur that the villa must once have embodied, though you'll come away with a sense of wistful regret that more care has not been taken to restore and maintain this peculiar place.