1473 Best Sights in Italy

An eerie atmosphere hangs around neglected corners of this once grand, palatial complex between the Castiglione and Tuoro hills, which was for centuries a Carthusian monastery dedicated to St. James. It was founded between 1371 and 1374, when Queen Giovanna I of Naples gave Count Giacomo Arcucci, her secretary, the land and the means to create it. The count himself then became devoutly religious and retired here until his death. After the monastery was sacked by the pirates Dragut and Barbarossa in the 16th century, it was heavily restored and rebuilt—thanks in part to heavy taxes exacted from the populace. The friars within were detested by many Capresi for refusing to open the gates to minister to the people when plague broke out. The monks were expelled in 1808, and it subsequently served first as a hospice and then as a prison.

You enter the complex via a grandly imposing entryway, which leads to Capri's public library and the spacious church of San Giacomo (built in 1690, reopened after renovations in 2010). After admiring the church's Baroque frescoes, follow the signposts down toward the Parco, which leads down an avenue flanked by pittosporum and magnolia toward the tranquil monastery gardens and some welcome benches with stunning views. Take heed of the signs reminding you to watch your step, as the ground is uneven in places. Beyond a covered road lies the Chiostro Grande (Large Cloister)—originally the site of the monks' cells and for many years the home of a high school. Nearby is the 15th-century Chiostro Piccolo (Small Cloister). Both are often venues for summertime open-air concerts. The Quarto del Priore hosts exhibitions including the 2024-opened Museo Archeologico di Capri, displaying 120 objects and artworks from the epochs of the emperors Augustus and Tiberius, including statuary and frescoes. Perhaps the showstopper here is the collection of large canvases by influential German painter K.W. Diefenbach, who visited Capri in 1899 and stayed until his death in 1913. For years, Diefenbach rivaled the Blue Grotto for sheer picturesqueness—he was given to greeting visitors replete with flowing white beard, monk's cowl, and primitive sandals.

Atop a rocky promontory with a fabulous view of the entire city and majestic salons that would please any monarch, this monastery seems more like a palace. The certosa, or charter house, had been started in 1325, but, by the 18th century, it had grown so sumptuous that Ferdinand IV threatened to halt the religious order's government subsidy. Although the Angevin heritage can be seen in the pointed arches and cross-vaulted ceiling of the Certosa Church, over the years dour Gothic was traded in for varicolored Neapolitan Baroque.

The sacristy leads into the Cappella del Tesoro, with Luca Giordano's ceiling fresco of Judith holding aloft Holofernes's head and paintings by Jusepe de Ribera (the Pietà over the altar is one of his masterpieces). The polychrome marble work of the architect and sculptor Cosimo Fanzago (1591–1678) is at its finest here, and he displays a gamut of sculptural skills in the Chiostro Grande (Great Cloister). Fanzago's ceremonial portals at each corner of the cloister are among the most spectacular of all Baroque creations, aswirl with Michelangelo-esque ornament.

The nearby Museo dell’Opera, which isn't always open, contains sociology-theme rooms that add up to a chronological tour of the city. One room has 13 gouaches of Vesuvius, and another has paintings depicting the Plague. The Quarto del Priore (Prior's Quarters), the residence of the only monk allowed contact with the outside world, is an extravaganza of salons filled with frescoes, majolica-tile floors, and paintings, plus extensive gardens where scenic pergolati (roofed balconies) overlook the bay.

Entering from the Quarto del Priore side, you come upon two splendid gilded coaches and then the "Vessels of the King" naval museum, with a 20-meter (65-foot) boat occupying a whole room. Beyond this lie two rooms with Early Renaissance masterpieces; subsequent rooms hold works by later artists, including the tireless Giordano. Past the library, with its heavenly majolica-tile floor, comes the Sezione Presepiale, the world’s greatest collection of Christmas cribs. Pride of place goes to the Presepe (Nativity scene) of Michele Cuciniello. Equally amazing in its own way is a crib inside an eggshell.

Although there is a perfectly serviceable sandy beach right outside the archaeological site of Nora, infinitely more enticing is the series of long expanses of sand 18 km (11 miles) farther south toward the cape of Capo Spartivento, Sardinia's southernmost tip. Amenities: food and drink; lifeguards; parking (fee in summer); toilets. Best for: swimming.

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.

Built up against the ancient Aurelian Walls, this famed cemetery was intended for the interment of non-Catholics who were barred from burial within the city walls. Poetic souls seek out the tomb of John Keats, who tragically died in Rome after succumbing to consumption at age 25 in 1821. The headstone is famously inscribed, "Here lies one whose name was writ in water" (the poet requested that no name or dates should appear). Nearby is the place where Shelley's heart was buried, as well as the tombs of Goethe's son, the founder of the Italian Communist Party and vehement anti-Fascist Antonio Gramsci, and America's famed beat poet Gregory Corso.

The cemetery's quiet paths are lined with fruit trees and prowled by shy cats from a nearby animal sanctuary. The tranquil spot is far from morbid and quite easy to find: simply catch the Metro B from Termini station to the Piramide stop, which is just around the corner from the entrance to the cemetery.

It's no surprise that serenity prevails on San Michele in Venice’s northern lagoon. The city's island cemetery is surrounded by ocher brick walls and laced with cypress-lined pathways amid plots filled with thousands of graves; there's also a modern extension completed by British architect David Chipperfield in 2017. Among those who have made this distinctive island their final resting place are such international arts and science luminaries as Igor Stravinsky, Sergei Diaghilev, Ezra Pound, and the Austrian mathematician Christian Doppler (of the Doppler effect). You're welcome to explore the grounds if you dress respectfully and adhere to a solemn code of conduct. Photography and picnicking are not permitted.

Sicilian carts—brightly painted and led by either a horse or donkey—were an important part of Sicilian history in the 19th and early 20th centuries (at least until the advent of the truck), and they have become a symbol of the island, often sold in miniature form as tourist souvenirs. For fascinating insight into the crafts and their role in Sicilian history, this workshop-museum, which is run by Biagio and Damiano, is a cultural highlight. They'll take you through the fascinating history of the cart, its place in Sicilian society, and the many skills involved in decorating them, including those eye-popping painted designs that advertised the wares transported and status of the driver. A visit can also be part of a 75-minute tour that takes in two other nearby sights: the Circolo di Conversazione (1850), an exclusive club with frescoed ceiling, scene of debate, intrigue, and card playing that is reserved for Ragusa's nobility to this day; plus the lavish Palazzo Arezzo di Trifiletti. Talk to Biagio about a visit to the Antico Mercato ( Via del Mercato 124–144), where botteghe (craft workshops)—including those devoted to sculpture, blacksmithing, and a puppet theater—are run by young artisans to help keep these traditions alive, often accompanied by tables of bountiful food and wine by Putia del Vino wine bar, under the market's beautifully restored arcades.

An excursion from Campitello di Fassa, about 4 km (2½ miles) west of Canazei, to the vantage point at Col Rodella has unmissable views. A cable car rises some 3,000 feet to a full-circle vista of the Heart of the Dolomites, including the Sasso Lungo and the rest of the Sella range.

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.

Pilgrims from around the world converge on the Compendio Garibaldino, a complex on the island of Caprera that contains not only the restored home of Giuseppe Garibaldi (1807–82) but also his tomb. The national hero and military leader who laid the groundwork for the unification of Italy in 1861 lived a simple life as a farmer on Caprera, the island that he eventually owned. Exhibits include a collection of weaponry, numerous items of furniture belonging to the family, Garibaldi's famous red shirt, and the poncho he wore during his South American campaigns. The grounds contain the hero's tomb alongside those of his family, all surrounded by the olive grove that he planted. There are explanatory panels in Italian and English, and visitors can also download an app providing more comprehensive information. A combined ticket takes in the Memoriale Giuseppe Garibaldi, 4 km (2½ miles) away—a multimedia museum, housed within a stern fortress dating from 1895, that chronicles the swashbuckling career of the Italian hero.

To visit the Compendio and Memoriale, take the ferry from Palau to Isola Maddalena, from where a causeway bridge crosses to Caprera. Note that visits to the Compendio Garibaldino must always be booked ahead for a specific time slot. A tour of the house and grounds should take less than an hour. Caprera island is now a nature reserve, its woods and Mediterranean scrub crisscrossed by a network of waymarked trails that offer great opportunities for scenic walks and picnics.

For a walk on the moonlike surface of Etna, visit the Silvestri craters on the southern side of the volcano, near Nicolosi. Located at an altitude of roughly 6,200 feet, these five extinct craters formed during the 1892 eruption. Just a few meters away, across from Rifugio Sapienza, you'll find the Funivia dell'Etna (€50 round-trip), a cable car that carries you 8,000 feet up to Monte Montagnola, where you can hike further with a guide or go skiing in winter. 

Routine excavation work revealed this crypt, which had been hidden for centuries under the grand pavimento (floor) of the Duomo and was opened to the public in 2003. In the late 13th century, an unknown master executed the crypt's breathtaking frescoes, which have sustained remarkably little damage and have retained their original colors. The Deposition/Lamentation proves that the Sienese school could paint emotion just as well as the Florentine school—and that it did so some 20 years before Giotto.

Also known as the faraglioni, these ancient volcanic islets are so dramatically stunning they have inspired writers throughout the centuries. Homer set Odysseus's battle with the cyclops here in the Odyssey, contending that the angered and freshly blinded cyclops Polyphemus hurled giant hunks of rock from Etna to the sea to destroy Odysseus and his ship. Sicilian writer Giovanni Verga set his most famous novel, I Malavoglia, on the island of Lachea, the largest of the isles. Today the area is a protected marine preserve. You can kayak or swim the waters or take a short boat taxi to Lachea to visit the Lachea Island Museum of Sea Studies, which highlights the flora and fauna of the area in a tiny museum perched near the top.

Only a 20-minute drive from the city along an olive-tree-lined country road, you'll find this family-owned winery. Not only does it specialize in traditional Sicilian grapes such as Grillo and Nero d'Avola, but it also experiments with Chardonnay and Cabernet Sauvignon. Local artwork lines the tasting room walls as well as the attached La Cantina Restaurant. Wine tasting is by reservation only. The restaurant is only open during the high season, but you can experience the wines and the food at a sister restaurant in Sciacca, La Stranizzein Sciacca, year-round. 

Founded and still run by the Rallo family, whose involvement in wine production dates from 1851, the Donnafugata Winery is open for tastings and tours of its cantina (wine cellar); reservations are required and can be made online or by phone. It's an interesting look at the wine-making process in Sicily, and it ends with a sampling of several whites and reds, an optional food pairing, and a chance to buy a bottle. Don't miss the delicious, full-bodied red Mille e Una Notte, and the famous Ben Ryè Passito di Pantelleria, a sweet dessert wine made from dried grapes.

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.

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.

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.

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).

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.

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.

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.

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.

 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.)