The other face of the Republic of Genoa — Cinque Terre

The other face of the Republic of Genoa — Cinque Terre

15 February 2026 | Europe, Italy, Places | 2 comments

Riomaggiore clings to the sides of a narrow valley.

The rocky strip of Ligurian coast south of Genoa had been  dotted with small fishing villages since Antiquity. Then, in the 9th century A.D., the Saracens repeatedly ravaged the area. Local people took refuge high up the hills, where they turned the steep slopes into cultivated terraces held by dry stone walls. And they established the vineyards, olive and lemon groves, and the vegetable gardens that remain to this day.

By the 11th century, with the Republic of Genoa beginning to assert its control over the Ligurian coast, the local tribes moved back down to the sea and began settling the coastal villages.

Cinque Terre

The “Five Lands,” (Cinque Terre), Monterosso al Mare, Vernazza, Corniglia, Manarola, and Riomaggiore, are a string of five historic villages clinging to a 12 kilometer ( 7.5 mile) stretch of the southern end of the rugged Ligurian shoreline.

The Aurora Tower still overlooks Monterosso al Mare.

With the Republic of Genoa consolidating its control over the coast through the 12th and 13th centuries, these small harbors became  strategic outposts that helped protect its maritime might. Residents erected watchtowers and fortifications to monitor maritime traffic, guard against pirate attacks and invasions by conflicting city-states (such as Pisa and Venice). Remnants of these fortifications can still be seen today.

Monterosso al Mare

Monterosso al Mare is the largest of the five villages.

Closest to Genoa, about 75 kilometers (47 miles) from the center of town, Monterosso al Mare is the largest and one of the most popular of the five villages. More a small town than a village, it is divided into two parts: the historic  and the contemporary, linked by a short tunnel running under the 16th century Aurora Tower.  On the eastern side, the historic old town (Borgo Antico) is a maze of narrow, winding streets (carrugi) lined with colorful houses, tiny piazzas, and traditional shops.

The nave of the church of San Giovanni Battista is a fine example of Ligurian Gothic striped marble work.

Remarkable landmarks include the 13th century church of San Giovanni Battista. With its striking facade of alternating white and green marble stripes, it is a fine example of Ligurian Gothic style. Also of note is the Capuchin Monastery, established in 1618 on the hill of San Cristoforo. This complex includes the Church of San Francesco, a relatively well preserved convent with twelve friar cells, communal rooms and cloisters. It also features several artworks by important 17th  and 18th century artists, and a superb view of the Cinque Terre coast.

A small sheltered beach and charming harbor further enhance its medieval coastal village feel. In contrast, on the western side of the tunnel, the modern Fegina district is popular for its long sandy beach, the only one of the Cinque Terre, modern hotels, the train station and other recent facilities.

Vernazza

The circular tower of Castello Doria has been standing guard over Vernazza since the 13th century,

A mere 3 kilometers (2 miles)  south of Monterosso al Mare, its colorful neighbor Vernazza, is widely considered the most picturesque of the Cinque Terre. As the only one with a natural harbor, it became very early a hub for commerce with Genoa as well as other destinations.  As a result, Vernazza became the most prosperous of the villages, wielding both economic and political powers. This past wealth is still visible in the arcades, archways and balconies along its ancient streets, and the remains of its fortifications. On a promontory rising from the shore, the circular tower of the Castello Doria, once owned by the noble Genoese Doria family, remains a major landmark.

The octogonal bell tower of Santa Margarita d’Antiochia dominates the Piazza Marconi.

Today, the focal point of the village is its main square, the lively  Piazza Marconi, with its harbor-side eateries, colorful houses and picturesque fishing boats. And, overlooking the Piazza, you can’t miss the church of Santa Margarita d’Antiochia with its 40 meters (130 feet) high octagonal bell tower, constructed in 1318 in the Ligurian Gothic style.

 

Corniglia

Corniglia sits on a ledge high above the water.

Clinging to the rock face, 3.5 kilometers (2.1 miles) south of Vernazza, Corniglia is the only village not directly in contact with the sea.  Standing on a high rocky ledge intensively cultivated with vineyards, 100 meters ( 320 ft) above the sea, this little hamlet can only be reached by a 377 step staircase from the train station, or through the network of hiking trails that connect the five villages. The reward is a unique panoramic view of the Cinque Terre.

 

Manarola

Manarola is one of the most colorful villages of Cinque Terre,

It’s a relatively easy 2 kilometer (1.2  mile) walk from Corniglia to Manarola, along a path with spectacular gardens and sea views.

Built on a promontory some 70 meters (230 feet) above sea level, it is one of the most charming of the five villages. Dominated by stacks of multicolored houses clinging to the rock face, it is all steep narrow alleys leading to the sea. The tiny harbor is filled with the traditional brightly painted fishing boats. Known for its deep waters and abundance of fish, it is a popular swimming and snorkeling spot. The seafront is the perfect place to relax at a cafe terrace, enjoy a catch-of-the-day meal, and watch the occasional daring diver jump off the cliff.

Riomaggiore

The ancient houses of Riomaggiore cling to the valley walls.

The southern-most village of the Cinque Terre, just 1.7 kilometer (1.05 mile) from Manarola, Riomaggiore is a cascade of bright houses built into the sides of the narrow valley of the Rio Maggiore, the small seasonal stream, which gave it its name.

From the main street, via Colombo, countless sets of steps lead up to back alleys lined with narrow two and three-story houses. These ancient houses feature two entrances, one at the front, the other at the back, usually higher up, to give their inhabitants an escape route into the hills in case of pirate attacks. Stroll along the main street, Via Colombo, down to the small harbor  and the pebble beach located near the boats docking point. Or climb up to the upper part of the village to the  Church of San Giovanni Battista, with its northern part leaning into the hill. Originally built in the 14th century, its façade was reconstructed in Neo-Gothic style in 1870.

Good to Know

Getting there — By train: The most reliable access to the villages from either Genoa to the north or La Spezia to the south  is by train. The Cinque Terre Express trains run approximately  every 20 minutes from mid March to first week of November, and only once or twice an hour during winter months.

From the main train station in Genoa, Genova Porta Principe, there are Intercity and regional trains almost every hour directly to Levanto, Monterosso and La Spezia. The travel time is just over an hour. If your destination is Vernazza, Corniglia, Manarola or Riomaggiore, you will need to transfer to the local Cinque Terre Express in Levanto. From there the train will stop at Monterosso, Vernazza, Corniglia, Manarola, Riomaggiore and lastly La Spezia. Be aware that there are a lot of tunnels to pass through, so the views are limited and constantly interrupted. A Cinque Terre Train Card costs around 18 Euros for a one day pass with unlimited stops.   CAUTION—Make sure to validate your ticket at the green machine located in the stairs on the way to the platform each time you board the train or face a 50 Euro fine!

By Ferry: A regular ferry service between Monterosso and La Spezia runs from April 1st  to the end of October (contingent on weather and sea conditions). Frequency varies from approximately 10 daily in summer to 5 daily in the low season.  The ferry stops at all the villages except Corniglia, since it doesn’t have access to the water. It is a great way to appreciate the unique topography of the area and get an overall view of the villages.

On foot:  The famous coastal hiking path, the Sentiero Azzurro (Blue path), connects all the villages. However, inquire before setting out as rockslides may occasionally close parts of the trail. There is a fee to use the parts of the trail that are within the National Park of the Cinque Terre.  A one-day pass is around 8 Euros. 

Note —The tradition of painting the facades of the Cinque Terre villages in bright colors began centuries ago, (as they did on the island of Burano in the Venetian Lagoon), primarily to help fishermen identify their homes from the sea. Over time, this practice evolved into a cultural tradition, with each family selecting a distinct color for their house, thus creating the vibrant, multicolored landscapes seen today. By the 1970s, as tourism increased, locals recognized the aesthetic and cultural value of these colorful facades, leading to efforts to preserve and maintain them. 

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Cinque Terre, Italy

Exploring the Illustrious Maritime History of Genoa

Exploring the Illustrious Maritime History of Genoa

26 January 2026 | Europe, Italy, Places | 0 comments

A major Mediterranean port and city-state, the powerful Republic of Genoa dominated trade routes and naval commerce throughout the Middle Ages. Its harbor fostered shipbuilding, maritime trade and exploration, connecting it to markets across Europe, North Africa, and the Near East. Today, Genoa’s economy and culture remain closely linked to its port and maritime industries. 

La Lanterna di Genova

La Lanterna di Genova. has guided ships for 900 years.

The iconic lighthouse of Genoa (La Lanterna di Genova) is a beloved landmark and the symbol of Genoa’s rich maritime history. First built in 1128 and extensively restored in 1543, after the original tower was damaged by a storm, it is one of the oldest still operational lighthouses in the world. Standing at a height of 77 meters (253 feet), it has been a guiding light for ships entering the port for the past 900 years.

 

Palazzo San Giorgio

The frescoed Renaissance facade of the Palazzo San Giorgio dominates the Old Port.

At the edge of the Old Port (Porto Antico), the Palazzo San Giorgio has been overseeing the docks since the 13th century. Its blend of Gothic and Renaissance architecture, and especially its façade adorned with vibrant frescoes, makes it a major focal point of the waterfront. And its checkered history is fascinating.

The Palazzo was commissioned in 1260 by Guglielmo Boccanegra, the then ruler of the city-state, to serve as the center of municipal authority. However, after Boccanegra’s political fall in 1262, his ambitious project floundered, and the palace was eventually repurposed as a prison. Famously, Marco Polo was held there after being captured by the Genoese during the Battle of Curzola in 1298. And this is where he dictated the tales of his travels across Asia to fellow inmate Rustichello da Pisa. These accounts, subsequently published as “The Travels of Marco Polo”, became one of the medieval world’s most influential sources on Asia.

On the upper floor, La Sala del Capitano (Captain’s Hall) remains open to visitors.

Fast forward to 1407, when the Palazzo became the headquarters of the Bank of Saint George, newly founded to manage the city’s  public debt. As one of the oldest chartered banks in Europe, it became a forerunner of modern financial institutions, managing state revenues, public works, and even governing overseas territories. The bank survived until the fall of the Republic in 1797, finally ceasing operations in 1805.

Today the palace houses the Port Authority. The interior is not fully accessible to the public, as the building serves mainly administrative functions. However, selected rooms are open for special events and guided visits, offering a look at frescoed halls and restored spaces linked to the palace’s financial and political past.

Acquario di Genova

The aquarium showcases over 12 000 marine animals in diverse ecosystems.

A few steps away on the Old Port, the Aquarium is one of Europe’s most significants, with 70 tanks housing approximately 12,000 marine animals representing over 600 species. Designed by Italian architect Renzo Piano and inaugurated in 1992, it features diverse ecosystems, including the Cetacean Pavilion with bottlenose dolphins, the Shark Bay with various shark species, and a tropical tank where manatees are the main attraction. 

The vast rooftop offers a panoramic vista of Genoa’s skyline and harbor, offering  a unique perspective of the city’s exceptional blend of history and modernity.

Galata Museo del Mare

The Nazario Sauro submarine is open to visitors.

As short ten-minute walk along the waterfront, the Galata Museum of the Sea showcases Genoa’s seafaring history. Designed by Spanish architect Guillermo Vázquez Consuegra and inaugurated in 2024, it is the largest maritime museum in the Mediterranean. Highlights include full-scale ship reconstructions, including a 17th century Genoese galley, historical maps, navigation instruments, and exhibits on migrations and transatlantic voyages. The museum also features a submarine, the Nazario Sauro, which visitors can explore to experience life underwater.

Modern Explorers

In Genoa, the Age of Discovery didn’t end in the 17th century. The 19th century also contributed several explorers of note, two of whom have left us remarkable museums.

Museo Edoardo Chiossone

The  collection features thousands pieces of Japanese art.

Edoardo Chiossone (1833-1898) was an noted engraver, painter and art collector who, in 1875, was invited to Japan to set up and manage the engraving division of the Imperial Printing Bureau. Over the next two decades, he designed Japan’s first modern banknotes, introduced advanced printing techniques and revolutionized the country’s currency system. An avid collector of Japanese art, he accumulated over 15,000 pieces during his stay. 

The collection includes unique 19th century theater masks.

Upon his death, he bequeathed his entire collection to the Ligurian Academy of Fine Arts in Genoa, to be displayed permanently to the public. Inaugurated in 1905, the Edoardo Chiossone Museum showcases his extensive collections of vintage paintings, Buddhist sculptures, weaponry and textiles. It is considered one of the most important collections of Japanese and Eastern art in Europe.

 

Museo delle Culture del Mondo

The Turkish Lounge is reconstituted with artifacts from the Ottoman Empire.

We owe this fascinating Museum of World Cultures to Enrico D’Albertis (1846–1932), a dedicated navigator, explorer, writer and ethnologist who led an extraordinary life of adventure and discovery. He undertook voyages across the Atlantic and Pacific, circumnavigating the globe three times and Africa once. In 1891, he also retraced Christopher Columbus’ 1492 voyage from southern Spain to San Salvador. Using period-appropriate navigation instruments that he had reconstructed himself, he reached the coast in just 27 days.

The Neo-Gothic Castello D’Albertis now houses the Museum of World Cultures.

Meanwhile, D’Albertis designed and built his Neo-Gothic Genoa residence, Castello D’Albertis, between 1886 and 1892. Located on the Montegalletto hill overlooking the port and city, the castle showcases his extensive collection of ethnographic and archaeological artifacts, as well as nautical memorabilia, photographs, and natural specimens gathered from his travels across five continents. Upon his death in1932, he donated his castle and collections to the city of Genoa, where they now form the core of the Museum of World Cultures.

The rooftop terrace of the Aquarium offers a panoramic view of the Genoa harbor..

Good to Know

  • Getting There — Genoa is located on the Mediterranean coast, in the northwestern part of Italy, about 200 kilometers (125 miles ) southeast of Milan, 400 kilometers (250 miles) northwest of Rome, and 150 kilometers (100 miles) east of the French border.  By Air—Genoa’s Cristoforo Colombo Airport is approximately 8 kilometers (5 miles)  west of the city center. It handles both domestic and international flights from major cities within Europe. By Train — There are frequent daily train connections between  Genoa and other major Italian cities.  By Road — The A8/A10 highway offers scenic routes along the Mediterranean coast, between the South of France and Genoa.
  • Getting around — The waterfront is accessible on foot from the Historic Center and via public transport, including the San Giorgio metro station.
  • Visiting —  Museo Edoardo Chiossone , Piazzale Giuseppe Mazzini 4, 16122 Genoa.  Is open Tuesday to Friday from 9:00 am to 6:30 pm, and Saturday and Sunday from 9:30 am to 6:30 pm. It is closed on Mondays and major holidays. Commonly referred to as Castello D’Albertis, the Museo delle Culture del Mondo , 18 Corso Dogali, 16136 Genoa  is open Tuesday to Friday from 10:00 am to 6:00 pm , and Saturday and Sunday from 10:00 am to 7:00 pm. It is closed on Monday and major holidays. 

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Italy — A walk through Genoa’s storied past…

Italy — A walk through Genoa’s storied past…

28 December 2025 | Europe, Italy, Places | 0 comments

Founded around 1000 BC by the Ligurians, Genoa was an important trading hub during the Roman empire. After the empire fell, the city was conquered by the usual cast of successive invaders (Byzantines, Lombards, Franks et al.).

Genoa remains the largest commercial port in Italy.

Fast forward to the 10th century AD, when Genoa started to develop into a maritime republic, on par with other powerful city-states like Venice and Pisa.  Over the next centuries, its deep, sheltered bay on the Ligurian Sea became a center of maritime trade and naval power. With colonies and trading posts from the Black Sea to the Atlantic, and proximity to the alpine passes that connected the Mediterranean with northern Europe, Genoa prospered as one of Europe’s leading commercial and financial hubs.

The Carrugi

The carrugi are a maze of tall, narrow buildings.

While steep coastal hills and surrounding mountains provided natural protection against invasions, this favorable topography was not deemed sufficient to ensure the safety of the city. Medieval Genoa became known for the extensive fortifications that made it a quasi-impregnable fortress. Faced with limited space within its walls to accommodate its rapid growth, the city developed vertically, into a labyrinth of narrow winding alleys known as carrugi,

The carrugi connected warehouses, workshops, and markets directly to the harbor, making them vital for commerce, while offering protection to its residents. They remain to this day a vibrant hub of local life, with traditional eateries, artisan shops, and cultural landmarks reflecting the city’s rich history and multicultural heritage.

The Palazzi di Rolli

Facade frescoes were a sign of wealth and status.

Occasionally, the carrugi widen a bit, or intersect to form a piazzetta (tiny square), and you come face-to-face with the elegantly frescoed facade of  a Renaissance or Baroque palace. Deprived by the limited space  of the possibility for expansive gardens or open squares, Genoa’s merchant aristocrats turned to elaborate exterior paintings to showcase their status.

The interiors of palazzi were extravagantly decorated.

These palaces also compensated for their discreet facades with richly decorated interiors. Many them belonged to the  Palazzi dei Rolli, a group of palaces that were part of an official registry (Rolli) of noble residences selected to host state visitors, such as princes and ambassadors, during the 16th and 17th centuries heydays of the Republic of Genoa. Today they remain a veritable “who is who” chronicle of this illustrious past, and several of them have become noted museums.

Palazzo Reale

The Gallery of Mirrors.

Now known as the Palazzo Reale (Royal Palace), this 17th century masterpiece of Baroque architecture was built by the Balbi family, and became the royal residence in Genoa of the House of Savoy in the 19th century. It is remarkable for its lavishly frescoed halls, grand staircases, and its famous Gallery of Mirrors. Today, it is now a national museum focused on historic interiors, furnishings and art collections illustrating Genoese and Savoy aristocratic life.

Palazzo Spinola

Palazzo Spinola interior.

Built in the late 16th century for the Spinola family, it is now the Palazzo Spinola National Gallery. Within its richly decorated interiors with frescoed ceilings by prominent Ligurian artists, it displays paintings, sculptures, furniture, ceramics and tapestries that reflect the life of the Genoese nobility. Highlights include works by Rubens, Van Dyck, and Antonello da Messina, along with period rooms illustrating how aristocratic families lived.

Along Via Garibaldi

Palazzo Tursi- entrance foyer ceiling fresco.

Originally called Strata Nuova (New Street), Via Garibaldi is part of the city’s 16th century’s urban expansion intended to provide a prestigious residential area for the Genoese aristocracy. The street, renamed in 1882 to honor the Italian unification hero Giuseppe Garibaldi, remains famous for its Renaissance architectural splendor.  It is a showcase of the wealth and influence of the Genoese golden age, housing museums such as Palazzo Rosso and Palazzo Bianco, as well as Palazzo Tursi, now the city’s City Hall.

Palazzo Rosso – Baroque interior.

Palazzo Rosso — Built in the 17th century for the Brignole Sale family, the Red Palace features lavish Baroque interiors and an extensive art collection, including works by Van Dyck, Veronese, Guercino, and Strozzi. Visitors can also access the rooftop terrace for panoramic views of Genoa.

 

The loggia of the Palazzo Bianco overlooks the Via Garibaldi.

Palazzo Bianco — Built between 1530 and 1540 for Luca Grimaldi, the White Palace now displays an interesting  collection of European paintings from the 12th to 17th  centuries, including works by Caravaggio, Rubens, Van Dyck and Veronese.

 

 

San Lorenzo Cathedral

The richly frescoed aspe of the San Lorenzo Cathedral.

Construction of the Cathedral of San Lorenzo began in the early 12th century, on the site of an earlier 6th century church. Its distinctive black-and-white striped marble façade and sculpted portals, prevalent in Italy at the time, reflects the transition from Romanesque to Gothic style. The interior also features Renaissance and Baroque elements from later renovations, including the dazzling Baroque main altar and the extravagant side chapels sponsored by noble families. Also of note are the stunning ceiling frescoes by great local artists, including Luca Cambiaso.

San Pietro di Bianchi Church

San Pietro in Banchi Church.

As you wander around the maze of the carrugi, you will eventually come across the church of San Pietro in Bianchi. Rising above the tiny Piazza Bianchi, bustling with all manners of neighborhood shops, this small 16th century blend of Renaissance and Baroque gem with its triple-arched portico and frescoed facade, was built above street level to accommodate the commercial activity. Walk up the flight of stairs and enjoy its stunning altarpieces, frescoes, and serene atmosphere.

 

 

 

Piazza di Ferrari

The central fountain is a focal point of the city.

Originated in the late 19th century Piazza di Ferrari is part of the city’s effort to modernize and create a central public space between the historic medieval town and the newer, modern districts. The sprawling square itself took shape in the early 20th  century, when it was gradually surrounded with elegant banks, theaters, and institutional buildings. Its iconic central fountain was installed in the 1930s to complete the urban design.

The piazza is surrounded by buildings of varied modern architectural styles.

The buildings around piazza showcase a mix of architectural styles. You’ll notice elements of Renaissance Revival, Baroque Revival, and Art Nouveau/Liberty style, reflecting the city’s transformation into a modern financial and cultural hub. Grand stone façades, ornate balconies, domes, and decorative sculptures give the square its emblematic appearance. Today, it is a popular meeting place for both locals and tourists, and the city’s hub for cultural, social, and political events.

 

Good to Know

Getting There — Genoa is located on the Mediterranean coast, in the northwestern part of Italy, about 200 kilometers (125 miles ) southeast of Milan, 400 kilometers (250 miles) northwest of Rome, and 150 kilometers (100 miles) east of the French border.  By Air—Genoa’s Cristoforo Colombo Airport is approximately 8 kilometers (5 miles)  west of the city center. It handles both domestic and international flights from major cities within Europe. By Train — There are frequent daily train connections between  Genoa and other major Italian cities.  By Road — The A8/A10 highway offers scenic routes along the Mediterranean coast, between the South of France and Genoa.

Getting Around — The best way to explore the historic center of Genoa is on foot.  The carrugi are mainly closed to vehicular traffic, and they are paved with uneven stones. Wear your most comfortable shoes.

Visiting — Palazzo Reale, 10 Via Balbi, is open Tuesday to Saturday from 9:00 am to 7:00 pm, and on the first and third Sundays of the month from 1:30  pm to 7:00 pm. Palazzo Spinola , Piazza Pellicceria,  is opened Tuesday from 1:30 pm to 7:00 pm, Wednesday to Saturday from 9:00 am to 7:00 pm, and on the first and third Sundays of the month from 1:30 pm to 7:00 pm.  Palazzo Rosso ,18  Via Garibaldi, and Palazzo Bianco , 9 Via Garibaldi, are open Tuesday to Friday from 9:00 am to 6:30 pm, and weekends from 9:30 am to 6:30 pm. The Cathedral of San Lorenzo, is open daily from 8:00 am to 12:00 pm and 3:00 pm to 7:00 pm. The Church of San Pietro in Banchi is open Monday to Friday from 9:00 am to 6:00 pm, with masses on Saturdays and Sundays at 5:30 pm. 

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Ravenna — the Capital of Early Christian Mosaics

Ravenna — the Capital of Early Christian Mosaics

19 October 2025 | Europe, Italy, Places | 5 comments

Initially settled by the Umbri people around the 5th century BC, Ravenna came under Rome’s control in the 1st century BC. The first Roman Emperor (Octavian 63 BC-14 AD) made it the Adriatic base of the imperial fleet. Then, fast-forward to 402 AD, when Emperor Honorius moved the capital of his embattled Western Roman Empire to the city.

Ancient Ravenna architecture is a unique blend of oriental and western styles.

Following the fall of the Western Empire in 476, Ravenna remained first the Ostrogothic and then the Byzantine capital in Italy. Throughout the 5th and 6th centuries it acquired a rich heritage of religious monuments, remarkable for their unique blend of oriental and western architectural style, magnificent Byzantine mosaics and Christian iconography.Today, eight of them are listed as UNESCO World Heritage Sites. 

 

 

Mausoleum of Galla Placidia

Daughter of the Roman Emperor Theodosius I, Galla Placidia (393-450 AD) was the mother, tutor, and then regent for Emperor Valentinian III until her death. A devout Christian, she sponsored the building and restoration of various churches throughout her period of influence, including her own intended burial site. 

A starry night covers the cupola of the Galla Placidia mausoleum.

Erected between 425 and 450, the Mausoleum of Galla Placidia stands as a small, unadorned cruciform brick chapel. However, upon entering the mausoleum, we are surrounded by compelling early Christian mural mosaics. Sunlight seeps through the alabaster window panes to reveal the mesmerizing starry night of the cupola, with at its center a large golden latin cross. Christian symbols make up the reminder of the design: Christ the Good Shepherd surrounded by sheep, the apostles, and doves drinking from vasques. Note — Despite its name, the mausoleum never served its intended purpose. Galla Placidia died in at Rome in 450, and was buried in there.

Neonian Baptistery 

The central medallion illustrates the rite of baptism.

Located next to the Ravenna Cathedral, the octagonal Neonian Baptistery (a.k.a. Orthodox Baptistery) is the oldest and one of the best preserved early Christian monuments in Ravenna. Converted around 400 AD from an ancient bath house, its interior is startling for its decorations, clearly of Roman-Helenist influence. The central medallion of the cupola features the rite of baptism with Jesus and John the Baptist surrounded by the twelve apostles. An outer ring frames the central medallion with a frieze of plants and flowers alternating with empty thrones that evoke the day of Universal Judgement and altars holding a Gospel.

Capital of the Ostrogothic Kingdom

Theodoric left a strong Byzantine influence on Ravenna.

Theodoric the Great (454-526)  was King of the Ostrogoths (475-526), and ruler of the independent Ostrogothic Kingdom of Italy (493-526). The son of an Ostrogothic King, his early years were spent as a hostage in Constantinople where he absorbed the sophisticated Byzantine culture. This exposure would prove pivotal in shaping the appearance of his Italian capital.

 

  Arian Baptistery

The Arian version of the Baptism of Christ.

The Arian Baptistery was built at the end of the 5th century at the peak of the Goths’ power in Italy. Inside the small, unassuming octagonal brick building, little remains from the original stuccoes that once embellished the walls, but the historic and esthetic importance of the monument comes from the superb mosaic scenes spread across the entire cupola. 

Saints Peter and Paul lead the procession of apostles.

Against a gold background, the baptism scene shows Jesus as a young man, nude and immersed to his hips in the water of the Jordan, flanked by St. John the Baptist and an old man personifying the river. Above Jesus, a dove represents the presence of the Holy Spirit. Surrounding this central scene, a double procession of the Apostles, led in separate directions by Saint Peter and Saint Paul, circle the dome. While its iconography is obviously inspired by the earlier Neonian Baptistry, it is the only entirely  preserved monument that illustrates the Arian creed of the Goths, based on the figure of Christ represented both in his holiness and humanity.

Basilica of Sant’Apollinare Nuovo

Basilica di Sant’Apollinare Nuovo.

Built in the early 6th century as the palace chapel of Theodoric the Great, the Basilica of Sant’Apollinare Nuovo is exceptional for its two long, richly decorated side walls of figurative mosaics circa 504 (under the Arian King Theodoric) and 560 (when it was converted into a Catholic Church).  

The Magi adoration of the Virgin and Child.

The mosaics left to us today line both sides of the central nave as upper and lower bands. The upper bands, depicting saints and Old Testament prophets, are original to Theodoric’s time. The lower bands contained a number of depictions that were Arian in nature. These were removed and replaced under Justinian’s rule by processions of figures against a continuous gold background. On the south side, male martyrs advance from Theodoric’s palace towards Christ enthroned; while on the north side, female martyrs set out from the port of Classe towards the Virgin and Child, who are adored by the Magi.

Mosaic image of the facade of the palace of Theodoric the Great.

The lively facial expressions of all the participants attest to the mastery of the mosaicists in cutting and setting the tesserae (i.e. tiny blocks of tile and glass used in the creation of a mosaic). All that remains of the palace itself is a sprawling mosaic depiction of its facade along  the upper part of the south wall of the nave.

 

 

Archiepiscopal Chapel

The cupola is dominated by the four evangelists .

Located on the first floor of what was then the Archbishops Palace (now the Archiepiscopal  Museum). built  at the beginning of the 5th century by Archbishop Peter II, the Archiepiscopal Chapel is the only Orthodox monument still in existence in Ravenna. It was built in Theodoric’s time as a private oratory for the Catholic bishops.

 

Iconography of the “Christus militans”, treading the forces of evil.

The cruciform chapel features a decorative scheme dedicated to the glorification of Christ from a clearly anti-Arian point of view. A young warrior Christ with a cross on his shoulder treads upon wild beasts. The images of martyrs, apostles and evangelists also appear in a dominant position in various places, to reinforce  the concept of the glorification of Jesus and the tenets of Catholic orthodoxy.

The small vestibule is decorated with marble and mosaics, and its barrel-vaulted ceiling is dotted with hundreds of birds and white lilies.

Basilica of San Vitale

San Vitale is a unique exemple of Late Antique central plan church.

The Basilica of San Vitale is a unique exemple of late Antique architecture and the most famous octagonal, central-plan church with mosaics decoration in the world. While construction was started in 525, when Ravenna was still under Ostrogothic rule, the church was finally consecrated in 548 under the Byzantine Emperor Justinian. 

 

The underside of the triumphal arch is lined with medalilions of Christ and the apostles.

The interior is richly clad in marble wall decorations and mosaics, with the most magnificent ones concentrated in the chancel. A series of medallion portraits of Christ, the apostles and saint line the underside of the triumphal arch. In the apse’s half-vault, a majestic Christ surrounded by archangels Michael and Gabriel offers the crown of glory to Saint Vitale. On either side of the apse, twin panels representing imperial processions of Emperor Justinian and his wife Theodora in full regalia and surrounded by their respective courts are especially stunning. 

Emperor Justinian and his court decorate the apse.

Around the mid-10th century, San Vitale became part of a Benedictine monastery, until it was dissolved in 1860. The Benedictines are the ones who commissioned the striking  – if rather anachronistic —marble inlay floor in the 16th century, and the Baroque frescoes on the dome (18th century).  

 

 

 

Basilica of Sant’Apollinare in Classe

The church features the standard basilica design.

A few miles from the center of Ravenna, the port of Classe was for centuries one of the major seaports of the Ancient World. The Basilica of Sant’Apollinare in Classe was commissioned around 535 AD and consecrated in  549 AD, making it a contemporary of San Vitale. It was dedicated to Saint Apollinaris, the first bishop of Ravenna and Classe (circa 2nd  century AD). Here, the church features the standard basilica design of a central nave with two side aisles. 

The upper half of the apse features a jeweled cross set among stars.

The upper half of the apse is dominated by a large  blue disc bearing a jeweled cross set among 99 stars. In the centre of the cross, a bust of Christ hovers between busts of Moses and Elijah. Below, Saint Apollinaris is depicted at the center of an idyllic wood, surrounded by sheep and birds. Trees reach to a golden sky. 

 

 

At the Basilica of Sant’Apollinare Nuovo, mosaic scenes stretch across the entire length of the nave.

Good to Know

Getting There—Ravenna is located a few miles inland from the Adriatic coast, some 100 miles south of Venice, and 50 miles east of Bologna. It is easily accessible by train from both cities. The nearest international airport is Bologna, with flights from most European countries.

Getting Around—Just walk! The historic city center is mainly pedestrianized, and most of the main sites are located within an easy 15 minutes from each other.

Visiting—The diocese of Ravenna owns five of the eight UNESCO World Heritage monuments in the city: the Mausoleum of Galla Placidia, the Neonian Baptistery, the Basilicas of Sant’Apollinare Nuovo and San Vitale, and the Archiepiscopal Chapel. They can be visited with a cumulative designated day/time  entrance ticket. Although it is possible to purchase these at one of the ticket offices around the city, I strongly recommend the advance  online purchase option.

A Few Souvenirs

Location, location, location!

Ravenna, Italy

Experiencing Italy — A First-Timer’s Itinerary — Siena

Experiencing Italy — A First-Timer’s Itinerary — Siena

15 November 2024 | Europe, Italy, Journeys, Places | 2 comments

Days Nine to Eleven of your Italian Adventure — Leave Florence in the morning for a 75 to 90-minute journey south to another Renaissance gem: Siena.

The Republic of Siena Legacy

Renaissance Siena skyline.

Like most other Tuscan hill towns, Siena, was first settled in the time of the Etruscans (circa  900–400 B..C). It grew into an important city in medieval Europe, until feudal power waned by the end of the first millennium A.D. By the 12th  century it had evolved into the Republic of Siena, a thriving city-state based on principles of commerce and governance. It would remain influential as a financial and cultural center throughout the Renaissance, leaving us a rich artistic heritage beautifully preserved to this day,

Where to Stay

Santa Maria in Provenzano view from the Palasseto Rosso

The historic heart of Siena, the Piazza del Campo, is regarded as one of Europe’s greatest medieval squares for its beauty and architectural integrity. Any hotel that attracts you in its vicinity will work for your three nights here. A notable favorite is the  Palazzetto Rosso, an artfully renovated 13th century building on Villa de Rossi, a few steps away from the Campo. This friendly boutique hotel features contemporary design furnishings remarkably well integrated within the ancient structure, and spectacular views of the 17th century Baroque dome of the Santa Maria in Provenzano Church.

Days One and Two

The Piazza del Campo is the historic heart of the city.

Siena is a compact, easy to visit small town where the major sites are all within an easy walk from each other. With half a day on the day of your arrival plus one full day you can explore the best of Siena, enjoy leisurely cafe-terrace breaks and wander the city at sunset when the buildings take on a golden glow; then have time enough for a day-trip to the peerless countryside of the Val d’Orcia.

Palazzo Pubblico

Detail of the Allergory of Good Government fresco – Ambrogio Lorenzetti (1338-1339).

Dominating the Piazza del Campo, the early Gothic-style Palazzo Pubblico (town hall) was built in the late 13th century as the seat of the Republic of Siena’s government. Every major room in the palace features remarkable frescoes, unusual for their time in that they were commissioned by the secular governing body of the city. Hence, they mainly depict secular subjects instead of the religious themes that were the norm in Italian art of the era. The most remarkable are three panels of the series on government in the Sala della Pace (a.k.a Hall of the Nine), collectively known as The Allegory of Good and Bad Government.

Torre del Mangia

The Torre del Mangia dominates the Palazzo Pubblico.

Soaring from a corner of the Palazzo Pubblico, its elegant bell tower,  the 87-meter high (285 feet) Torre del Mangia is one of the tallest secular medieval towers remaining in Italy. Built between 1338 and 1348, of bricks topped with a stone cornice and belfry, it takes its name from its first bell-ringer, a spendthrift known by the nickname Mangiaguadagni (earning eater) abbreviated to Mangia. It is over 300 steps to the top but the reward is well worth the effort, not only for the unique bird’s eye view of the Campo below but also to behold the legendary hills of Tuscany to the horizon. 

Fonte Gaia

The Fonte de Gaia was designed by Jacopo della Quercia (marble, circa 1419).

Back at Campo level, feast your eyes on the Fonte Gaia, (Fountain of the Bride), the monumental early 14th century fountain decorated with marble panels sculptures by Jacopo della Quercia. The first  fountain to bring water to the square (by underground pipes from 25 kilometers or 15 miles away), it was was dedicated to the “Bride of God” and patron of Siena, the Virgin Mary. However, the subjects on its planels and statues combine Roman matrons’ cardinal virtues with a central relief of the Madonna and Child, curiously framed by stories of Genesis. 

Santa Maria Assunta

The Siena Cathedral’s exterior is clad in white Prato marble.

It’s a mere five-minute walk from the Palazzo Pubblico to the Cathedral of Santa Maria Assunta, one of Italy’s most famous Romanesque and Gothic cathedrals for its  facade of white marble with the red and green veins, and its unique interior of black and white marble inlays and graffito floors that merely servie as a backdrop for its superb stain glass windows and its abundance of other remarkable artworks.

Piccolomini Library

The liibrary is a treasure trove of ancient manuscripts.

Within the Duomo complex, the Piccolomini Library is a not-to-be-missed masterpiece, not only for its brilliantly frescoed walls but for its exceptional collection of 15th and 16th century illuminated manuscripts, considered one of  the richest in Europe.

 

 

The Baptistery

The baptisery features an elaboratel vaulted ceiling.

Contrary to other Italian cathedrals of the era, which required that the baptistery be located outside the church, at Santa Maria Assunta it is located at the rear of cathedral. It is noted  for its superb frescoes by renowned artists and its lovely baptismal font. Well worth a walk through before exiting the church.

 

The Cathedral Museum

Detail of the rose window of the cathedral.

The museum is a repository for some of the most precious original works of art that were created for the Siena Cathedral, among them the eye-popping the stained-glass Rose Window by Duccio di Buoninsegna and the Treasury. The visit offers a unique opportunity to get close to the original stain glass windows and other original works, while their exact replicas  can only be seen from afar in situ inside the cathedral.

 

 

Santa Maria della Scala

Santa Maria della Scala features several frescoed chapels.

Located across the street from the cathedral, Santa Maria della Scala was one of Europe’s first hospitals (founded in 898 AD). It was enlarged over the centuries into an enormous complex, most of which is now a museum featuring  numerous chapels, a series of 14th century frescoes depicting the Life of the Virgin, famous altarpieces, and more. It also holds  the original marble sculptures and panels from the Fonte Gaia.

 

Day Three — Val d’Orcia

Val d’Orcia vista.

Just south of Siena, the picture-perfect Val d’Orcia is a unique example of how the natural environment was manipulated and redesigned by man to express the Renaissance ideals of good governance and utopian landscaping. Here vineyards and olive groves climb up sun-baked hills toward ancient fortified villages, and country lanes lined with arrow-straight black cypresses meander across rolling meadows toward apricot-colored farmsteads.  

Montalcino

Brunello vineyards reach surround Montalcino.

A delightful hilltop village that traces its winemaking tradition to the 14th century, Montalcino is considered by oenophiles as Tuscany’s ultimate destination. It offers a commanding view of rolling hills streaked to the horizon with the vineyards that produce some of Italy’s most prestigious reds, the Brunello di Montalcino and Rosso di Montalcino.

San’ Antimo

The remote San’Antimo church is surrounded by ancient cypress and olive trees

Another Val d’Orcia gem, San’ Antimo was built in the early 12th century in a remote pastoral setting of ancient cypress and olive trees. It is reputed to be one of the most beautiful Romanesque churches in Italy.

To make the most of your Val d’Orcia experience, consider booking a day-long private tour with a driver-guide. Out of Siena, there are literally dozens such offerings for you to choose from. On their recent visit, my friends used Montalcino Wine Tours and declared themselves delighted with the experience, which included two private winery visits and wine tastings, a sumptuous lunch at a local farm  and several “photo stops” at sites of interest.

 

Good to Know

  • Getting There — There is equally convenient  bus and train service linking the center of Florence to Siena, leaving approximately every hour throughout the day and taking about the same time (75 to 90 minutes). However, if you are open to a new experience. take Bus #131R, the express/non stop bus linking the two cities . Why? In Siena the train station is located a mile and half uphill walk from historic center, whereas the bus arrives at Piazza Gramsci/Viale Tozzi, on top of the hill and a very short walk from it.
  • Returning to Rome — There are no direct trains from Siena to Rome – all will require a connection, most often through Florence. However there are direct express busses (Flexbus) throughout the day that will get you from Siena to the Rome in under three hours.

A Few Souvenirs

Location, location, location!

Siena - Piazza del Campo

Siena Duomo