337 Best Sights in Italy

Thousands of faithful make the pilgrimage here each year to pray at the tomb of St. Anthony, while others come to admire works by the 15th-century Florentine master Donatello. His equestrian statue (1453) of the condottiere Erasmo da Narni, known as Gattamelata, in front of the church is one of the great masterpieces of Italian Renaissance sculpture. The huge church, which combines elements of Byzantine, Romanesque, and Gothic styles, was probably begun around 1238, seven years after the death of the Portuguese-born saint. The Cappella del Santo (housing the tomb of the saint) dates from the 16th century.

The emotional intensity and naturalism of the frescoes illustrating the lives of Mary and Jesus in this world-famous chapel broke new ground in Western art. Enrico Scrovegni commissioned these frescoes to atone for the sins of his deceased father, Reginaldo, the usurer condemned to the Seventh Circle of the Inferno in Dante's Divine Comedy. Giotto and his assistants worked on the frescoes from 1303 to 1305, arranging them in tiers to be read from left to right. To preserve the artwork, doors are opened only every 15 minutes.

This magnificent complex includes the Cappella dei Principi, the Medici chapel and mausoleum that was begun in 1605 and kept marble workers busy for several hundred years, and the Sagrestia Nuova (New Sacristy), designed by Michelangelo and so called to distinguish it from Brunelleschi's Sagrestia Vecchia (Old Sacristy) in San Lorenzo. 

Michelangelo received the commission for the New Sacristy in 1520 from Cardinal Giulio de' Medici (1478–1534), who later became Pope Clement VII. The cardinal wanted a new burial chapel for his cousins Giuliano, Duke of Nemours (1478–1534), and Lorenzo, Duke of Urbino (1492–1519). He also wanted to honor his father, also named Giuliano, and his uncle, Lorenzo il Magnifico. The result was a tour de force of architecture and sculpture.

Architecturally, Michelangelo was as original and inventive here as ever, but it is, quite properly, the powerfully sculpted tombs that dominate the room. The scheme is allegorical: on the tomb on the right are figures representing Day and Night, and on the tomb to the left are figures representing Dawn and Dusk. Above them are idealized sculptures of the two men, usually interpreted to represent the active life and the contemplative life. But the allegorical meanings are secondary; what is most important is the intense presence of the sculptural figures and the force with which they hit the viewer.

The complex is also home to the Stanza Segreta di Michelangelo (Michelangelo's Secret Room), a small room—covered in exquisite charcoal and chalk sketches—where the artist was thought to have hidden for a few months in 1530, after having angered Pope Clement VII. For preservation reasons, access to this room is very limited, and the requisite reservations ( www.b-ticket.com/b-Ticket/uffizi) tend to sell out very quickly several months in advance, so plan well ahead.

By far the best sight in Otranto is the cathedral, Santa Maria Annunziata, consecrated in 1088. Its highlight is a 12th-century Pantaleone mosaic: covering the entire length of the nave, the sanctuary, and the apse, it depicts scenes from the Old Testament and traditional medieval chivalric tales and animals set alongside a Tree of Life. The walls behind the main altar are lined with glass cases containing the skulls and tibias of the 800 martyrs of Otranto, slain by the Ottomans after the seige of 1480 for not renouncing their faith.

The stunning pinkish-white 11th-century cathedral, considered one of the finest in Puglia, is built on a spit of land jutting into the sea. Dedicated to St. Nicholas the Pilgrim, it was a favorite place of prayer for crusaders embarking for war in the Holy Land. Its lofty bell tower can be visited, and guided tours arranged by request at the nearby Museo Diocesiano and via the website calendar slots; the views are worth the climb.

Ragusa Superiore's gargantuan 18th-cathedral was built in the then-nascent Quartiere Patro, after the destruction of a previous incarnation dedicated to San Giovanni in Ragusa Ibla was destroyed by the 1693 earthquake. Beyond the ornate late-Baroque facade, the three-nave, Latin cross interior is bathed by sunlight from the impressive cupola.  Amid 13 chapels and two altars, rich details abound: paintings and statuary spanning the centuries, rococo stuccowork, and a Neapolitan nativity scene. Pride of place goes to a vibrant wooden statue of San Giovanni carved in 1861 on a flamboyant gilded base, which is paraded through town each June 24. Those who are fit and have a head for heights should scale the narrow, 129-step staircase to the 160-foot-high campanile. After catching your breath, admire the church's four bells and enjoy fabulous views over Ragusa and beyond. Across the road, the Museo della Cattedrale displays pious relics and an interesting collection of maps.   

Noto's domed cathedral is an undisputed highlight of the extraordinary Baroque architecture for which the town is world-famous. Climb the monumental staircase to get a glimpse of the interior—restored over a 10-year period after the dome collapsed in 1996—which is simple and unloved by some (its newness and painting style may appear strange at first) compared to the magnificent exterior, but still worth a look. Indeed, it's become so popular that an entrance fee has been introduced, mainly to help the informative volunteers to cope with the foot flow.

Bari's 12th-century Romanesque cathedral is the seat of the local bishop and was the scene of many significant political marriages between important families in the Middle Ages. The cathedral is dedicated to San Sabino, a 6th-century bishop who apparently lived to be 105. The main draw is the subterranean Museo del Succorpo della Cattedrale with ancient basilica, a Byzantine church and Roman remains, including mosaic-tiled flooring swirling with fish, octopi, and plants. 

The 14th-century Santa Maria della Neve, better known as the Chiesa del Soccorso, is the island's most picturesque church. Down at the harbor, the whitewashed church makes a good spot for a sunset stroll. Check out the wooden crucifix in the chapel on the left; it was washed up on the shore below the church in the 15th century. Restored in 2013, this is the oldest statue on the island. For an overview of the town go to the Torrione, one of 12 towers built under Aragonese rule in the 15th century to protect Forio's inhabitants from the ever-present threat of pirate raids.

You'll pass this church just before you reach Murano's Grand Canal (a little more than 800 feet from the landing). Reconstructed in 1511, it houses Giovanni Bellini's very beautiful and spectacular Madonna and Child with Doge Augostino Barbarigo and Veronese's St. Jerome.

Near the Villa Comunale gardens and sharing its view over the Bay of Naples, the church and convent is celebrated for its 12th-century cloister. Filled with greenery and flowers, the Moorish-style cloister has interlaced pointed arches of tufa rock, alternating with octagonal columns, supporting smaller arches. The combination makes a suitably evocative setting for summer concerts and theatrical presentations. The interior's 17th-century decoration includes an altarpiece by a student of Francesco Solimena, depicting St. Francis receiving the stigmata. Above the cloisters Galleria Raffaele Celentano exhibits the candid black-and-white photographs of Italian life by a contemporary local photographer. There's an adjoining panoramic terrace ripe for sunset views and a joyous installation featuring an arbor rope swing, a cut-up Fiat 500 and washing line of photos and clothes.

This imposing 1337 Norman tower is attached to the facade of Gangi's "Mother Church," the 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, including eye-catching sculptures by Filippo Quattrocchi (1738--1813). Descend into the crypt and the macabre catacombs to meet the mummies of 60 priests from Gangi.

Polizzi is full of churches, each one filled to the brim with fascinating artworks, but this one is probably the most gorgeous of all. Its Norman-era foundations have been built upon several times since, including Gothic-era additions by the Ventimiglia dynasty. The centerpiece is an astonishing Renaissance triptych of the Madonna and Child (late 1400s)  by an anonymous, though possibly Flemish, artist. It's sometimes attributed to (though more likely influenced by) the celebrated Flemish painter Rogier Van Der Weyden (1399--1464). As astonishing as it is to see this priceless work of art from northern Europe housed in a church in Polizzi Generosa, its presence gives you a sense of how much wealth was brought to the town thanks to its royal patrons.

The town's main church is not officially a duomo (cathedral), because San Gimignano has no bishop. But behind the simple facade of the Romanesque Collegiata lies a treasure trove of fine frescoes, covering nearly every wall. Bartolo di Fredi's 14th-century fresco cycle of Old Testament scenes extends along one wall. Their distinctly medieval feel, with misshapen bodies, buckets of spurting blood, and lack of perspective, contrasts with the much more reserved scenes from the Life of Christ (attributed to 14th-century artist Lippo Memmi) painted on the opposite wall just 14 years later.

Begun by the architect Lanfranco in 1099 and consecrated in 1184, the 12th-century Romanesque cathedral has sculptured facade reliefs by Wiligelmo depicting scenes from Genesis. Look over the main portal to enter a medieval world of intricately carved plant shoots teeming with human, heavenly and demonic life, flanked by two column-bearing Roman lions. Walk around to the Piazza Grande side to see graceful arcading and loggias, a rare example of a cathedral having various aspects and four grand entrances. The interior, completely clad in brick, creates a sober ambience and is filled with intricate stonework by generations of the Maestri Campionesi. The tomb of San Geminiano, Modena's patron saint  is in the crypt. The white-marble bell tower is known as La Torre Ghirlandina (the Little Garland Tower) because of its distinctive weather vane.

Ravello's first bishop, Orso Papiciò, founded this cathedral in 1086. Rebuilt in the 12th and 17th centuries, it retains traces of medieval frescoes in the transept, a marble portal, and a three-story 13th-century bell tower playfully interwoven with mullioned windows and arches. The 12th-century bronze door has 54 embossed panels depicting Christ's life, and saints, prophets, plants, and animals, all narrating biblical lore. Ancient columns divide the nave's three aisles, and treasures include sarcophagi from Roman times and paintings by the southern Renaissance artist Andrea da Salerno. Most impressive are the two medieval pulpits: the earlier one (on your left as you face the altar) is inset with a mosaic scene of Jonah and the whale, symbolizing death and redemption. The more famous one opposite was commissioned by Nicola Rufolo in 1272 and created by Niccolò di Bartolomeo da Foggia, with exquisite mosaic work, bas-reliefs, and six twisting columns sitting on lion pedestals. An eagle grandly tops the inlaid marble lectern.

A chapel to the left of the apse is dedicated to San Pantaleone, a physician beheaded in the 3rd century in Nicomedia. Every July 27, devout believers gather in hopes of witnessing a miracle (similar to that of San Gennaro in Naples), in which the saint's blood, collected in a vial and set out on an inlaid marble altar, appears to liquefy and come to a boil.

In the crypt is the Museo del Duomo, which displays religious treasures, including many from the 13th century during the reign of Frederick II of Sicily.

Dominating a vast square concealed by a maze of alleyways, Lecce's magnificent cathedral of Santa Maria Assunta never fails to take visitors by surprise. The goal when building the 17th-century structure was to stun the faithful with a vision of opulence and power. Constructed in rosy local stone, the church is flanked by the ornate Bishops' Palace (1694), the seminary, whose first-floor Museum of Sacred Art (MuDAS) displays papier-mâché sculptures alongside brooding Caravaggio-esque paintings. Adding to this melodious architectural scene is the under-restoration 236-foot-high campanile (bell tower), which dominates the centro storico skyline.

Siena's cathedral is one of Italy's finest Gothic churches. The multicolored marble and painted decoration are typical of the Italian approach to Gothic architecture—lighter and much less austere than the French. The amazingly detailed facade has few rivals. It was completed in two brief phases at the end of the 13th and 14th centuries. The statues and decorative work were designed by Nicola Pisano and his son Giovanni, although much of what's seen today are copies, the originals having been moved to the adjacent Museo dell'Opera Metropolitana. The gold mosaics are 18th-century restorations. On the extraordinary campanile (no entry), the number of windows increases with each level—a beautiful and ingenious way of reducing the weight of the structure as it climbs to the heavens.

With its dark-green-and-white striping throughout and its illusionistic coffered and gilded dome, the Duomo's interior is striking. Look up at copies of Duccio's (circa 1255–1319) stained-glass panels; the originals, finished in 1288, are in the Museo dell'Opera and are among the oldest examples of stained glass in Italy. The Duomo is most famous, though, for its inlaid-marble floors, which took almost 200 years to complete. More than 40 artists contributed to the magnificent work of 56 compositions depicting biblical scenes, allegories, religious symbols, and civic emblems. Although conserving the floors requires keeping them covered for much of the year, they are unveiled from the end of June until the end of July and from mid-August until mid-October.

Also noteworthy is the Duomo's carousel pulpit, carved by Nicola Pisano around 1265; the Life of Christ is depicted on the rostrum frieze. In striking contrast to the nave's Gothic decoration are the well-preserved Renaissance frescoes in the Biblioteca Piccolomini, off the left aisle. Painted by Pinturicchio (circa 1454–1513) and completed in 1509, they depict events from the life of Aeneas Sylvius Piccolomini (1405–64), who became Pope Pius II in 1458.

The Duomo is grand, but the medieval Sienese people had even grander plans, namely, to use the existing church as a transept and build a new nave running toward the southeast, creating what would have been the world's largest church. Alas, only the side wall and part of the new facade were completed when the Black Death struck in 1348. The city subsequently fell into decline, funds dried up, and the plans were never carried out.

Indeed, the grand church project was actually doomed from the start—subsequent attempts to get it going revealed that the foundation was insufficient to bear the weight of the proposed structure. In any event, the unfinished new nave extending from the right side of the Duomo was ultimately enclosed to house the Museo dell'Opera. The Cripta was discovered during routine preservation work on the church.

In 1296, Arnolfo di Cambio (circa 1245–1310) was commissioned to build "the loftiest, most sumptuous edifice human invention could devise" in the Romanesque style on the site of the old church of Santa Reparata. The immense Duomo was consecrated in 1436, but work continued over the centuries. The imposing facade dates only from the 19th century; its neo-Gothic style somewhat complements Giotto's genuine Gothic 14th-century campanile. The real glory of the Duomo, however, is Filippo Brunelleschi's dome, presiding over the cathedral with a dignity and grace that few domes to this day can match.

Brunelleschi's cupola was an ingenious engineering feat. The space to be enclosed by the dome was so large and so high above the ground that traditional methods of dome construction—wooden centering and scaffolding—were of no use whatsoever. So Brunelleschi developed entirely new building methods, including a novel scaffolding system, that he implemented with equipment of his own design. Beginning work in 1420, he built not one dome but two, one inside the other, and connected them with ribbing that stretched across the intervening empty space, thereby considerably lessening the crushing weight of the structure. He also employed a new method of bricklaying, based on an ancient herringbone pattern, interlocking each course of bricks with the course below in a way that made the growing structure self-supporting.

The result was one of the great engineering breakthroughs of all time: most of Europe's later domes, including that of St. Peter's in Rome, were built employing Brunelleschi's methods, and today the Duomo has come to symbolize Florence in the same way that the Eiffel Tower symbolizes Paris. The Florentines are justly proud of it, and to this day the Florentine phrase for "homesick" is nostalgia del cupolone (homesick for the dome).

The interior is a fine example of Florentine Gothic. Although much of the cathedral's best-known art has been moved to the nearby Museo dell'Opera del Duomo, notable among the works that remain are two massive equestrian frescoes, both on the left nave, that honor famous soldiers: Niccolò da Tolentino, painted in 1456 by Andrea del Castagno (circa 1419–57), and Sir John Hawkwood, painted 20 years earlier by Paolo Uccello (1397–1475).

A 1995 restoration repaired the dome and cleaned the vastly crowded fresco of the Last Judgment, executed by Giorgio Vasari (1511–74) and Zuccaro, on its interior. Originally Brunelleschi wanted mosaics to cover the interior of the great ribbed cupola, but by the time the Florentines got around to commissioning the decoration, 150 years later, tastes had changed. The climb to the top of the dome (463 steps) is not for the faint of heart, but the view is superb. Admission to the Duomo is free; there is, however, an entrance fee for the cupola (included in some combo tickets), and timed-entry reservations to visit it are required.

The reconstruction of Messina's Norman and Romanesque cathedral, originally built by the Norman king Roger II and consecrated in 1197, has retained much of the original plan—including a handsome crown of Norman battlements, an enormous apse containing glittering mosaics, and a splendid wood-beamed ceiling. The adjoining bell tower contains one of the largest and most complex mechanical clocks in the world: constructed in 1933, it has a host of gilded automatons (a roaring lion and crowing rooster among them) that spring into action every day at the stroke of noon, lasting for 12 minutes. Don't miss the chance to climb the bell tower itself. As you head up the internal stairs, you'll see the system of levers and counterweights that operates the movements of the gilded bronze statues that parade through the open facade high over the Duomo's square. At the top, an open-air terrace offers 360-degree views of Messina and the strait.

Matera's splendidly restored cathedral, dedicated to the Madonna della Bruna and Sant'Eustachio, was built in the late 13th century and occupies a prominent position between the two Sassi. Lavishly decorated, it has a typical Puglian Romanesque flavor; inside, there's a recovered fresco, probably painted in the 14th century, showing scenes from the Last Judgment. On the Duomo's facade the figures of Sts. Peter and Paul stand on either side of a sculpture of Matera's patron, the Madonna della Bruna.

Cefalù is dominated by a massive headland—la rocca—and a 12th-century Romanesque Duomo, which is one of the finest Norman cathedrals in Italy. Roger II began the church in 1131 as an offering of thanks for having been saved here from a shipwreck. Its mosaics rival those of Monreale. (Whereas Monreale's Byzantine Christ figure is an austere and powerful image, emphasizing Christ's divinity, the Cefalù Christ is softer, more compassionate, and more human.) At the Duomo you must be respectfully attired—no shorts or beachwear permitted. Three themed tours explore the Duomo complex, taking in the museum, cloisters, roof, and towers (from €10).

 Monreale's splendid cathedral is lavishly executed with mosaics depicting events from the Old and New Testaments. It's a glorious fusion of Eastern and Western influences, widely regarded as the finest example of Norman architecture in Sicily. After the Norman conquest of Sicily, the new princes showcased their ambitions through monumental building projects. William II (1154–89) built the church complex with a cloister and palace between 1174 and 1185, employing Byzantine craftsmen.

The major attraction is the 68,220 square feet of glittering gold mosaics decorating the cathedral interior. Christ Pantocrator dominates the apse area; the nave contains narratives of the Creation; and scenes from the life of Christ adorn the walls of the aisles and the transept. The painted wooden ceiling dates from 1816–37 while the roof commands a great view (a reward for climbing 172 stairs). The wood and metal organ, the only one in Europe with six keyboards and 10,000 pipes, was restored after lightning damage in 2015, and played by Mick Jagger on a private visit in 2021.

Bonnano Pisano's bronze doors, completed in 1186, depict 42 biblical scenes and are considered among the most important medieval artifacts still in existence. Barisano da Trani's 42 panels on the north door, dating from 1179, present saints and evangelists. To visit, book a spot on www.coopculture.it at least a week in advance.

Orvieto's stunning cathedral was built to commemorate the Miracle at Bolsena. In 1263, a young priest who questioned the miracle of transubstantiation (in which the Communion bread and wine become the flesh and blood of Christ) was saying Mass at nearby Lago di Bolsena. A wafer he had just blessed suddenly started to drip blood, staining the linen covering the altar. Thirty years later, construction began on a duomo in Orvieto to celebrate the miracle and house the stained altar cloth.

The cathedral's interior is rather vast and empty; the major works are in the transepts. To the left is the Cappella del Corporale, where the square linen cloth (corporale) is kept in a golden reliquary that's modeled on the cathedral and inlaid with enamel scenes of the miracle. In the right transept is the Cappella di San Brizio, which holds one of Italy's greatest fresco cycles, notable for its influence on Michelangelo's Last Judgment, as well as for the extraordinary beauty of the figuration. In these works, a few by Fra Angelico and most by Luca Signorelli, the damned fall to hell, demons breathe fire and blood, and Christians are martyred. The Museo dell'Opera dell Duomo next to the cathedral is worth a short visit to see its small collection of historical paintings and sculptures, along with the Museo Emilio Greco, which houses 32 bronze sculptures from its namesake sculptor, who created the cathedral's bronze doors.

This Baroque beauty and so-called Mother Church of Modica Alta is reached by climbing 250 steps that crisscross in a monumental staircase leading up to the main doors. Dating back to medieval times—and after a series of calamities, including the 1693 earthquake—its present form took shape during the 17th and 18th centuries, largely under Spanish rule. The imposing 200-foot-high facade and tower were remodeled by Rosario Gagliardi (1698–1762); the church was finally crowned by an iron cross in 1842. You'll want to linger amid the white-stuccoed, eggshell blue and gold-leafed interior, taking in the artistic flamboyance of its five naves and numerous chapels, which are surrounded and supported by 22 Corinthian columns. One chapel houses the equestrian statue of San Giorgio that is paraded through Modica every April. A towering polyptych attributed to Bernardino Nigro (1538–1590) consists of nine Biblical scenes capped by a lunette of God and two golden adoring angels. Don't miss the meridian sundial with the signs of the zodiac near the the main altar; it was designed by the mathematician Armando Perini in 1895. Mass is held year-round on Sunday at 11 am, daily at 7 pm from April through October, as well as 7:30 pm in July and August; from November through March, the daily evening mass is at 6 pm.  For the best views in town, climb the campanile. (For a cacophonous experience, you can also time your ascension to 30 minutes before mass when the mighty bells chime. Cover your ears, though.)

Complicated, grand, delicate, and dominating, the 9th-century Amalfi cathedral has been remodeled over the years with Romanesque, Byzantine, Gothic, and Baroque elements but retains a predominantly Arab-Norman style. This intriguing blend of architectural styles easily confuses past and present, old and new, authentic and revival. The facade, with its glimmering mosaics, intricate patterns, and Arab design influences, is in fact no older than the 19th century. It was the masterwork of Neapolitan architect Errico Alvino, created during the height of Italy's fascination with Revivalism. The campanile, spliced with Saracen colors and intricate tile work, is the real deal and dates to the 13th century. The Chiostro del Paradiso (Paradise Cloister) is an Arab-Sicilian spectacular. Built around 1266 as a burial ground for Amalfi's elite, the cloister, the first stop on a tour of the cathedral, is one of southern Italy's architectural treasures. Its flower-and-palm-filled quadrangle has a series of exceptionally delicate intertwining arches on slender double columns.

The chapel at the back of the cloister leads into the earlier (9th-century) basilica. Romanesque in style, the structure has a nave, two aisles, and a high, deep apse. Note the 14th-century crucifixion scene by a student of Giotto. This section has now been transformed into a museum, housing sarcophagi, sculpture, Neapolitan goldsmiths' artwork, and other treasures from the cathedral complex.

Steps from the basilica lead down into the Cripta di Sant'Andrea (Crypt of St. Andrew). The cathedral above was built in the 13th century to house the saint's bones, which came from Constantinople and supposedly exuded a miraculous liquid believers call the "manna of St. Andrew." Following the one-way traffic up to the cathedral itself, you finally get to admire the elaborate polychrome marbles and painted, coffered ceilings from its 18th-century restoration. Art historians shake their heads over this renovation, as the original decoration of the apse must have been one of the wonders of the Middle Ages.

 Siracusa's Duomo is an archive of more than 2,000 years of island history, and has creatively incorporated ruins through the many time periods it has survived, starting with the bottommost, where excavations have unearthed remnants of Sicily's distant past, when the Siculi inhabitants worshipped their deities here. During the 5th century BC (the same time Agrigento's Temple of Concord was built), the Greeks erected a temple to Athena over it, and in the 7th century, Siracusa's first Christian cathedral was built on top of the Greek structure. The massive columns of the original Greek temple were incorporated into the present structure and are clearly visible, embedded in the exterior wall along Via Minerva. The Greek columns were also used to dramatic advantage inside, where on one side they form chapels connected by elegant wrought-iron gates. The Baroque facade, added in the 18th century, displays a harmonious rhythm of concaves and convexes. In front, the sun-kissed stone piazza is encircled by pink and white oleanders and elegant buildings ornamented with filigree grillwork, and is typically filled with frolicking children and street musicians. Check with the tourist office for guided tours of its underground tunnels, which are located to the right when you stand facing the cathedral.

One of the finest cathedrals in the region is lit by eight rose windows that are especially dazzling in the late afternoon sun. Above the church's entrance is Bernini's bust of Pope Urban VIII (1568–1644), who had the church redecorated in 17th-century Baroque; fortunately he didn't touch the 15th-century frescoes painted in the apse by Fra Filippo Lippi (circa 1406–69) between 1466 and 1469. These immaculately restored masterpieces—the Annunciation,Nativity, and Dormition—tell the story of the life of the Virgin. The Coronation of the Virgin, adorning the half dome, is the literal and figurative high point. Portraits of Lippi and his assistants are on the right side of the central panel.

The highlight of the Basilica complex is the spectacular 3rd- to 4th-century mosaic covering the entire floor of the basilica and the adjacent crypt, which make up one of the most important early Christian monuments. Theodore, the basilica's first bishop, built two parallel basilicas (now the north and the south halls) on the site of a Gnostic chapel in the 4th century. These were joined by a third hall, forming a "U." The complex later accumulated the Romanesque portico and Gothic bell tower. The mosaic floor of the basilica is the remains of the floor of Theodore's south hall.

In his north hall, Theodore retained much of the floor of the earlier Gnostic chapel, whose mosaics represent the ascent of the soul, through the realm of the planets and constellations, to God, who is represented as a ram. (The ram, at the head of the zodiac, is the Gnostic generative force.) This integration of Gnosticism into a Christian church is interesting, since Gnosticism had been branded a heresy by early church fathers.

The 4th-century mosaics of the Südalle (the south hall is the present-day nave) represent the story of Jonah as prefiguring the salvation offered by the Church. Down a flight of steps, the Cripta degli Affreschi contains 12th-century frescoes.

In Piazza Capitolo, the Domus and Palazzo Episcopale's newest discoveries reveal fascinating layers of the city's history, with beautiful geometric mosaics and frescoes, and original walls.

One piazza over from the dancing nymphs of Fontana Pretoria, this church, with its elegant Norman campanile, was erected in 1143 but had its interior altered considerably during the Baroque period. High along the western wall, however, is some of the oldest and best-preserved mosaic artwork of the Norman period. Near the entrance is a fascinating mosaic that shows the Norman King Roger II being crowned by Christ. In it Roger is dressed in a bejeweled Byzantine stole, reflecting the Norman court's penchant for all things Byzantine. Archangels along the ceiling wear the same stole wrapped around their shoulders and arms. The much plainer San Cataldo is next door.