ITINERARY :

• STOP 1

  Palace of Biscari: 

  Your itinerary begins at one of the city's most significant noble buildings, Palazzo Biscari. This historic residence of the Paternò Castello family is a perfect example of Sicilian Baroque architecture. Constructed between the late 17th century and the mid-18th century upon the ancient 16th-century walls of Charles V, the palace of the Princes of Biscari boasts various ornamental elements on its facade symbolizing Abundance, Prosperity, Fertility, and Wisdom. Inside, the Green Room and Red Room are adorned with frescoes, mirrors, and family portraits. The Orchestra Hall, in full Rococo style with Neapolitan influences, features a magnificent decorated ceiling rich in stucco work, much like the lavish internal staircase.

• STOP 2

  Church of San Placido: 

  Next, head to the Church of San Placido to admire its facade of white Taormina stone and tall pilasters with Corinthian capitals. In 1409, the Platamone family donated the area to the Benedictine order, who then built a monastery and the adjacent church here. The original building, erected on an ancient pagan temple dedicated to Bacchus, was later rebuilt after the devastating earthquake of 1693 based on a design by architect Stefano Ittar. Through the main door, flanked by statues of Saint Placid and Saint Benedict, and surmounted by niches containing statues of Saint Scholastica and Saint Gertrude, you'll enter the church. Locals affectionately call it "a chiesa do cappeddu" (the church of the hat) due to the ornamentation on its outer gate. Inside, a single nave is dominated by the white of the stucco work and the generous gold leaf that covers frames, mouldings, and Baroque decorations. Behind the church, you'll find the annexed monastery with its large classical courtyard. This property was acquired by the Municipality in 1909 and now serves as the Palazzo della Cultura, a venue for presentations and events.

• STOP 3

  Abbey of Sant'Agata:

  Your next stop is the Abbey of Sant'Agata, a true late Baroque jewel. First built in 1620, the convent was reconstructed between 1735 and 1767 after the earthquake, with architect Giovanni Battista Vaccarini overseeing the rebuilding. The central-plan structure is reminiscent of the architectural solutions pioneered by Borromini in Rome. For the facade, the 17th-century portal by Giovanni Maria Amato was reused, while for the interior finishes, Nicolò Daniele used bardiglio marble on Carrara white marble for the floor and Castronovo yellow marble for the altars. The marmorized stucco statues are the work of Giovan Battista Marino, Mario Biundo, and Giovan Battista Amato. The main altar features Saint Agatha with two putti, while the other four altars depict Saint Euplius, Saint Joseph, the Immaculate Conception, and Saint Benedict.

• STOP 4

  Catania Cathedral: 

  Continuing along Via Vittorio Emanuele II, you'll reach the city's main square, which hosts three of the most significant monuments on our itinerary: the Fontana dell'Elefante (Elephant Fountain), the Palazzo dei Chierici (Clerics' Palace), and the Cattedrale di Sant'Agata (Catania Cathedral). Repeatedly destroyed and rebuilt over the centuries, the cathedral, along with its bell tower, stands on the site of the Roman-era Achillean Baths. The facade, designed by Giovanni Battista Vaccarini after the devastating earthquake of 1693, is entirely crafted from white Carrara marble. The interior, with its Latin cross plan, is divided into three naves. The apse, with its Norman imprint, is surrounded by a semicircular wall featuring frescoes by Giovanni Battista Corradini and a late 16th-century wooden choir. The left nave houses several chapels with significant artworks and elaborate decorations. In the right nave, you'll find the imposing funerary monument to composer Vincenzo Bellini, whose body was transferred here in 1896 from the Père-Lachaise cemetery in Paris, and the lavish Chapel of Saint Agatha. Protected by a wrought-iron gate, a 1926 work by Salvatore Sciuto Patti, the chapel safeguards the reliquary, the altarpiece, and 'a Cammaredda, where the precious relics are kept: the silver bust and casket.

• STOP 5

  Elephant Fountain: 

  In the heart of Piazza Duomo, you'll find the Elephant Fountain, the undisputed symbol of Catania. Architect Vaccarini created it in 1735, though the history of "u Liotru," as locals call the stone elephant, has much deeper roots. Legend has it that in the 8th century AD, a sorcerer named Eliodoro carved the elephant from lava and used it to enact his revenge. Eliodoro, a nobleman, had been thwarted in his ecclesiastical career and thus turned to the dark practices of necromancy. Bishop Leo II the Thaumaturge of Catania eventually quelled his fury by having him burned alive in the forum Achelles, the very spot where the Cathedral stands today. Take a moment to observe how vibrant jets of water spout from the white marble base in the center of the basin, and note the sculptures of the Simeto and Amenano rivers among the decorations. The striking contrast between the dark basalt of the elephant and the white granite of the Egyptian obelisk creates a beautiful visual harmony. Furthermore, the direction of the elephant's trunk, facing towards the Church, symbolizes the profound connection between spirituality and history.

• STOP 6

  Clerics' Seminary Palace: 

  To the left of the Duomo, the majestic Clerics' Seminary Palace stands tall, elevated to the role of an ecclesiastical institute even under Spanish rule. Its history, like that of many other city buildings, is marked by alternating fortunes. Razed to the ground by the 1693 earthquake, it was rebuilt by architect Alonzo Di Benedetto and enlarged in 1757 by Francesco Battaglia. The palace continued to serve its original function for several centuries until it was acquired by the Municipality after World War II, which housed some of its offices there before it became the seat of the Diocesan Museum. Connected to the Cathedral by a skywalk over Porta Uzeda, its external facade features a beautiful prospectus created with ashlar inserts of white Ispica stone on a dark volcanic plaster, while the central portal is richly adorned with leaves and flowers sculpted in sandstone.

• STOP 7

  Palazzo degli Elefanti: 

  Right in front of you now is the Palazzo degli Elefanti, which serves as Catania's City Hall. It gets its name from the elephant, the symbol of this Etnean city, featured in the bas-reliefs on the second floor and at the center of the city's coat of arms. During the Aragonese era, the building functioned as an archive, but it changed purpose after its post-earthquake reconstruction. The Baroque-style facade showcases pilasters enriched at their base with rusticated blocks that continue flat up to the architrave of the entablature. The main portal is framed by twin granite columns supporting the large central balcony. Above the significant architrave, you'll see statues representing Justice and Faith, along with two commemorative plaques dedicated to the Unknown Soldier. In the inner courtyard, you'll find two 18th-century carriages, still used in the procession honoring Saint Agatha on February 3rd. There's also the sumptuous 19th-century monumental staircase by Stefano Ittar, marked by four bronze candelabras, and a large painting by Giuseppe Sciuti. Sciuti's works, along with those by Emilio Greco and frescoes by Francesco Contrafatto, grace the remaining areas of the palace.

• STOP 8

  Arch of San Benedetto: 

  Now, head down Via Vittorio Emanuele II and you'll quickly reach Via dei Crociferi, a street whose magnificent churches represent the highest expression of Etnean Baroque. Framing this street, you'll find an arch that connects the new and old parts of the Benedictine enclosed female monastery. Despite military challenges, this connection was strongly desired by Abbess Maristella Motta, who was determined to achieve it. Legend has it that the arch, designed by Alonzo Di Benedetto, was built in a single night in 1704. However, that's not the only story tied to this corner of the city. It's said that back then, at midnight, the ghost of a headless horse could be seen along the street. A young man, wanting to prove the story false, decided to go there one night to hammer a nail into the ground. Suddenly, he felt his cloak being pulled. He turned around, saw no one, and, terrified, collapsed and died. The next morning, at dawn, his body was found with his cloak caught under the very nail he had hammered. In reality, the young man was right; the ghostly tale was a rumor spread by 18th-century nobility to enjoy their clandestine meetings undisturbed. On its south side, the arch is adorned with two episcopal coats of arms and a bas-relief of Saint Benedict, while on the north side, you can observe the Latin inscription celebrating its construction.

• STOP 9

  Monastery of San Benedetto: 

  Before crossing the arch, turn right onto Via Teatro Greco. At number 2, you'll find the entrance to the Monastery of San Benedetto, which still houses the order of Benedictine nuns consecrated to perpetual adoration. First, you'll visit the remains of a Roman domus, admiring the historical and cultural layering the city has undergone over centuries. Afterward, you'll see the 18th-century Parlor, where nuns once conversed with their families. This room became famous after Franco Zeffirelli's film, "Sparrow" (Storia di una capinera), was filmed there. The 14th-century floor, with its geometric designs in terracotta and limestone, predates the building itself, likely an effort to reduce economic strain during post-earthquake reconstruction. The Staircase of Angels, adorned with cherub statues, opens onto the enchanting single nave. Its vaulted ceiling, frescoed by Giovanni Tuccari, is a riot of colors and perspective tricks depicting moments from the life of the Saint. Equally majestic is the two-tiered gilded wooden choir loft. All these elements have contributed to the church being recognized as a UNESCO World Heritage site since 2002. One of the most evocative moments of the Feast of Saint Agatha is the chant sung by the Poor Clares to honor the patron saint on the morning of February 6th, before the fercolo (the saint's reliquary carriage) returns to the Cathedral.

• STOP 10

  Church of San Francesco Borgia: 

  Continuing a few steps further along the left side of Via Crociferi, you will find the Church of San Francesco Borgia. Construction began in 1713 under the direction of architect Stefano Masuccio, and it stands as an expression of the significant influence the Jesuit Order held in Sicily between the 16th and 17th centuries. The external facade features a wide staircase with a double side ramp and a white stone prospectus, a work by architect Angelo Italia, with two orders of twin marble columns. Upon entering, you'll observe the three internal naves, from which you can see numerous painted altarpieces and canvases by Sicilian artists of that period, a wooden draped pulpit, the Chapel of San Francesco Saverio clad in marble, and a dome frescoed with themes related to the order by the painter Olivio Sozzi. The main altar is crafted from precious stones and Sicilian agates, with columns of green agate. In the center, you can admire a painting of the Madonna of Santa Maria Maggiore, a copy of a work housed in the Basilica in Rome. This church is another essential piece to add to your itinerary.

• STOP 11

  Jesuit College: 

  Next to the Church of San Francesco Borgia, you'll find the Jesuit College, another magnificent example of Etnean Baroque. This 18th-century palace of the Society of Jesus, recognized as a UNESCO World Heritage site in 2002, was built over approximately forty years after the 1693 earthquake. Its construction involved highly prominent master builders and architects in Catania at the time, such as Angelo Italia, Alonzo di Benedetto, and Francesco Battaglia. A central staircase will lead you inside the building, where you can admire the courtyard's pavement of black and white pebbles arranged in stripes, echoing the style of Francesco Borromini. You'll also see the three courts in linear succession and the cloister with a loggia, a rare feature in Jesuit colleges but attributable in this case to the possibility of utilizing the site of the Church of the Santissima Ascensione and the original college, which had been spared by the earthquake. Over the centuries, the building has housed a university, a college of Arts, a Royal Charity Hospice, and a state art institute. After recent restoration work, it is destined to become the seat of a Regional University Library.

• STOP 12

  Church of San Giuliano: 

  In the final stretch of Via dei Crociferi, you'll be able to admire the Church of San Giuliano, built on the ruins of an ancient pagan temple. Construction began in 1741 under the direction of architect Giuseppe Palazzotto and concluded thirteen years later. Following the suppression of religious corporations, the female monastic complex, which belonged to the Order of Saint Benedict, came under the management of the Ministry of Interior's Religious Buildings Fund. In the 1920s, part of the structure was granted to the urban police, and in 1928, the Church became the property of the Diocese. Enclosed by a wrought-iron gate, the building features a linear facade and a Greek cross plan with an elongated octagonal shape and apsidal arms. The polychrome marble floor and the main altar, surmounted by a 14th-century wooden crucifix and four white marble statues, are the work of Giovan Battista Marino. The four side altars bear the signature of architect Antonino Battaglia, while the two frescoes present, one on the altar and the other on the vault, were created by Giuseppe Rapisarda in 1842. Olivio Sozzi, on the other hand, is credited with the canvas of Saint Benedict, the Madonna delle Grazie, and Saint Joseph. The grates of the choir loft, where the famous scene from Zeffirelli's "Sparrow" (Storia di una capinera) was filmed, are made of wood, while the original organ disappeared after the law suppressing ecclesiastical orders was enacted.

• STOP 13

  Church of San Camillo de Lellis: 

  After crossing Via Antonino di Sangiuliano, continue along Via Crociferi until you find the Church of San Camillo de Lellis on your left. This church was built after the earthquake in an area that previously housed the small church of Santa Maria della Dagala. Construction began in 1723 by Domenico Barbera and Vincenzo Caffarelli, and later continued by Francesco Battaglia. For its concave facade, white Syracuse stone was used, also employed in the creation of the statue of Saint Camillus that surmounts it. The main door, displaying the coat of arms of the Camillian order, leads into the oval nave, whose walls are decorated with gilded stuccoes. Inside, you can also admire the beautiful silver bust of the Saint and an altarpiece depicting his ecstasy, both works by Antonino Pennisi.

• STOP 14

  Villa Cerami: 

  As you approach the majestic portico of Villa Cerami, a work by Vaccarini, you'll be greeted by a shell-shaped fountain bearing the Latin inscription: "Pubblico, non a publico, hic publicus" (Public, not for the public, here public), emphasizing that the work was created for the use of citizens without public funds. This is just a taste of the magnificent palace you're about to visit. Its monumental core was built in 1720 after Domenico Rosso, the 3rd Prince of Cerami, purchased it from the heirs of San Donato. Over time, the Villa underwent substantial modifications, with many of the restoration works carried out by Stefano Bottari extending into the mid-20th century. The palace features a monumental staircase designed by Vaccarini, exquisite marble cladding on the ground floor, and a grand doorway that supports the central part of the elegant first-floor balcony, crafted starting in 1875 by architect Sada. Since 1957, the Villa has been home to the Faculty of Law, which it still houses today, with five floors of libraries and a majestic Aula Magna (Grand Hall) – formerly a chapel and ballroom – clad in brocade.

• STOP 15

  Church of San Nicolò l'Arena : 

  It will only take you a few minutes to reach Piazza Dante, where you can explore the beauty of the Church of San Nicolò l'Arena. Envisioned as a small Sicilian St. Peter's, its facade, blending Baroque and Neoclassical styles, remains unfinished due to confiscation by the unified Italian government. At 105 meters long, 48 meters wide, and 66 meters high up to Ittar's dome, the building is one of the largest places of worship in Sicily. Its construction postdates the 1669 eruption, replacing an older Renaissance temple. With a Latin cross plan, the church is divided into three naves and enriched with precious materials like alabaster and marble, along with canvases by celebrated Roman Baroque artists. Besides a large sundial traced by astronomers Wolfgang Sartorius von Waltershausen and Christian Peters, it also houses a sanctuary where the remains of soldiers who fell during World War I rest. The precious altar, the choir loft, the baldachin, and the wooden choir frame the magnificent organ by Donato Del Piano, featuring 2,378 pipes, six bellows, and five keyboards.

• STOP 16

  Benedictine Monastery: 

  The Benedictine Monastery, the second largest religious complex in Europe, is a true gem of late Sicilian Baroque. Founded in 1558 by the Cassinese monks, then destroyed and rebuilt, this work—which concludes our itinerary—carries the weight of different eras, bearing the marks of both the 1669 lava flow and the devastating 1693 earthquake, one of the most destructive in Eastern Sicily, which severely damaged its structure. From 1702 onwards, with the involvement of many Sicilian architects including Vaccarini, who was entrusted with the construction of the Kitchens and Refectory, as well as the Library, its reconstruction began. The Eastern Cloister with its garden and the Caffeaos were added to the Western Cloister, along with the northern area, the library, the kitchens, the novitiate wing, the refectories, the night choir, the hanging gardens, the Botanical Garden, the Villa delle Meraviglie, and the Novices' Garden. After restoration and conservation interventions on the stables for the creation of classrooms and the design of the Auditorium, carried out in the 1980s by architect Giancarlo De Carlo, the building now houses the Department of Humanities of the University of Catania.