Self-guided Walking Tour of Lucerne (With Maps!)

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Famed for its meticulously preserved medieval architecture overshadowed by the grandeur of snow-capped Alps, Lucerne stands out as one of Switzerland’s most charming cities. Nestled snugly on the banks of its namesake lake, its vibrant Altstadt (Old Town) is flanked to the north by a 14th-century defensive wall known as Museggmauer (Musegg Wall).

The town’s origins trace back to St. Leodegar Abbey, founded in the year 840 AD, in the region then referred to as Luciaria. The source of this name remains uncertain, potentially linked to the Latin term for pike fish, “lucius,” suggesting a pike fishing location along the Reuss River. However, a more popular explanation associates it with the Latin word “lucerna,” meaning “lantern.”

In 1178, the town gained independence and emerged as a significant hub for trade. It joined the ranks of growing Swiss confederacy towns, attracting newcomers with its allure. In 1798, nine years following the commencement of the French Revolution, the French military entered Switzerland, leading to the downfall of the old confederacy and the establishment of a democratic government.

During the latter half of the 19th century, Lucerne transformed into a sought-after haven for artists, nobility, and prominent figures. In 1866, German composer Richard Wagner settled here, while British Queen Victoria elevated the city’s prominence with her 1868 visit. Renowned American writer Mark Twain further popularized Lucerne through his travel accounts after two visits, in 1878 and 1897.

Lucerne’s reputation as a stylish getaway contributed to its role as one of the pioneering epicenters of modern-style tourism. Several of the city’s most iconic structures originate from this era, including the 1896-built Lucerne Railway Station.

Positioned where the Reuss River exits the lake, Lucerne boasts numerous bridges. The most famous among them is the Chapel Bridge (Kapellbrücke), Europe’s oldest covered bridge, constructed in 1333. Downriver, another notable bridge stands—the Spreuer Bridge (Spreuerbrücke), completed in 1408.

The dual spire towers of the Church of St. Leodegar, named after the city’s patron saint, perch atop a small hill just above the lakefront. Initially constructed in 735, the current Renaissance-style edifice was raised in 1639.

Another unmissable local gem is the sculpture of a dying lion (the Lion Monument, or Löwendenkmal), situated within a small park adjacent to Löwenplatz.

How to get to Lucerne

By Train: This is the far easiest way to travel through Switzerland. The Luzern (Lucerne) Railway Station is strategically situated in the heart of the city, gracing the shores of the picturesque Lake Lucerne. Train tickets for high-speed and local trains can be purchased from the blue, grey and red ticket machines which are throughout the station.

By Car: Navigating the centre of Lucerne by car can be quite challenging due to its narrow streets, many of which are one-way, pedestrian zones, and the limited availability of parking spaces, which are often expensive and difficult to find. Daytime Camper Parking is reasonably priced and not too far from the city centre.

Blue zone parking: This is limited during the day to one hour and you must use a blue time disc, set to the nearest forthcoming half hour mark. At night it is unlimited till the morning.

White zone Parking: Unless stated otherwise, white zone is paid parking where parking sign states maximum parking time (usually 90 min).

Yellow Zones Parking: These are private or reserved for companies and may only be used by them or their clients and guests.

Guided or Self Guided Tour of Lucerne

While the guide below is all you need for an in-depth exploration of Lucerne, if you want to have a local guide take you I recommend the Private Walking Tour with a Local Guide.

Bahnhofplatz

Bahnhofplatz is located just outside the train station.

Bahnhofplatz serves as the central transportation hub in Luzern and the entire Central Switzerland region. Positioned in front of the station, this area acts as a launch point for buses connecting various parts of the town. Along the lakeside, an opportunity to embark on a leisurely cruise around Lake Luzern presents itself through boat services. Beneath the square lies the expansive RailCity shopping mall, interconnected with pedestrian walkways that lead to different sections of the town.

The grand stone arch marks the entrance to the historic former train station, originally constructed in the late 19th century, a time when Switzerland and Luzern attracted considerable tourism due to their steam-powered train networks. Tragically, a fire razed the station in 1971, and it was subsequently replaced with a contemporary facility. Presently, the arch discreetly conceals ventilation openings for the sizable underground parking facility underneath. This location has become a popular gathering point for local adolescents and individuals experiencing homelessness during evenings. A visit to the complimentary public restrooms here serves as a stark reminder that while free access to toilets is a blessing for some, it remains a privilege for others.

Location: Luzern, Zentralstrasse 1, 6003 Luzern, Switzerland

Kapellbrücke (Chapel Bridge)

Chapel Bridge Lucerne Switzerland — CC BY-SA 3.0 / Tony Badwy

Head through the arch of ‘Torbogen Luzern’ away from the train station. Turn left before you get wet in the lake and cross over the Seebrücke (See bridge as See is the German word for lake). You can see the Kapellbrücke (Chapel Bridge) in front of you.

To your left on the corner is a post office Crafted by Gustav Gull, a renowned Swiss architect of the late 1800s and early 1900s, this structure was conceived under his guidance. Gustav Gull’s architectural prowess also extended to the Swiss National Museum, positioned just across from Zurich Main Train Station. Constructed in the Neo-Renaissance style, this edifice was conceived during the late 1800s, shortly after the establishment of Switzerland as a contemporary nation. Adorning the upper reaches of the building, you’ll find four allegorical statues that symbolize Post, Telegraph, Shipping, and Railways – representing the duties of the fledgling Confederation.

The Chapel Bridge, an enclosed wooden pedestrian bridge, stretches diagonally across the Reuss River within the confines of Lucerne. Named in honour of the nearby St. Peter’s Chapel, this bridge holds a distinctive attribute: it houses an array of interior paintings that trace back to the 17th century. Although many of these artworks were lost in a fire that consumed much of the centuries-old structure in 1993, extensive restoration efforts ensued. As a result, the Chapel Bridge stands as Europe’s oldest wooden covered bridge and the world’s oldest enduring truss bridge. It bears the dual roles of Lucerne’s emblem and Switzerland’s most renowned tourist draw.

In its inception during 1333, the bridge was a component of Lucerne’s defensive system. It connected the older town on the right bank of the Reuss River to the newer town on the left, providing a shield against potential threats from the south of Lake Lucerne. Originally exceeding 200 meters (660 ft) in length, the bridge has undergone shortening over the years due to various alterations and riverbank adjustments, now measuring 170 meters (560 ft) in length.

Lucerne boasts a peculiarity in that all three of its wooden pedestrian bridges—the 14th-century Hof Bridge (now extinct), the Chapel Bridge, and the 16th-century Spreuer Bridge—incorporated painted interior triangular frames. This artistic element is not present in any other wooden footbridges across Europe. Crafted by the local Catholic painter Hans Heinrich Wagmann during the 17th century, the Chapel Bridge’s paintings depict significant events from Lucerne’s history. Out of the original 147 paintings that adorned the bridge before the 1993 fire, 30 have been meticulously restored.

Tip: Savour its enchanting allure during the nighttime hours, when the city illuminates, swans glide through the waters, flowers add to the ambiance, and a romantic aura pervades. Both riverbanks offer splendid shopping opportunities and an array of exceptional restaurant

Location: Chapel Bridge, Kapellbrücke, Lucerne, Switzerland

Kapellplatz

Fritschibrunnen Fern — CC BY-SA 4.0 / Caahlo

At the end of the church, we are heading the a square behind the church. Either walk up the stairs to the back of the church or turn to your right to have a look at the tower, then follow around the building around.

This great square is called Kappellplatz or Chapel Square. Its name comes from St. Peter’s chapel, the oldest church in Lucerne. The building date is uncertain, but we do know that eight centuries ago when the town was organizing the priest of St. Peter’s was appointed as the caretaker of the people. He was Lucerne’s first mayor. Today the chapel offers masses in several languages. The Chapel also gave its name to Kapellbrücke (Chapel Bridge) you just came across.

hapel Square, the inaugural site for Lucerne’s Carnival festivities. While you might have heard of Switzerland’s Carnival reputation being dominated by Basel, I don’t intend to dispute that. My assertion is that Lucerne’s Carnival is a spectacle worth witnessing, and the Luzerners take justifiable pride in it.

Nestled at the heart of the square is the Carnival Fountain, a relatively recent addition from the early 20th century. However, the origins of the carnival legend trace back much further, dating to the 15th century. Can you spot the gentleman sporting a crimson hat on the fountain? His name is Brother Fritschi, and it is said that his final resting place is beneath this very fountain. While a medieval graveyard exists nearby, the certainty of Brother Fritschi’s grave remains elusive. Yet, historical records confirm that this burial ground was designated for unmarried women, laborers tending to farms, orphaned children, and strangers. It’s possible that it encompasses a farmer from the mid-1400s. Legend recounts that whenever this farmer visited the town, he brought mirth and libations. Upon his passing, he left funds to one of the guilds, with the stipulation that wine be served to the less fortunate during the Carnival. To this day, the guilds continue to honour his wish.

The Fritschi parade, tracing its origins to the 15th century, marks the commencement of the Carnival Season. The procession features a life-sized straw effigy of Fritschi, escorted by various guilds and clubs, with drummers and pipers leading the way and soldiers with substantial beards and armour following suit. This parade not only heralds the onset of the Lenten Season but also commemorates a historical military triumph.

Location: Fritschibrunnen, Kapellplatz, Lucerne, Switzerland

Kornmarkt

We will head north up Hans-Holbein-Gasse to Sternenplatz or Star Square. this picturesque square with amazingly beautiful murals on the buildings around. The square’s star-like shape, first described in the 17th Century, is thought to have given the Sternplatz its name. Follow the road around to the left and walk down Schlossergasse. At the small square with the well turn left, then first right into Kapellgasse. You soon come to Kornmarkt.

The origins of the Kornmarkt trace back to 1356, and true to its name, it functioned as the central grain market of the city until the 19th century. Notably, the ground floor of the Town Hall began serving as a storage space for grain starting from 1438, while the upper sections of the building transitioned into a functioning Town Hall in 1447.

In all of Lucern’s Old Town squares – Kornmarkt, Hirschenplatz, and Weinmarkt – you will find intricate painted facades vividly portray a range of themes, spanning from the art of beer-brewing to the realm of medicine.

Location: Kornmarkt, Lucerne, Switzerland

Hirschenplatz

Leave diagonally opposite the Town Hall clock tower, turn first right to reach Hirschenplatz.

Search for the edifice distinguished by the sign of the stag. This plaza derives its name from the former Hirschen Hotel, the term “Hirschen” translating to “stag.” Interestingly, despite this name association, historical records reveal that the square originally served as a marketplace for pigs. Furthermore, the section in the southwestern corner earned the moniker “sweet corner.”

The Little Goose-Man Fountain, also known as Gänsemännchenbrunnen was made in 1891. Goldsmith Carl BossardBrunner had a reproduction of the original Little Goose-Man sculpture from the German Museum in Nuremberg, crafted by Pankraz Labenwolf in 1530. This replica, created by Heinrich Viktor Segesser, was then erected in Hirschenplatz. The tale of the Gooseman follows a similar narrative, culminating in the same outcome: his wife sends him to town to sell geese, and upon returning, his hands and pockets are empty, yet his spirits are filled with cheer.

The square also has Dornach House, a Neo-Gothic structure in predominantly white, hosts a mannerist fresco. This artwork vividly captures the 1499 Battle of Dornach, the final conflict between Switzerland and the Holy Roman Empire, celebrating the Swiss victory over Emperor Maximilian I’s forces. Despite significant odds – 6,000 Swiss against 16,000 Roman Empire soldiers – they achieved victory, showcasing their unwavering determination.

Location: Hirschenplatz, Lucerne, Switzerland

Weinmarkt

Walk to the square to the right of the Dornach House.

Despite its name, this square originally served as a fish market before gaining fame for its association with wine. It’s worth recalling that Lucerne’s roots extend back to being a fishing village before rising to prominence along the Gotthard Trade Route. The square’s strategic location, coupled with its alleyways seamlessly connecting to the river, made it an ideal spot for a fish market. Moreover, both the butchers’ and fishermen’s guildhalls found their place here, as evident from the guild signs that can be spotted in the surroundings.

Progressing into the early 1900s, Lucerne witnessed an increase in shopping and tourism. Consequently, the decision was made to renovate the old town, leading to the square’s renaming as “Weinmarkt” or “Wine Market.” This period of revitalization also witnessed the restoration of numerous murals and the addition of new ones. Notably, the verdant building at the far end of the square features a painting from 1928 depicting the wedding at Cana, where Christ performed the renowned wine miracle. This painting serves as a reminder of both wine commerce and the religious festivals that once graced the square. For nearly two centuries, the Passion of Christ was dramatically re-enacted here during the Easter Season, spanning two days with each performance lasting 12 hours.

The central fountain in the Platz pays homage to St. Morris, a soldier who holds the distinction of being one of Lucerne’s patron saints. Interestingly, another Swiss town, Saint Moritz, shares his name. The original fountain is now housed within the history museum. The fountains in this region draw their water from Mount Pilatus, with ultraviolet treatment employed to eliminate germs. Regular cleaning and maintenance ensure their impeccable condition. Many of these fountains are over three centuries old and once served as the primary water source for numerous citizens at the time of their construction.
Past the fountain stands the historic courthouse and town hall, a structure transformed into the Des Balances Hotel since 1836, consistently maintaining its esteemed reputation. The façade that faces the river mirrors the allure of a Venetian Palace. Conversely, the side adorned with frescoes, which now meets your gaze, was executed in the distinctive style of Hans Holbein. Holbein, celebrated as a luminary of the Northern Renaissance, is perhaps most famed for his portrait of Henry VIII.

Adorning the edifice, you’ll spot the words “Hotel Waage” positioned above the entrance. This hotel bore the earlier appellation “Waage,” which translates to “scales,” a tribute to the erstwhile courthouse that once graced this location. In the same way that murals were an emblem of prestige, a multicolored tile roof held similar significance. This very building made a pronounced statement through both its roof and façade.

Outside, on the left, stands a Linden tree, a symbol traditionally associated with justice. The penalty bench was situated in front of this Linden Tree, and it was under its boughs that justice was meted out until the early 1800s.

Location: Weinmarkt, Lucerne, Switzerland

Rathaus (Town Hall)

Rathaus, Luzern — CC BY-SA 3.0 / WES1947

Leave the square at the south west corner and folloe the road the the left. Turn right to get to the river and walk back the way you came with the river on your right. You soon come to the front of the Rathaus.

The Lucerne Town Hall, commonly referred to as Rathaus, stands as a masterpiece of Italian Renaissance architectural style, captivating many as one of the most exquisite historical edifices in Lucerne. The commencement of Rathaus’s construction dates back to 1602, and the project reached completion in 1606. This remarkable creation was crafted under the design prowess of architect Anton Isenmann.

Positioned at the heart of the Old Town, Rathaus graces the banks of the River Reuss, offering splendid photo opportunities to visitors who seek a splendid vantage point for capturing the charm of the Chapel Bridge. This experience is particularly enchanting on Tuesdays and Saturdays between 6 AM and 1 PM, when market stalls come alive, inviting tourists to browse and shop while basking in the architectural splendor.

Within the Rathaus, visitors will uncover an exhibition hall and a concert venue. As they navigate towards the dovecote, they’ll have the chance to marvel at paintings and coffered ceilings that hail from times long past. Nestled in the Rathaus attic, the dovecote offers a unique opportunity for visitors to observe and feed the resident birds, accompanied by an exhibition that delves into the history of the Rathaus doves.

Location: Rathaus Stadt Luzern, Kornmarkt, Luzern, Switzerland

Jesuit Church (Jesuitenkirche)

Head across the bridge and turn right to reach the Jesuit Church.

The Lucerne Jesuit Church stands as a Catholic place of worship in Lucerne. Notably, it holds the distinction of being the initial grand Baroque church erected in Switzerland north of the Alps.

Founded by Ignatius of Loyola in 1534, the Jesuit order actively engaged in the Counter-Reformation, a Catholic response to the emergence of Protestantism. The divide brought about by Protestant reformers like Zwingli in Zurich and Calvin in Geneva fragmented Switzerland, which was predominantly Catholic. In reaction to this, the Jesuits were summoned to Lucerne by the city’s council in 1573, with the purpose of establishing an educational institution.

Ludwig Pfyffer, Lucerne’s mayor, extended annual financial backing to the Jesuits from his personal resources. The Jesuit College of Lucerne took root in 1577 within the Ritter Palace, a structure originally erected in 1557 as a dwelling for Mayor Lux Ritter.

The construction of the associated church was initiated in 1667. By 1673, the primary exterior and façade of the church had been completed. The consecration of the church took place in 1677, even though the interior was not yet fully furnished. Various side altars remained absent, and the central altar itself was only put in place four years later, owing to financial constraints. The onion-domed towers reached completion in 1893. In the mid-18th century, the vault underwent redecoration. The inner chapel houses the original vestments of Brother Klaus, a revered Swiss patron.

Presently, while the church presents an appealing exterior along the river promenade, it’s the lavish, unaltered interior adorned in shades of pink and white that truly captivates. Entry is free, and upon stepping inside, visitors are treated to one of Switzerland’s most breath-taking churches.

Visiting Jesuit Church (Jesuitenkirche): Opening Hours: daily: 6:30am-6:30pm

Location: Jesuitenkirche, Bahnhofstrasse, Lucerne, Switzerland | Website

Ritterscher Palace

Ritter’scher Palast — CC BY-SA 3.0 / WES1947

Right next to the Jesuit Church, the Ritterscher Palace.

The Ritterscher Palace, presently housing the cantonal administration, draws in aficionados of art and history. One of its attractions is Jakob von Will’s “Dance Macabre,” an artwork of seven pictures and 23 scenes displayed in the top-floor corridor. These scenes encapsulate encounters between different social strata and death.

Once owned by Luc (Lucius) Ritter, a captain in the French King’s Regiment in Northern Italy, the palace came into being after his elevation to the leadership of Lucerne upon returning home. Eager to underscore his societal stature, he commissioned a Renaissance palazzo in the style of Florence. The renowned Italian architect Giovanni Lynzo directed the creation of the Ritterscher Palace, although he faced a grim fate, being condemned to death for heresy during its construction. Ritter himself passed away shortly thereafter. The town council oversaw the completion of the building, which was subsequently occupied by the newly arrived Jesuits starting from 1557. This remarkable structure presently serves as the seat of the cantonal parliament.

Should you be visiting during office hours, the elegant courtyard situated at the heart of the palace is open for your exploration.

Location: Government Buildings of Canton Lucerne Bahnhofstrasse 15 6003 Luzern Switzerland

Historisches Museum Luzern

Luzern Historisches Museum — CC BY-SA 4.0 / Aniacra

Carry on up Bahnhofstrasse and turn first right to head back to the river. At the river walk along it with the river to your right.

The museum houses objects from the history of the city and canton of Lucerne , alongside items looted from various battles, such as the coat of mail of Duke Leopold von Habsburg , who fell in the Battle of Sempach. Various objects from everyday life can also be seen, as well as costumes from the Angélique Sophie Panchaud de Bottens collection, formerly in the Utenberg Costume Museum.

The building was built in 1567/1568 as a arsenal for the city and the state of Lucerne. It fulfilled this task until 1983. After three years of renovation, it was handed over to the public in 1986 as a historical museum.

Location: Historisches Museum Luzern, Pfistergasse, Lucerne, Switzerland | Hours: Tuesday to Sunday 10 a.m. to 5 p.m | Price: Adults: CHF 10.00 | Website

Spreuerbrücke

Walk between the river and the museum to reach the Spreuerbrücke.

The Spreuer Bridge, an enclosed wooden footbridge, commences at Mills Square in the old town and extends to Pfister Alley. It’s also referred to as the Mills Bridge, and it attracts numerous tourists seeking to admire its splendid architecture and the captivating interior paintings.

The bridge’s original incarnation was constructed during the 13th century, yet it met destruction in 1566 due to a flood. Swift reconstruction followed, accompanied by the incorporation of the remarkable paintings. These paintings notably depict the Dance of Death, a prominent motif from the late Middle Ages.

Between 1616 and 1637, Kaspar Meglinger led the creation of the 67 paintings. These artworks frequently include details about the donors, such as their names and family crests. Some even boast portraits of the benefactors. Today, 45 of these paintings have persevered. The artistic treasures adorning the Spreuer Bridge have also earned it the moniker “The Dance of Death Bridge.”

Visitors are cordially invited to stroll along the pedestrian bridge at any time, but the true magnificence of the paintings is most vividly appreciated under the natural illumination of daylight.

Location: Spreuer Bridge, Spreuerbrücke, Lucerne, Switzerland

Museggmauer (Musegg Wall)

Head up Brüggligasse which runs parallel to the river. When you pass Nölliturm, the first defensive tower turn right up the slope the the wall on your right.

The historical city wall once formed a vital part of Lucerne’s defensive structure. Presently, the Musegg Wall stands as a captivating vestige of the past, offering both intimate exploration and distant admiration.

Constructed during the 13th century, the wall and its nine towers originally comprised an inner and outer ring. Remarkably preserved, it ranks among the longest-surviving defensive walls in the nation. Those inclined to walk alongside the nine towers have the liberty to do so at any hour, as these towers are illuminated by floodlights during the night. However, only four of them are accessible to the public: Mannli, Zyt, Wacht, and Schirmer.

Mannli, signifying “little man,” stands as the second tower along the ascending ridge. It once served military purposes until the conclusion of World War II, after which it was made accessible to the general public. The Wacht Tower, also known as the Heu Tower, was originally employed for gunpowder storage. Following a lightning strike in 1701 that triggered an explosion, the tower was reconstructed. Zyt Tower, a clock tower, features the Leodegar Bell that chimes the hour preceding the city’s church clocks. As for Schirmer Tower, it once guarded the city gate.

From April to November, Musegg Wall and four of its nine towers welcome visitors between 8 AM and 7 PM, providing a remarkable opportunity to engage with Lucerne’s historical legacy.

Location: Museggmauer Auf Musegg 6004 Luzern Switzerland | Hours: 8 a.m. to 7 p.m. between 1 April and 1 November | Website

Gletschergarten (Glacier Garden)

Gletschergarten, Luzern, LU, Schweiz. Glacier Garden, Lucerne, LU, Switzerland. — CC BY-SA 3.0 / Leiju

Pass under Schirmerturm tower and walk to the bottom of the hill. Walk along Museggstrasse until you reach Zürichstrasse then turn left. Walk along Zürichstrasse and turn left after you see The Crown of Lucerne restaurant. When you get to little lane the Gletschergarten (Glacier Garden) is to your right.

The Glacier Garden serves as a premier destination for those eager to delve into the intricacies of ice age glaciers. Visitors are guided through the museum and its gardens, where they can engage with the Rock Adventure Trail—an immersive experience allowing them to traverse through the rock formations, witnessing their formation during the Ice Age.

Housed within a traditional Swiss dwelling, the museum boasts an 18th-century mountain relief map, renowned as the world’s oldest of its kind. An interactive relief map of Switzerland also enriches the experience. Following the museum exploration, visitors can delight in the Mirror Maze. Crafted from 90 mirrors, this 19th-century labyrinth offers a delightful and captivating diversion.

An Observation Tower offers sweeping panoramas of Lucerne, allowing visitors to relish in the stunning vistas. Additionally, the park features ideal spots for relaxation or indulging in an outdoor picnic.

The Glacier Garden welcomes guests every day, from 10 am to 6 pm during the summer months, and from 10 am to 5 pm in the winter season.

Location: Gletschergarten Luzern, Denkmalstrasse, Lucerne, Switzerland | Hours: April 1 to October 31 (sommer season) daily 10 am to 6 pmNovember 1 to March 31 (winter season) daily 10 am to 5 pm | Price: Adults: CHF22 | Website

Löwendenkmal (Lion Monument)

The Gletschergarten (Glacier Garden) is right next door to the Löwendenkmal (Lion Monument).

The Lion Monument, also known as the Lion of Lucerne, stands as a rock relief in Lucerne, erected in 1820 to honour the memory of the Swiss Guards who tragically lost their lives in 1792 during the French Revolution’s tumultuous events. This monument holds a place among Switzerland’s most renowned landmarks, drawing approximately 1.4 million tourists each year.

Throughout the early 17th century, a contingent of Swiss Guards had been a part of the Royal Army of France. The tragedy unfolded on August 10th, 1792, when revolutionaries stormed the Tuileries Palace. Amid the chaos, conflict erupted spontaneously after the royal family had been escorted from the palace to find refuge with the Legislative Assembly. In the ensuing struggle, the Swiss Guards, hampered by dwindling ammunition and outnumbered by the revolutionaries, were ultimately overpowered.

Approximately 760 of these valiant Swiss Guards who defended the Tuileries met their demise during the fighting or suffered massacres after surrendering. An estimated two hundred more died in captivity due to their injuries or fell victim to the September Massacres that followed.

Carved into the rock face, the monument spans an impressive ten meters in length and six meters in height. It stands as a tribute to “the loyalty and bravery of the Swiss.” The portrayal of a dying lion impaled by a spear, shielding a crest adorned with the emblem of the French monarchy, is accompanied by another shield bearing the coat of arms of Switzerland.

Mark Twain aptly described the sculpture of the wounded lion as “the most mournful and moving piece of stone in the world.”

Location: Lion Monument, Denkmalstrasse, Lucerne, Switzerland

Bourbaki Panorama

As you come out of the entrance of the Löwendenkmal (Lion Monument) park turn to your left and you can see the Bourbaki Panorama.

The Bourbaki Panorama stands as a colossal panoramic painting that serves as a tribute to the internment of around 87,000 French Bourbaki soldiers, who sought refuge in Switzerland after traversing from Prussia during the severe winter of 1871. Edouard Castres, the artist behind this creation, had first-hand experience of this event, having witnessed the horrors of war as a Red Cross worker.

This event transpired within the context of the Franco-Prussian War. General Charles Bourbaki’s French troops sought sanctuary in Switzerland, beset by starvation and disease. The Swiss military extended their assistance by providing shelter during the harsh winter months.

Spanning an immense canvas measuring 112 by 10 meters, the Bourbaki Panorama is often credited as an inspiration for the concept of 360-degree filming and virtual reality, owing to its expansive dimensions and shape. Visitors are welcome to explore this significant artwork at the museum throughout the week.

Visiting Bourbaki Panorama: Opening at 10 am year-round, the museum’s closing hours are 5 pm from November to March, and 6 pm from April to October.

Pro tip: The Bourbaki Panorama comprises two levels: the first featuring a video/slide presentation alongside several artefacts, while the upper level showcases a captivating 3D presentation with life-sized figures positioned before the actual painting. It’s advisable to acquaint oneself with the narrative to fully grasp the depicted situation.

Location: Bourbaki Panorama Lucerne, Löwenplatz, Lucerne, Switzerland | Hours: April to October daily 10 a.m. to 6 p.m. November to March daily 10 a.m. to 5 p.m | Price: Adult CHF 15.00 | Website

Hofkirche St. Leodegar

Walk behind the Bourbaki Panorama along Weystrasse. When you get to the juction you shoudl be able to see the twin spires of the Hofkirche head towards them along St. Leodegarstrasse.

On your right is the Rothenburgerhaus, dating back to around 1500, is probably the most ancient wooden house in a Swiss town. While most wooden houses in Swiss towns fell prey to fires and were replaced by stone buildings, Rothenburger house was built at a privileged site near Hof Church, separated well from downtown Lucerne. Famous local chronicler Diebold Schilling lived, wrote and illustrated his chronicle here.

The Church of St. Leodegar, a Roman Catholic church from the 17th century, was finished in 1639. However, the church’s history dates back to the 8th century.

Previously, an ancient church named Monastarium Luciaria stood where the Church of St. Leodegar is now situated. Constructed around 735 or 736 AE, it enjoyed many years of patronage. Regrettably, this building was consumed by fire in 1633, leaving only two Romanesque towers intact.

The Church of St. Leodegar is often viewed as the premier example of Renaissance architecture in a church in Switzerland. It’s also renowned for its organ, crafted in 1640. When first built, this organ boasted the tallest and heaviest pipe globally. Subsequent extensions were made in 1862 and again in the 1970s, leading to its current size of 7,374 pipes and 111 registers.

Those keen on exploring the Church of St. Leodegar can do so on weekdays between 8 am to noon and 2 pm to 5 pm.

Location: Hofkirche St. Leodegar, Sankt Leodegarstrasse, Lucerne, Switzerland | Hours: Mon - Fri 9am - 12pm & 2pm - 4.30pm | Website

From St. Leodegarstrasse walk down the cobbled path and turn left to get to the lake. Walk with the lake on your left, cross the bridge until you are back where your started.

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Quick Jumplinks to Navigate the Guide

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Getting to Mt. Pilatus from Lucerne by Cogwheel Train
Getting to Mt. Pilatus from Lucerne by Cable Car
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Organise the trip to Mt. Pilatus from Lucerne Yourself
Take the Cable Car up Mt. Pilatus from Kriens
Take the Cogwheel Train up Mt. Pilatus from Alpnachstad
Mt Pilatus from Lucerne or Zurich
FAQ for Visiting Mount Pilatus
Tips for Visiting Mount Pilatus

What is Mount Pilatus

Mount Pilatus comprises a collection of peaks within the Emmental Alps. Its highest summit stands at 2,132 meters above sea level. Among these peaks, Tomlishorn reigns as the loftiest point, while Esel reaches 2,118 meters and Oberhaupt reaches 2,106 meters above sea level.

The Legend of Mount Pilatus

Legend weaves a fascinating tapestry around Mount Pilatus, an enchanting tale that reaches back to the 15th century. According to local folklore, a colossal dragon rock descended from the heavens, settling upon the earth’s embrace. Standing sentinel before this enigmatic relic was none other than the Roman governor Pontius Pilatus, his presence lending an aura of mystique to the scene.

As the chronicle unfolds, Pontius Pilatus’s mortal journey reached its end, and his lifeless form found its resting place atop these very mountains, nestled within a tranquil lake. It is here, amidst the serene waters and soaring peaks, that whispers of the supernatural were born, rendering this realm a domain believed to be touched by the ethereal. This legacy of tales has bestowed upon the land a sense of haunting allure that continues to resonate.

In the tapestry of explanations, some contend that the mountain’s name, Pilatus, was etched in homage to the Roman governor. Others, however, find resonance in the Latin term ‘Pileatus,’ a moniker that conjures visions of clouds that lovingly caress the mountain’s crown. This mystique, veiled in cloud-capped wonder, paints the backdrop for the narratives that define Mount Pilatus—a place where history, legend, and the whispers of the unknown converge.

Why Visit Mount Pilatus?

When you’re in Switzerland, the pinnacle of your journey is undoubtedly Mount Pilatus—a destination that captures the very essence of this mesmerizing land. Within the span of a single day, a symphony of experiences awaits you: a serene cruise, a scenic bus voyage, a succession of cable car ascents, and a ride aboard the steepest cogwheel train on the planet. All converge to weave a tapestry of breath-taking moments that will forever define your Swiss adventure.

What to do at the top of Mount Pilatus?

At the top of Mount Pilatus, there is plenty of opportunity for exploration and adventure. There is an observation deck with stunning views of Lake Lucerne, a restaurant and a couple of trails. There are two viewpoints close to the observation deck, Oberhaupt and Esel. Each are reached with some stairs, only about a 5 min walk up.

If you want to hike, we recommend the trail to Tomlishorn, the highest point at Pilatus at 2129m. The well maintained path is about 3 km round trip with side rails for safety.

How To Reach Mount Pilatus From Lucerne?

Embarking on a day trip from Lucerne to Mount Pilatus entails an exciting journey across various modes of transportation. To get to the top of Mount Pilatus you can choose the iconic cog railway which leaves from Alpnachstad or the cable car from Kriens.

Travelling from Lucerne to Alpnachstad can either be by train, car or boat; while travel to Kriens would be by bus.

Getting to Mt. Pilatus from Lucerne by Cogwheel Train

Commencing from Alpnachstad, your passage to Pilatus presents two options: a serene steamer boat voyage across Lake Lucerne or a scenic train expedition via Zentralbahn’s Brünigbahn line.

Alpnachstad serves as the gateway for the Pilatus bahn, the 30 minutes train journey to the top. This railway line boasts the world’s steepest gradient and operates its services from May to November, although occasional inclement weather can lead to temporary halts.

Mount Pilatus By Pilatusbahn — CC BY-SA 4.0 / Herbert Ortner

Getting to Mt. Pilatus from Lucerne by Cable Car

An alternative way to reach Mount Pilatus from Lucerne is by embarking on a journey from Kriens, where the cable car service seamlessly connects Kriens and Pilatus.

To Kriens

To follow this route, commence your adventure by catching Bus number 1 at Bus Stop A in Lucerne—a conveniently located stop opposite the main train station. From there, a brief 10-minute stroll leads you from the Kriens bus stop to the cable car station.

Kriens to Fräkmüntegg via Krienseregg

Pilatus Cableway 3 Kriens Switzerland — CC BY-SA 2.0 / Eluveitie

Begin your ascent by stepping into the panorama gondola, transporting you from Kriens to Fräkmüntegg via Krienseregg. This picturesque leg of the journey lasts for approximately 30 minutes.

Dragon Ride from Fräkmüntegg to Pilatus Kulm

At Fräkmüntegg, the journey continues as you transition to a second cable car, affectionately known as the Dragon Ride, propelling you towards the summit of Pilatus Kulm. This leg of the journey takes a mere 5 minutes.

Embarking on the 646-meter cableway journey between Fräkmüntegg and Pilatus Kulm is nothing short of a remarkable and distinctive experience. The cabin, designed akin to a cockpit, envelops visitors in an immersive environment. With floor-to-ceiling glazing, it’s as if you’re suspended in mid-air, granting you the sensation of soaring through the sky. As you indulge in this captivating ride, the panoramic vistas that unfold before your eyes are simply breath-taking.

The dragon ride is named after the mythical Mount Pilatus dragon that you read about earlier.

Bus Ride from Kriens to Lucerne

This is a 15-minute ride to Lucerne, you ae picked up just outside the gondola station and taken to the bus station in Lucerne.

Organising and Buying Tickets for your trip to Mt. Pilatus

Hopefully you now know how you wish to get to Mt. Pilatus. You need to purchase your tickets. You have the option of buying and organising each stage separately or going with a company who will do it for you.

Golden Round Trip from Lucerne

The Golden Round Trip is a popular choice for tourists, this trip starts with taking a boat from Lucerne to Alpnachstad. The boat departs from the pier that is located directly across from the train station, and drops off at a pier that is a quick walk to the cogwheel station. his trip includes four different forms of transportation: bus – cable car – cogwheel train – boat ride. You start at the Lucerne to Kriens in a bus, then take the cable car to Mt Pilatus, a cogwheel train down to Alpnachstad and a scenic boat ride back to Lucerne. This trip starts and ends at Lucerne Railway Station – the bus stop is near the station and also the boat terminal is right at the station as well.

You may purchase tickets in advance from a third party here: Self Guided Golden Ticket Tours, Guided Guided Golden Ticket Tours or there is the option to go on a Private Guided Tour.

Silver Round Trip from Lucerne

The second most popular way to visit Mt. Pilatus is by taking the ‘Silver Round Trip’. Here the entire tour has a bus – cable car – cogwheel train – regular train ride included in the package. You start at the Lucerne to Kriens in a bus, then take the cable car to Mt Pilatus, a cogwheel train down to Alpnachstad and a regular train back to Lucerne. The only difference between the silver and in the Gold is you that you take a train instead of the scenic boat ride between Alpnachstad and Lucerne.

This trip is 20% cheaper than the Golden Round Trip and you are not restricted by the rather limited boat schedule! Purchase your Silver Round Trip Tickets.

Organise the trip to Mt. Pilatus from Lucerne Yourself

Take the Cable Car up Mt. Pilatus from Kriens

Drive from Lucerne to Kriens: If you have your own transport then you may want to ditch the bus ride and drive to Kriens yourself. This would cheapest way and/or in the shortest possible time. There is a big car parking at the gondola station in Kriens and parking here costs just 5 CHF per day.

Bus from Lucerne to Kriens: From Lucerne Railway Station, take a (trolley) bus nr. 1 to Kriens. It’s a bus line in the direction of Obernau Dorf. There are many buses at the station and it looks a bit overwhelming at first. Be sure to look for a TROLLEYBUS, so not a regular bus number 1. The bus ride between Lucerne Railway Station and Kriens takes less than 15 minutes. You will need to purchase your ticket from the ticket machines at the bus stop. If you have the Golden or Silver Ticket this is not needed.

Purchase your Cable Car Ticket from Kriens: Your next stage is to purchase your cable car ticket. The cable car ride from Kriens to Mt Pilatus actually involves two different cable cars. The first is a 4-person gondola to Fräkmüntegg, then the Dragon Ride (a big aerial cableway) to Mt Pilatus. The entire journey to the top takes about half an hour. As already mentioned, you can buy a ticket online in advance, or you can just buy it at the ticket desk once you get there.

Take the Cogwheel Train up Mt. Pilatus from Alpnachstad

Drive from Lucerne to Alpnachstad: If you have your own transport then you may want to ditch the train or boat and drive to Alpnachstad yourself. There is parking available in Alpnachstad just by the Cogwheel Train station and parking also costs just 5 CHF per day.

By Train from Lucerne to Alpnachstad: From Lucerne train station: Take the S5 train to Alpnachstad train station (17 minutes).

By Boat from Lucerne to Alpnachstad: Or from Lucerne by boat from jetty no. 2 (50 – 90 minutes) to Alpnachstad. The ship only operates from May to October.

Take the Cable Car up Cogwheel down, Boat and Train back to Kriens

If you are driving and do want to organise the equivalent of a Golden Ticket Trip a round trip, I recommend parking in Kriens and starting with the cable car to the top. Then take a cogwheel train to Alpnachstad and from there, either a train or a boat to Lucerne. From Lucerne city centre, take RBus no. 1 back to Kriens where you left your car!

Mt Pilatus from Lucerne or Zurich

You can catch the train direct from Zurich to Lucerne in about 45 mins then join the Golden Ticket Tours or the Silver Ticket Tour. Tours do go direct from Zurich by bus: You can either choose the Lucerne & Mount Pilatus Day Tour or the more exclusive Private Trip From Zurich to Mt. Pilatus Through Lucerne!

FAQ for Visiting Mount Pilatus

What’s the duration for a trip to Mount Pilatus from Lucerne?

Depending on your chosen route, mode of transportation, and activities, you should allocate at least 4.5-5 hours for a visit to Mount Pilatus from Lucerne. If you opt for the Golden Round Trip and wish to savour the panoramic vistas at the summit, plan for approximately 5-6 hours.

How much time is needed for the cable car journey from Kriens to Mount Pilatus?

The cable car journey from Kriens to Fräkmüntegg takes approximately 20 minutes. Subsequently, the aerial cable car ride from Fräkmüntegg to Mount Pilatus (also known as the Dragon Ride) lasts around 3.5 minutes. However, typically, there might be a brief wait for the Dragon Ride. Overall, you should allocate a minimum of 30 minutes to reach the summit of Mount Pilatus from Kriens.

What’s the duration of the boat trip from Lucerne to Alpnachstad?

Depending on the specific stops along the route, the boat voyage between Lucerne and Alpnachstad lasts between 1 hour and 1 hour 20 minutes.

How much time does the cogwheel train journey from Alpnachstad to Mount Pilatus take?

The ride aboard the steepest cogwheel train globally, traveling from Alpnachstad to Mount Pilatus, has a duration of 30 minutes. Conversely, the descent from Mount Pilatus to Alpnachstad requires approximately 40 minutes.

How long is the bus ride from Lucerne to Kriens?

The bus journey connecting Lucerne Railway Station to Kriens typically takes about 12-15 minutes. Additionally, you’ll need around 5-10 minutes to walk from the bus station to the Kriens-Mount Pilatus gondola station.

What is the best time to visit Mt Pilatus?

The sunny months between March and September are the best time to visit Mount Pilatus. If you want to see the Alps covered with snow, then plan a visit in the winters. During peak winters the temperatures drop really low and there are high chances that the cogwheel rail and cable cars are closed during this time, hence check before planning your visit.

Is Mount Pilatus included in Swiss pass?

If you have a Swiss pass, then you get a 50% discount to travel up Mount Pilatus. You can either choose to go up in a gondola and cable cars from Kriens or on a cogwheel from Alpnachstadt. These Swiss passes can be purchased from tourist offices in Zurich, Berne, Geneva and Lucerne or from any major railway station in Switzerland.

Which is better, Mt Rigi or Mt Pilatus?

They both offer different views from top, hence you won’t be replicating your experience. Mt Rigi offers spectacular views of the Alps, the Swiss lakes, and a variety of alpine flora, while Pilatus offers stunning panoramic vista and beautiful hikes that will give you a chance to see the Swiss Alps from different angles.

Tips for Visiting Mount Pilatus

Book your tickets to Mount Pilatus in advance to avoid last minute disappointments.
Start your trip as early as possible to avoid long queues and to make the most of the trip.
All transportation options close by 5 in the evening, so make sure you finish all Mount Pilatus activities and leave by 4:00.
Wear a light coat over a t-shirt during summer and make sure to wear good walking shoes or trekking shoes as this trip requires short hikes to a few viewpoints.
The weather up in the mountains is very unpredictable, so pack some warm clothes to handle sudden weather changes.

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Walking Cinque Terre's Blue Trail

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The Cinque Terre, designated as a UNESCO World Heritage Site, comprises a cluster of five enchanting towns nestled along Italy’s striking coastline, slightly north of Pisa. These towns possess a distinctive charm, their pastel-hued edifices gracefully layered atop each other, surveying the tranquil harbours below. Each town bestows its unique allure, contributing to the delightful task of selecting a personal favourite. Embarking on a Cinque Terre hike stands as a premier method to immerse oneself in the exploration of these five captivating settlements.

The Blue Trail

The towns are conveniently and swiftly connected by train, yet in our view, the most rewarding approach to experiencing Cinque Terre is to embark on the “Blue Trail.” The Blue Trail, is appropriately named after the blue colours of the ocean in panoramic view for a majority of the trail, it is also known as Sentiero Azzuro or Trail #2. spans 11 kilometres and directly interconnects the five villages. It takes about 5 hours to hike the entire distance, not counting the time to explore and linger in each town.

On the Blue Trail, as well as others, you’ll find little red and white markers on wooden signs, or painted upon trees or rocks, signposting the way.

Cinque Terre Trekking Card

In the high season it’s necessary to purchase the Cinque Terre Hiking Card (€7.50 per person for a one day hiking card, €4.50 for children, and other concessions available) in order to access the Blue Trail.

You will be required to show this card at the trail checkpoints upon entering / exiting each village and, if you haven’t bought it in advance, then you should carry cash in order to purchase there. If visiting in high season, then we highly recommend you buy the Cinque Terre Card in advance as this allows you to skip the queues at checkpoint cabins and just show your card. If travelling by train along the Levanto – La Spezia line, to Cinque Terre you can buy the combined Cinque Terre Train MS Card.

Some trails will be closed for maintenance, it is advisable to check on the National Park website before setting out.

Distances and Difficulty levels of the Blue Trail

Riomaggiore to Manarola: 1.5 km, easy, 30 minutes, also called “Lover’s Lane” or Via dell’Amore
Manarola to Corniglia: 3 km, easy, 1 hour
Corniglia to Vernazza: 4 km, moderate, 1.5 hours
Vernazza to Monterosso: 3.5 km, moderate, 1.5 hours

Riomaggiore to Manarola

Riomaggiore, Cinque Terre — CC BY-SA 2.0 / chensiyuan

The pathway connecting Riomaggiore and Manarola goes by the name of Via dell’Amore – the Path of Love. This route is typically level and manageable for walking, yet its availability is frequently affected by landslides. It connects the picturesque villages of Riomaggiore and Manarola and is only about 1 km long. The trail carves its way through solid rock, meandering alongside the cliff’s edge that hovers above the sea.

The origins of the Via dell’Amore path trace back to the early 20th century, during the upgrading of the Genoa – La Spezia railway line. A pedestrian path was required for the railroad laborers to navigate between Riomaggiore and Manarola while the tunnel connecting the two villages was under construction. The tale goes that this footpath evolved into a rendezvous spot for romantics hailing from both towns.

Blue Trail: The journey commences near the Riomaggiore train station, where a staircase awaits on the left. After just a handful of steps, the sea unfolds before your eyes. Geomorphologically speaking, you’re treated to the spectacle of Riomaggiore’s sandstones and the visible remnants of marine erosion. Along the way, the vegetation showcases an array of plant life including agaves, sea fennel, wallflowers, and the rare Brassica robertiana. As you approach the trail’s conclusion, you’ll pass beneath terraced vineyards that command a view over Manarola’s railway station. To enter the town, a pedestrian tunnel approximately 150 meters in length leads the way.

High Trail: If this trail is closed, you have the option to take the train to Manarola or hike a much more difficult trail, the high route, to the next town. The starting point for the high route is situated a mere 5 minutes away from the Via dell’Amore. This trail involves a sequence of stone steps and steep ascents. Despite the demanding uphill stretches, the climb affords breath-taking vistas of the coastline.

Read our Riomaggiore Travel Guide

Manarola to Corniglia

Blue Route: From Manarola, the route progresses towards Marina di Manarola before ascending towards the cemetery. Here, a crossroads emerges at the level of a Madonna chapel originating from 1860. Opting for the right path leads to the village of Volastra, via Poggio Le Croci. On the other hand, choosing the leftward route keeps you on track towards Corniglia, guided by a level pathway.

The final segment of the journey traces the course of an artificial beach formed during the construction of the erstwhile railway, spanning approximately a kilometer. Prior to arriving at the Corniglia train station, your path takes you through Valle Asciutta. Crossing the canal, the trajectory continues alongside Corniglia’s beach, culminating at the station. To reach the village itself, ascending the Lardarina staircase consisting of 377 steps, elevating you to 90 meters above sea level, is a necessity. The total elevation gain along the trail sums up to 120 meters.

High Trail: The first segment of the journey leads up to Volastra, followed by a path from Volastra to the junction with path near Case Pianca, and ultimately a path from Case Pianca to Corniglia. This route entails an estimated duration of approximately 3 hours and 30 minutes. Considered of moderate difficulty, the trail spans around 5.5 kilometers. Commencing from Manarola, ascend Via Discovolo towards the town’s exit. Proceed along a mule track to reach Pie di Fiesse, near the coastal road, briefly following the paved road in the direction of Groppo. Subsequently, ascend towards Volastra by taking the ancient municipal staircase on the left.From Volastra, the route traces along the provincial road of the Sanctuaries towards the northwest, winding through vineyards and dry stone walls, passing by Case Porciana. Upon traversing this diminutive hamlet, the path delves into a maritime pine forest, leading to the intersection with path 587 Corniglia-Cigoletta beneath Case Pianca.nFrom this point, the path descends towards Corniglia, leading through a pine forest and subsequently past terraced plots of vineyards and olive trees, many of which lie abandoned. Continue along a steep staircase and certain uneven sections until reaching the church of San Lorenzo.

Read our Manarola Travel Guide

Corniglia to Vernazza

Corniglia, Cinque Terre — CC BY-SA 4.0 / Cs.adri

Blue Route: Starting from the church of San Pietro, follow Via Serra as it leads you out of the town via a narrow paved road. Cross the paved road and continue your descent, crossing over the Rio Groppo. From there, you will ascend once again, ascending through tall dry stone walls that enclose terraced strips of land adorned with olive trees. The ascent along the paved road persists, taking you to a bridge spanning the Fosso del Canaletto. The path transforms into a stone mule track, incorporating stairs in certain sections. At this juncture, a panoramic viewpoint materializes, revealing Corniglia below and the valley featuring the Guvano beach.

Persist with the climb until you arrive at the village of Prevo, situated at an elevation of 280 meters. Continue onward on a gentle incline, winding through olive groves until you encounter a stairway that descends towards the precipitous coast of Macereto. As you make your way downwards, Vernazza unveils its stunning magnificence, and you will remain on the descending trajectory until you reach Via Roma and the heart of the town square.

Read our Corniglia Travel Guide

Vernazza to Monterosso

Vernazza, Cinque Terre — CC BY-SA 2.0 / Med Cruise Guide

Blue Route: Embarking on the blue path connecting Vernazza and Monterosso, your journey begins from the charming port of Vernazza. Ascend Via Roma and swiftly veer left into a narrow alley, which soon transforms into a staircase. This path leads you to the Santa Margherita church. As you continue your ascent, the staircase transitions into an earthen trail, persistently guiding you uphill. Take care and stay observant as you cross a diminutive bridge spanning the Rio Riolo. Your upward journey leads you along a steep mule track, ultimately arriving at the panoramic expanse surrounded by olive trees at Costa Mesorano.

The course now takes you through a series of ascents and descents, guiding you amidst the Mediterranean vegetation, occasional pockets of precious wetlands, terraced vineyards, and the commencement of lemon groves. Eventually, you embark on a descent by way of a staircase lined with stone walls, eventually arriving at the breath-taking cliff of Punta Corone. From this vantage point, you can take in views of Monterosso and the hill of San Cristoforo.

Read our Vernazza Travel Guide

Monterosso

Among the five picturesque towns of Cinque Terre, Monterosso al Mare stands out with its resort-like ambiance. While it retains its enchanting historic core, the village differentiates itself with a more contemporary extension that stretches northward along the coastline. This modern facet, coupled with its distinction as the region’s prime beach destination, grants Monterosso a distinctive allure for travelers exploring the Cinque Terre. This village caters to a diverse audience, attracting Italian holidaymakers who relish the lido experience and drawing in international tourists as well.

Read our Monterosso al Mare Travel Guide

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Cinque Terre, nestled along the stunning Northern Ligurian Coast of Italy, a little way above Pisa, is a magnetic draw for travellers and often hailed as one of Italy’s finest destinations. As I prepared for my Italian adventure, Cinque Terre’s allure beckoned me through images of vibrant, multi-coloured buildings and winding, cobblestone lanes. Although I was initially unfamiliar with its details, the urge to include this picturesque haven in my journey was undeniable. And oh, how grateful I am that I did – a sentiment I’m eager to impart, hoping it might inspire others to embark on the same delightful journey.

While envisioning my trip, I imagined having ample time to luxuriate in Cinque Terre’s charm, allowing myself the freedom to immerse in each of its five unique villages – Vernazza, Monterosso, Corniglia, Riomaggiore, and Manarola. Yet, reality dictated a single day for my adventure! Determined to make the most of this precious time, I resolved to explore all five towns in this brief span. And now, I’m thrilled to share my guide, crafted to help others savour their own one-day sojourn through Cinque Terre.

Though my visit was swift, the memories I collected were rich and profound. Cinque Terre, with its vibrant palette and enchanting streets, offered me an unforgettable day – a mosaic of experiences that I hope will resonate with those who are equally tempted to seize the opportunity to explore this gem on Italy’s coast.

How to get to Cinque Terre

Reaching Cinque Terre had been a source of concern as I contemplated the relatively remote locations of its towns. Yet, to my pleasant surprise, the process was remarkably straightforward! Our day began with an early drive from our cosy bed and breakfast, leading us to a parking garage adjacent to the train station in La Spezia. Armed with our day train passes, we embarked on our journey. The train whisked us away, a mere 7 minutes to the nearest town, Riomaggiore, and approximately 15 minutes to reach the farthest, Monterosso.

The train, undoubtedly a popular choice, proved to be an incredibly convenient mode of transportation. Its simplicity ensured a stress-free travel experience, and it remains a favoured means of accessing Cinque Terre. Nevertheless, it’s important to note that alternatives exist. For instance, you can opt to arrive by car and park in Monterosso or Riomaggiore. Even so, you’ll still find yourself relying on the train or hiking to traverse between the towns in the middle. Regardless of the path you choose, one thing is certain: the enchanting allure of Cinque Terre awaits, beckoning you to explore its colorful streets and embrace its coastal charm.

How to get around Cinque Terre

When it comes to moving between the enchanting Cinque Terre towns, there exist two primary options: train travel and hiking the trails. My original intention had been to partake in a hike spanning two of the towns, but the scorching heat, swiftly dashed that notion, compelling us to favour the train for the entirety of the day. Regardless of your choice, both methods entail a fee: 7.50 euros for the trails and 16 euros for the train.

Numerous trails crisscross the region, with The Blue Trail reigning as the most renowned. This particular path traverses all five towns, extending over a total of 7.5 miles. For those contemplating a visit, it’s imperative to conduct preliminary research, as some trails are closed.

For those seeking a simpler mode of transportation, the train proves to be a convenient solution. It efficiently links all five towns and extends its route to La Spezia. Visitors arriving via train already possess a day pass for train travel. If this isn’t the case, you can effortlessly procure a ticket at any train station. The trains operate at regular intervals, well-equipped to accommodate the influx of tourists. Even when retracing our steps between towns, we had ample time to explore all five villages in the span of a single day.

Order of visiting the towns of Cinque Terre

When contemplating a visit to all five towns, a crucial consideration is the sequence in which you choose to explore them. The most straightforward approach especially if you are hiking involves either commencing from the east and progressing to the west or vice versa.

East to West: Riomaggiore > Manarola > Corniglia > Vernazza > Monterosso
West to East: Monterosso > Vernazza > Corniglia > Manarola > Riomaggiore

If you are traveling by train you may want to try Starting your journey in Cinque Terre from Vernazza can offer the advantage of experiencing one of the most picturesque towns with fewer crowds, especially if you arrive early. This provides an opportunity to relish the charm of Vernazza without the bustling tourist activity. Additionally, structuring your itinerary in this manner allows you to witness the captivating sunset over the scenic town of Manarola, enhancing your overall experience.

By Train: Vernazza > Monterosso > Corniglia > Riomaggiore > Manarola

Vernazza

Vernazza was the initial town we explored and arguably the most exquisite. Not that this is an understatement, as they are all truly stunning! Strolling along the narrow lanes and admiring the vividly coloured buildings is an experience I will always remember. A broad street and square pave the way through the town, adorned with numerous cafes and boutiques.

Ascending the Belforte Tower rewards you with a breath-taking view overlooking the town. There is a nominal fee to access the tower, or alternatively, you can dine right next to the tower. Additionally, there is a splendid vista of Vernazza from a brief hike to the top of the town. If time permits, Vernazza boasts two petite beaches for a swift swim!

Read our Vernazza Travel Guide

Monterosso

Monterosso is an ideal destination for those seeking a quintessential Italian beach experience. The beach is adorned with a vibrant array of umbrellas, creating rows upon rows of vivid colors. While our visit to Monterosso was relatively brief due to time constraints, we managed to capture a few photographs and indulge in a refreshing granita, the Italian equivalent of a slushie.

For those fortunate enough to have more time to spare, Monterosso offers an array of historical sites to explore. Throughout the town, you’ll discover numerous religious buildings such as the Oratorio Mortis et Orationis – Confraternita dei Neri and Church of San Giovanni Battista, Monterosso al Mare. Additionally, a noteworthy attraction is the 42-foot-tall statue of Neptune, the revered Roman god of the sea.

Read our Monterosso al Mare Travel Guide

Corniglia

Corniglia stands out as perhaps the most serene village within Cinque Terre due to its relatively challenging accessibility. Perched atop a hill, it holds the distinction of being the sole village in Cinque Terre inaccessible by boat. While it does have a train station, this station is positioned by the sea. To reach the village, one must ascend the Lardarina staircase, a steep ascent comprising 382 steps. Alternatively, a shuttle bus is available to transport visitors from the train station to the village’s elevated position. Once within the village, the terrain levels out, providing a relatively flat expanse to explore.

Corniglia, with roots tracing back to ancient Roman times, boasts a storied history centered around its strong agricultural heritage. Encircled by vineyards and stone terraces on three sides, the village’s agricultural tradition endures. Due to its size and comparatively challenging accessibility, Corniglia draws fewer tourists, offering a more authentic local experience. While the village provides various bars and restaurants, a vibrant nightlife is notably absent.

Corniglia’s charm is particularly appealing to hiking enthusiasts and nature aficionados. A must-visit spot for catching the sunset is the terrace and bar called La Terza Terra, situated at the terminus of the main street, where the sweeping views provide one of the finest sunset experiences in all of Cinque Terre.

Read our Corniglia Travel Guide

Riomaggiore

Riomaggiore, the southernmost village of the Cinque Terre, is conveniently located just a brief two-minute train ride away from Manarola. The village gracefully ascends along the coastal ridges, offering captivating vistas of the sea. Its distinct character is characterized by traditional stone houses adorned with colourful facades and slate roofs. A leisurely stroll down the main thoroughfare, Via Colombo, guides you towards the seafront. Here, a charming small harbour, the marina, unfolds, embraced by delightful pastel-hued houses and an array of vibrantly painted fishing boats. Adjacent to the boat docking area lies a pebble beach, adding to the picturesque allure of the harbour.

Riomaggiore claims its title as the prime spot for capturing the quintessential Cinque Terre sunset. As the sun gently descends, a gathering of individuals congregates on the rocky shores by the harbour, creating an enchanting scene. Moreover, the village boasts a modest nightlife scene, complete with numerous restaurants and bars that remain open until the early hours, extending until 1 am.

Read our Riomaggiore Travel Guide

Manarola

Perched atop a lofty rock 70 meters above sea level, Manarola stands as one of the most enchanting and romantically imbued villages in the Cinque Terre. The petite harbour, adorned with a dainty boat ramp, a charming piazza, and an array of picturesque multicoloured houses gazing towards the sea, exudes a captivating allure.

Indulge in a delectable lunch experience at one of the inviting fish restaurants nestled in the quaint square adjacent to the harbour. The harbour vicinity is bedecked with vibrant rowing boats, serving as a hub for sunbathing and swimming from dawn to dusk. Indeed, it is the ideal haven to spend a leisurely day basking under the sun’s embrace, all while relishing the spectacle of daring individuals diving off the cliffs. Despite the absence of a traditional beach, Manarola offers some of the region’s finest deep-water swimming opportunities.

The primary road meanders along the waterfront, revealing a scene where boats are hauled ashore whenever the sea becomes tumultuous. The village’s topography is an intricate interplay of ascents and descents, with narrow alleys known as “carrugi” leading the way towards the shoreline.

Read our Manarola Travel Guide

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Coastal Towns of the Italian Riviera

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The Italian Riviera, a captivating coastal stretch nestled between the South of France and the borders of Tuscany, emerges as a coveted haven for vacationers. It presents a tapestry of vibrant seaside villages adorned in a spectrum of hues, vistas that embrace the panorama, the azure expanse of the Mediterranean Sea, and the allure of pristine beaches. This Italian haven is nothing short of a celestial retreat.

The Italian Riviera is renowned among international travellers for its enchanting coastal villages such as the famous Cinque Terre and the luxurious holiday retreat of Portofino. However, this region has much more to offer than its well-known attractions. Let’s delve into these remarkable destinations!

Portovenere

Portovenere holds a special place in our hearts as one of the most captivating towns along the Ligurian coast. Nestled in the charming Bay of Poets (Golfo di Poeti), this colorful gem is steeped in history and surrounded by breathtaking natural beauty, making it an undisputed favorite of ours on the Italian Riviera.

Our journey to Portovenere began on the final day of October, coinciding with the closure of the coastal Cinque Terre ferry season. The town serves as the initial stop on the ferry route from La Spezia to Cinque Terre, positioning it ideally for exploring both destinations and the adjacent coastal areas.

In the bustling summer months, the options are boundless. However, on our visit day, the waterfront was surprisingly calm, with only a few boats moored. As we entered the quaint and picturesque harbour, we questioned how we would fill our time here, especially with our children in tow.

Our initial impressions couldn’t have been more wrong. Portovenere unfolded to us as a treasure trove of attractions. We delved into the 12th-century castle and the 13th-century San Pietro church, traced the rugged cliffs and admired nearby grottoes, scaled countless staircases, and wandered through the labyrinthine alleys of this medieval haven. The town presented an abundance of dining options, gelaterias, and charming boutiques.

Our hours in Portovenere slipped away all too quickly. The experience was an enchanting blend of history, sweeping views of the Mediterranean, and the welcome absence of the crowds that often swarm Cinque Terre.

Notably, you can embark on a scenic boat excursion to the UNESCO World Heritage Site encompassing the nearby islands of Palmaria, Tino, and Tinetto. During the summer, additional opportunities arise, including boat rentals, beach visits, and water activities like swimming, snorkelling, and diving.

In essence, Portovenere unveiled itself as a hidden jewel, waiting to be discovered in all its splendour.

Read our Portovenere Travel Guide

Camogli

Camogli truly presents itself as a hidden treasure waiting to be discovered. While its beauty may be known among international travellers, stumbling upon it unexpectedly can create a truly magical experience. The first encounter, even on a rainy day, can leave an indelible mark.

Arriving by car might lead you to a hidden aspect of Camogli, as the town’s charm often sneaks up on visitors. A simple decision to explore for just a few minutes can quickly transform into hours of enchantment.

Nestled amidst rolling hills adorned with vibrant houses, Camogli’s natural and architectural beauty forms a picturesque backdrop that leaves a lasting impact. The captivating beach, which reveals itself as you walk down, can evoke a sense of awe and wonder, offering a mesmerizing sight that surpasses what photographs can capture.

This place has the power to create “wow” moments, those special instances that remain etched in one’s memory. That sense of being in a location that will forever hold a place in your heart.

Pictures may not fully convey the emotions that a visit to Camogli can evoke. The experience of being on a serene beach, even during a stormy day in November, can be a unique and unforgettable memory. Children playing and collecting colourful stones add an extra layer of delight to the atmosphere.

And just like the neighbouring towns, Camogli has much to offer throughout the seasons. From its beauty as a vacation destination to its practicality as a base for exploring the Portofino Peninsula by hiking or boating, the town invites visitors to immerse themselves in its charm. In the end, Camogli’s allure isn’t just about its visual appeal; it’s the emotions and memories it elicits that make it a true hidden gem along the Italian Riviera.

Read our Camogli Travel Guide

Manarola

Manarola, a village older than Riomaggiore, traces its origins back to the beginning of the 13th century. Nestled amidst picturesque vineyards and situated along a charming stream, Manarola boasts a notable reputation for its wine production. The village’s famous “Via dell’Amore” originates here, a pleasant and paved pathway that spans two kilometres, linking Manarola to Riomaggiore.

The village’s architecture is captivating, as the houses seem to cascade down to the water’s edge, gripping onto rugged rocks that are lapped by the waves. The main street itself is built atop the covering of a former torrent, while narrow stone-paved alleyways branch off from it. The etymology of Manarola’s name traces back to “Manium Arula,” a small temple dedicated to the Manes, which was erected during Roman times. It maintains a connection to Riomaggiore, of which it is considered an outlying village, through the renowned Via dell’Amore.

High up in the village, a visit to the Church of San Lorenzo, constructed in 1338, is recommended. The church’s standout feature is its exquisite rose window, which dates back to the 14th century.

Manarola’s rich history, breath-taking scenery, and festive traditions make it a truly enchanting destination to explore and enjoy throughout the year.

Read our Manarola Travel Guide

Portofino

Portofino, often hailed as one of the most picturesque towns on the Italian Riviera and even in all of Italy, is a true postcard-worthy destination. Its azure blue waters adorned with luxury yachts, colourful houses that grace the landscape, and opulent estates create an idyllic scene that seems to have been plucked from the pages of travel guides. Nestled between majestic mountains and a captivating coastline, the Portofino Peninsula is a captivating gem that Liguria proudly offers.

The journey to Portofino along the narrow coastal road is an experience in itself, with scenic vistas that mirror the beauty of the surrounding area. One delightful highlight is the walk leading to Castello Brown and the iconic lighthouse of Portofino. Moreover, embarking on a boat trip to the nearby San Fruttuoso Abbey, a historic abbey dating back to the 10th century, is an opportunity not to be missed.

However, amidst its undeniable charm, there’s a sentiment that Portofino might not evoke the same level of affection as some of the other Ligurian towns. A notable issue is the prevalence of overpriced restaurants coupled with personnel that might come across as snobbish, detracting from the overall experience. There’s a contemplation about whether traditional local fishermen still frequent the waters of this once-renowned “fishing village.” Over time, Portofino has transformed into a destination that caters to the affluent and famous.

Read our Portofino Travel Guide

Santa Margherita Ligure

Santa Margherita Ligure, Italy, is a compelling reason in itself to explore the sun-drenched and enchanting Italian Riviera. Affectionately known as “Santa” by its bronzed locals, this destination is a vision of pastel perfection, enticing boats to chart a course towards its shores.

Once a simple Ligurian fishing village, Santa Margherita has transformed into a splendid coastal resort that occupies a prominent spot on one of the Riviera’s most renowned stretches. Positioned between the stylish Portofino to the south and the vibrant Rapallo to the north, Santa Margherita presents all the allure of the Riviera with a slightly more subdued ambiance. Nestled within lush hills adorned with vibrant villas that rival the hues of the shirts fluttering along the classic promenade, Santa Margherita exudes a relaxed charm.

In the expanse of the Tigullio Gulf, where Santa Margherita is situated, opulent superyachts glide gracefully into view. The adjacent Portofino National Park and the Portofino Marine Reserve contribute to the region’s exceptional biodiversity, both above and beneath the undulating surface of the Ligurian Sea.

Read our Santa Margherita Ligure Travel Guide

Vernazza

Vernazza, the quaint fishing village, is arguably the quintessential representation of the Cinque Terre and has earned its place as one of Italy’s most picturesque villages.

With its origins tracing back to around 1000 A.D., Vernazza’s history intertwines with the Republic of Genoa, which held dominion over it from 1276 onward. The construction of Belforte, a medieval castle, took place in the mid-1500s primarily to safeguard the village from marauding pirates.

Approaching this enchanting village by sea provides an idyllic experience. The petite harbor is enclosed by the characteristic pastel-colored Ligurian houses, while the charming piazza is graced with inviting restaurants and bars. Within the natural harbor, one can find a small sandy beach and the Church of Santa Margherita di Antiochia.

Surrounding the village are olive groves organized into steep terraces, famed for yielding some of the nation’s finest olive oil.

Read our Vernazza Travel Guide

Lerici

Lerici, positioned gracefully on the Gulf of Poets, possesses an inherent charm that has made it an inevitable destination. A town adorned with pastel hues, nestled by the serene gulf, Lerici’s allure to literary figures and travelers is undeniable. Often referred to as the Pearl of the Gulf, Lerici is indeed a precious gem in its own right.

Its significance is not lost on history, with mentions by Dante and the visits of celebrated poets like Shelley, Byron, and D.H. Lawrence, who found themselves drawn to its shores for inspiration. The town’s captivating features include sinuous coves, rugged cliffs, a glistening sea, and the cheerful façades of its painted houses, all beneath the watchful gaze of its dominant castle. Lerici exudes a magnetic appeal akin to the renowned Cinque Terre but maintains its own character, less crowded yet boasting ample sandy expanses along its beaches.

Traversing the town unveils numerous hiking trails, a picturesque boat harbor, vistas of unparalleled beauty, abundant sunlight, and a welcoming local populace. The seaside is graced by a mile-long promenade, perfect for leisurely strolls. Wandering through the narrow alleyways reveals the town’s richness, including a captivating Jewish ghetto, intimate piazzas, and architecturally intriguing structures. Amidst these passages, artisanal shops, charming cafes, and a wealth of dining establishments await, collectively adding to the vibrant tapestry of Lerici.

Read our Lerici Travel Guide

Riomaggiore

Riomaggiore, the southernmost jewel of the Cinque Terre, rests a mere two-minute train journey away from Manarola. This picturesque village gracefully ascends along the coastal ridges, overlooking the serene expanse of the sea. Its hallmark lies in the quintessential stone houses, adorned with colorful façades and roofs of slate. A leisurely stroll along the main thoroughfare, Via Colombo, carries you towards the tranquil sea, where a charming marina and harbor emerge. This harbor is embraced by delightful pastel-hued dwellings and enlivened by the vibrant colors of fishing boats. Close to the docking area and this idyllic harbor, a pebble-strewn beach unfurls, offering a touch of seaside respite.

Riomaggiore holds a special distinction among the Cinque Terre villages as the premier vantage point for capturing the mesmerizing hues of the setting sun. As daylight fades, a gathering of people assembles on the rocky enclaves surrounding the harbor, embracing the spellbinding view. Furthermore, Riomaggiore does not lack nightlife, boasting an array of restaurants and bars that remain open until the early hours of the morning. This vibrant tapestry adds to the allure of this coastal gem.

Read our Riomaggiore Travel Guide

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Self-guided Walking Tour of Genoa (with Maps!)

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Welcome to Genoa, a city steeped in history, culture, and captivating charm. While renowned cities like Venice, Florence, and Rome tend to capture the attention of international tourists, Genoa stands as a destination that merits greater recognition for those in search of genuine Italian encounters.

Nestled on the Ligurian Sea, Genoa is a hidden gem waiting to be explored—a city that boasts a rich maritime heritage, a labyrinthine medieval quarter, and a vibrant mix of old-world elegance and modern flair. Join us as we meander through its alleys, uncover its hidden treasures, and immerse ourselves in the tales of a city that has shaped Italy’s narrative for centuries.

As you embark on this walking tour, you’ll step into the footsteps of explorers, merchants, and artisans who have left their indelible mark on its cobbled streets and grand piazzas.

Casa della Famiglia Colombo (Columbus' House)

The Christopher Columbus House stands today as a faithful 18th-century reconstruction of the very dwelling where Christopher Columbus spent his formative years. Situated beyond the precincts of Genoa’s 14th-century fortifications, this location witnessed intense Renaissance-era urban development, predominantly marked by the emergence of public housing.

Born in 1451, Columbus’s presence in this dwelling is attested by historical records, placing his residency here between roughly 1455 and 1470. During this period, the house encompassed two, and perhaps even three, stories. The ground floor featured a shop, with the entrance situated to the left of the shop.

Historian Marcello Staglieno’s insights suggest that the original house likely met its demise during the French Bombardment of Genoa in 1684. However, its revival commenced in the early 18th century, rooted in the remnants of the original structure. This renewed incarnation reached a soaring height of five stories, yet this elevation was achieved by anchoring upper stories onto neighboring buildings. With the eventual demolition of these neighbouring structures around 1900, as part of the Via XX September construction, the building underwent alterations. Its uppermost stories were dismantled, resulting in the present-day stature of two stories.

At present, the premises operate as a museum, offering an immersive experience into Columbus’s world and era. The central location, coupled with convenient nearby parking, renders it a favoured rendezvous point for the local Genovese community.

Location: Christopher Columbus' House, Via di Porta Soprana, Genoa, Metropolitan City of Genoa, Italy | Website

Porta Soprana

During the year 1155, as an integral component of a comprehensive defensive wall system, Genoa undertook the construction of three grandiose gates. Porta Soprana stands as one of this trio, joined only by Porta dei Vacca as the sole survivors of this endeavor. These gates are distinguished by their striking circular towers, a shared architectural feature that binds them together.

Porta Soprana, an enduring monument of historical significance, stands as a testament to Genoa’s strategic approach to fortification. Its counterpart, Porta dei Vacca, stands in harmony, embodying the city’s resolute dedication to safeguarding its boundaries.

Location: Porta Soprana, di Soprana, Via San Pietro della Porta, Genoa, Metropolitan City of Genoa, Italy

Jesuit church of Santi Ambrogio e Andreaw

During the tumultuous 6th century, Bishop Onorato of Milan found himself in a precarious situation, fleeing from the Longobard persecutions that swept through the region. Seeking refuge, he embarked on a journey that led him to the welcoming shores of Genoa. It was here, amidst the embrace of this coastal city, that Bishop Onorato laid the foundation for the Church of Saint Ambrose, a name that held deep significance as Ambrose stood as the revered patron Saint of Milan.

The early days of the church were marked by a sense of communal devotion, as the Milanese community rallied around this sanctuary. However, as the centuries passed, circumstances shifted. Abandoned by its original congregants in the 7th century, the church would find new life in the 16th century under a different stewardship—the Jesuits.

In 1522, a transformative chapter began for the Church of Saint Ambrose as the Jesuits undertook the task of rebuilding the aging structure. Guided by the visionary designs of architect Giuseppe Valeriano, the church underwent a remarkable metamorphosis. The façade itself underwent a profound transformation in the late 19th century, reflecting the intricate tapestry of influences that shaped its identity. Inspired by the artistic essence of Rubens, the façade took on a Baroque visage, adorned with sculptures of Sant Ambrogio and Sant Andrea, masterfully crafted by the skilled hands of Michele Ramognino.

Stepping within the hallowed walls, one is greeted by a symphony of artistic expressions that narrate stories of faith and devotion. The intricate frescoes adorning the nave and dome, meticulously painted by Giovanni Battista Carlone, infuse the atmosphere with vibrant hues and timeless narratives. At the heart of the sanctuary, the main altar stands adorned with a trio of paintings that unfurl the stories of old. Peter Rubens’ “Circumcision,” Giovanni Battista Merano’s “Massacre of the Innocents,” and Domenico Piola’s “Flight into Egypt” form a tableau of spiritual contemplation. The statues of Peter and Paul, sculpted by Giuseppe Carlone, lend an air of reverence to this sacred space.

Chapels unfold like chapters in a rich tapestry of devotion. The first chapel beckons with a fresco by Giuseppe Galeotti, juxtaposed with a painting by Giovanni Andrea De Ferrari. Saint Carlo Borlomeo and Sant Ambrogio stand as sentinels in sculptural form, their presence a testament to the intertwining of faith and history, meticulously chiselled by the hands of Giovanni Domenico Casella.

Venturing deeper, the second chapel reveals frescoes by Lorenzo De Ferrari, resonating with a sense of divine narrative. It is here that Simon Vouet’s “Crucifixion” commands attention, a testament to the evocative power of art to convey the timeless message of sacrifice. Nestled beside the altar, Tommaso Orsolino’s nativity scene emanates an aura of contemplative serenity.

The third chapel unveils frescoes that trace Lorenzo De Ferrari’s artistry, while Guido Reni’s luminous painting of the Assumption takes centre stage, inviting reflection on the profound mysteries of faith. With each stroke of the brush and every chiseled contour, this sacred space becomes a repository of devotion, encapsulating the essence of generations past and inviting all who enter to partake in the spiritual journey it embodies.

Location: Chiesa del Gesù e dei Santi Ambrogio e Andrea, Via di Porta Soprana, Genoa, Metropolitan City of Genoa, Italy

Piazza De Ferrari (Ferrari Square)

Fontana Di Piazza De Ferrari — CC BY-SA 4.0 / Maurizio Beatrici

Raffaele Luigi De Ferrari, renowned as the Prince of Lucedio, Duke of Galliera, and esteemed senator of the Kingdom of Sardinia, displayed his acumen in 1837 when he acquired the entire collection of assets that had been bestowed by Napoleon I in 1812, procured through Prince Oscar of Sweden. His affluence was boundless, as was his status as a Grand Officer of the Order of Italy. These distinctions, while not exhaustive, were ample enough to lead to the christening of Genoa’s principal square in his name.

Spanning an expanse of 120,000 square feet, Ferrari Square stands at the heart of the city. In its midst stands an imposing bronze fountain, a grand creation brought to life in 1936 through the design prowess of architect Giuseppe Crosa di Vergagni.

The historical evolution of this square is fascinating. In 1814, the venerable Church of San Domenico made way for the construction of the magnificent Carlo Felice Theater, an architectural marvel designed by Carlo Barabino that was finally completed in 1827. Subsequently, in 1831, the two-story Linguistic Academy took up residence in this revered space.

The year 1877 marked a significant milestone, when the square was officially named Ferrari Square in honour of Raffaele Luigi De Ferrari, a year after his passing. A notable commemoration graced the square in 1893, with the striking equestrian statue of Giuseppe Garibaldi, a revered figure in the annals of Italian revolution, finding its place before the entrance of the Carlo Felice Theatre.

Over time, a quartet of imposing edifices showcasing eclectic architectural styles came into being. The New Stock Exchange Palace (Palazzo della Nuova Borsa) was unveiled in 1912, followed by the Palace of the Italian Credit (Palazzo del Credito Italiano) in 1914, and the Palace of the Liguria Region (Palazzo della Regione Liguria) in 1923.

Amid this dynamic urban landscape, historic structures also hold their ground. The Ducal Palace, originating from the 13th century and meticulously restored in 1992, stands as a beacon of cultural heritage, housing both a museum and a hub of intellectual exchange. The Giulio Pallavicini Palace, an architectural gem built in 1586, exudes timeless elegance. Equally notable is the Agostino Spinola Palace, a resplendent creation from the 18th century, which today serves as the Bank of Rome, a testament to the enduring significance of this remarkable square.

Location: Piazza De Ferrari, Piazza Raffaele de Ferrari, Genoa, Metropolitan City of Genoa, Italy | Hours: 24 Hours | Price: Free

Palazzo Ducale (Doge's Palace)

Palazzo Ducale Genoa — Public Domain / Jensens

Once the residence of the Doges of Genoa, The Duke’s Palace stands as a testament to the city’s historical legacy. Nestled at the heart of the city, it can be accessed from both Matteotti Square and Ferrari Square. Its origins trace back to the 13th century, a pivotal period when Genoa was asserting itself as a dominant maritime force.

During that time, the leader of the state was known as the Captain of the People. However, the Captain and their entourage lacked a permanent residence, often finding shelter in the Archbishop’s Palace or the homes of prominent families like the Doria and Fieschi.

This situation underwent a significant transformation by 1294 when Corrado Doria, a Co-Captain of the People, and Oberto Spinola acquired the Doria family buildings and Alberto Fieschi’s mansion. These structures were amalgamated to create what later became the abbots’ palaces.

In the year 1339, Simone Boccanegra, also known as “Simon Blackmouth,” ascended to the position of Genoa’s first doge. This marked a turning point, and the palace was henceforth referred to as the “Duke’s Palace.” Over the 14th century, further architectural additions expanded the complex, while the 15th century saw the incorporation of a garrison building, culminating in the square’s transformation into a fortified courtyard.

Tragedy struck in the 18th century when a devastating fire consumed the palace. However, it was resurrected under the direction of architect Simone Cantoni. The reconstruction included a new marble facade and a redesign of the public spaces adorned with opulent gilded stucco and marble elements.

In the present day, this venerable center of authority serves a multifaceted purpose. It hosts exhibitions, meetings, special events, and functions as a library and museum. Notably, it represents Europe’s most extensive restoration endeavor, encompassing a sprawling 300,000-square-meter structure.

Location: Doge's Palace, Piazza Giacomo Matteotti, Genoa, Metropolitan City of Genoa, Italy | Hours: Visits to the tower and prison 10:00 - 13:00, 15:00 - 18:00. Mon closed. | Price: Tower and prison €5 | Website

Cathedral of San Lorenzo

The Cathedral of San Lorenzo stands as the paramount ecclesiastical structure in Genoa. Its origins trace back to around 1098, and the inaugural ceremony was graced by Pope Gelasius II in 1118. With the fortification of the city’s walls, the vicinity surrounding San Lorenzo evolved into the pulsating heart of the city. During the medieval era, this church assumed the role of a central stage, profoundly influencing the social and political fabric of Genoa’s inhabitants.

A catastrophic fire in 1296 precipitated the church’s reconstruction, culminating in the completion of its facade in 1312. During this phase, the colonnades were meticulously refurbished, and matron galleries found their place. The comprehensive construction process spanned centuries, with final touches materializing in the 17th century. The subsequent restoration efforts of the dome and medieval sections occurred between 1894 and 1900.

The cathedral’s main facade is characterized by three resplendent Gothic portals embellished with recessed arches. Above the central portal, a lunette boasts reliefs portraying Christ alongside Saint Lawrence. Dominating the center portal, a sizable rose window emanates an exquisite radiance. The front steps are flanked by two stone lions and a pair of shorter columns. Adding to the facade’s allure are two unequal-height towers, gracing the vista with an imposing presence.

Internally, the cathedral adheres to a basilica plan, encompassing a transept and choir. Three naves are demarcated by columns bedecked in marble, crowned by arches characterized by alternating light and dark bands. Above this level, smaller Romanesque arches crafted from gray stone grace the space.

One of the side chapels on the left side is dedicated to Saint John the Baptist, the patron saint of Genoa. This sanctuary harbors an urn containing relics of the revered saint, transported here at the culmination of the First Crusade.

A curious historical footnote unfolded on February 9, 1941, when the Cathedral of Saint Lawrence found itself in the line of fire from the English battleship HMS Malaya. Remarkably, an armor-piercing shell penetrated a corner of the nave. Due to the relatively soft material, the fuse failed to detonate, resulting in the shell’s preservation within the structure. This intriguing artifact beckons your attention as you explore the cathedral.

Entry to the cathedral is free, yet admission fees apply for those wishing to access the treasure museum housed within its walls.

Location: Cathedral of San Lorenzo, Piazza San Lorenzo, Genoa, Metropolitan City of Genoa, Italy

Palazzo San Giorgio

The Byzantine Emperor Michael VIII found himself indebted to Genoa due to their alliance during the conflict against the Latin Empire. In a gesture of gratitude, Emperor Michael contributed materials taken from the Venetian embassy in Constantinople to Guglielmo Boccanegra. With these resources, Boccanegra brought his waterfront palace aspirations to life in the year 1260.

The facade of Guglielmo’s magnificent palace was adorned with stone lions, symbols associated with Venice’s patron saint, Mark. However, this grandeur was short-lived, for merely two years later, Boccanegra was ousted from his role as Captain of the People and compelled into exile. The palace’s function transitioned into that of a prison, housing the likes of Marco Polo, whose captivating memoirs were dictated to Rustichello of Pisa. This accomplished romance writer notably collaborated with Marco Polo in crafting his autobiography, “The Travels of Marco Polo,” during their shared imprisonment.

Originally conceived to serve as the hub for port authorities, the palace’s design was entrusted to Frate Oliverio, a Cistercian monk. By the year 1400, the edifice transformed into the headquarters of the Bank of San Giorgio, a pioneering Italian financial institution.

In 1570, an Eastern wing was incorporated, housing customs offices, archives, and the secure vaults of the bank. Subsequently, in 1608, the main facade was adorned with heroic frescoes, with the centerpiece featuring the depiction of Saint George and the dragon. The roof above the central portion of the facade saw the addition of a clock tower.

Adorning the facade’s niches are statues commemorating iconic figures from Genoa’s history. This distinguished lineup includes Christopher Columbus, Andrea Doria, Biagio Assereto, Simone Boccanegra, Guglielmo Embriaco, and Caffaro di Rustico.

In the present day, the Palace of St. George serves as the administrative nucleus of the Port, embodying a convergence of history and contemporary utility.

Location: Palazzo San Giorgio, Palazzo San Giorgio, Genoa, Metropolitan City of Genoa, Italy | Hours: Open every day except Sundays, from 9: 00 a.m. to 12:30 p.m. and from 4:00 p.m. to 7:00 p.m. Only open from 4:00 p.m. to 7:00 pm on Mondays.

Porto Antico di Genova

Porto Antico Genova — CC BY-SA 4.0 / Stefano15

The Genoa Old Port serves as a nostalgic gateway to the city’s illustrious past as a prominent maritime hub and sea-faring powerhouse. With a keen focus on catering to tourists, the Old Port seamlessly conjures the essence of bygone eras. Within its expanse, visitors can feast their eyes on an eclectic mix of historical galleons, contemporary sleek yachts, and imposing cruise ships, all nestled in the harbor.

Encompassing a blend of offerings, the Old Port boasts an array of restaurants, museums, an engaging aquarium, a dynamic auditorium, a unique botanical garden encapsulated within a bubble, and a colossal octopus crane that elevates visitors for an enhanced vista of the captivating Genoa Old Port. This harbor proves to be an idyllic setting for a leisurely sunset stroll, affording panoramic views of the sea while still immersed within the city’s embrace. Even a moonlit walk holds its own allure.

The realization of this transformation was achieved under the visionary guidance of Renzo Piano, a globally acclaimed architect hailing from Genoa. His vision aimed to breathe new life into the timeworn industrial expanse of the old port, converting it into a cultural epicenter and a prime destination for tourists.

A noteworthy milestone in this rejuvenation was the International Exhibition Genoa ’92 – Colombo ’92, which unfolded from May to August. Reverberating with the theme “Christopher Columbus, the Ship, and the Sea,” the event commemorated the 500th anniversary of Columbus’ momentous voyage to the New World. It concurrently marked the unveiling of the revitalized Genoa Old Port, solidifying its place as a timeless testament to the city’s maritime heritage and modern-day allure.

Location: Porto Antico di Genova, Italy

Galata Museo del Mare (Galata Maritime Museum)

Galata Museo Del Mare; Genova — CC BY-SA 2.0 / Christine Zenino

The term “Galata” refers to the historical Genoese enclave situated in Istanbul, Turkey. This enclave held a position of paramount importance among the Genoese colonies in the Mediterranean. However, by the 15th century, their presence in this community had waned. In the 19th century, the Genoa municipality embarked on the construction of an expansive network of commercial docks, and the oldest of these docks bore the name of the erstwhile lost colony.

Galata thrived as a vibrant shipyard where Genoese galleys were meticulously crafted. As the 20th century unfolded, Genoa’s maritime prominence underwent transformation, leading to the eventual abandonment of the district. The 1990s marked a pivotal turning point when the decision was made to establish a maritime museum within the Galata district. The Galata Palace, meticulously revitalized by architect Guillermo Consuegra, was designated as the museum’s home.

Subsequently, the museum opened its doors in 2004. In 2005, it amalgamated with the Commenda Museum-Theatre and the Naval Museum of Pegli, evolving into the Institute of Museums of the Sea and Migration.

The museum’s ground floor unfolds the saga of galleys, featuring a life-size model of a 17th-century galley and an exhibition showcasing armour, weaponry, portraits of noteworthy figures like Columbus and Andrea Doria, alongside an array of documents, charts, and navigational tools.

The first and second floors are a tribute to sailing and shipyards, housing a reproduction of a Brigantine, a shipyard workshop display, and an immersive experience simulating a tempestuous ordeal off Cape Horn. The third floor is dedicated to the grand era of Transatlantic liners, boasting a mockup ship’s bridge and a simulation detailing an immigrant’s journey from Gibraltar to New York.

Notably, the museum’s dock serves as a mooring site for the submarine Nazario Sauro, an intriguing floating extension of the museum experience.

Location: Galata Museo del Mare, Calata Ansaldo De Mari, Genoa, Metropolitan City of Genoa, Italy | Website

Palazzo Reale (Royal Palace Museum)

Genova Palazzo Reale Giardino — CC BY-SA 4.0 / Zairon

The Balbi family’s prosperity stemmed from their involvement in the silk trade and financial ventures. In the 17th century, they brought their aspirations to life by constructing a magnificent palace, a marvel that now holds a revered spot on the esteemed list of World Heritage Sites.

Tragedy struck Stefano and Giovanni Battista Balbi, as they fell victim to the devastating plague of 1657. Subsequently, the palace exchanged hands and found new owners in the Durazzo family. The Durazzo lineage, originating from Albania and having evolved into prosperous merchants in Genoa, took charge of the palace’s legacy.

In the year 1823, the Royal Savoia family entered the picture, acquiring the palace. King Carlo Felice di Savoie utilized the palace as his summer residence, adding another layer of historical significance. From 1919 onward, the palace has been under state ownership.

Today, the palace serves as the domicile for Liguria’s Department for Artistic, Historical, and Archaeological Heritage and the Royal Palace Museum. Notably, each room within the palace boasts a distinct interior style, contributing to a captivating tapestry of design.

The Battle Room pays homage to naval engagements of the 18th century through vivid paintings. The Hall of Time showcases an assemblage of 23 masterpieces by Tintoretto and Bassano. Meanwhile, the Hall of the Veronese features a 17th-century replica of “The Supper of Christ in the House of Simon the Pharisee.”

Drawing inspiration from the Versailles Ice Gallery, the Hall of Mirrors is a creation by Domenico Parodi for Girolamo II Durazzo. This opulent space was once employed as a grand dining hall, hosting luminaries such as Emperor Joseph II of Austria and Napoleon Bonaparte.

Lastly, the Chapel Gallery is a haven dedicated to the Passion of Christ. Among its treasures is a striking portrayal of Christ at the Column, a masterpiece painted by Filippo Parodi.

Location: Palazzo Reale, Via Balbi, Genoa, Metropolitan City of Genoa, Italy | Website

Basilica of the Santissima Annunziata del Vastato

The term “vastato” has its roots in the Latin word “vastinium.” This term signifies a strip of land lying beyond the city walls that was cleared for defensive purposes. The Basilica of the Santissima Annunziata del Vastato was erected beyond the city’s protective walls. The inception of its construction took place in 1520 under the auspices of the Franciscans, situated on the former grounds of the Church of Santa Maria del Prato.

However, progress was halted in 1537 and only recommenced in 1591, under the patronage of the Lomellini family. Architect Taddeo Carlone spearheaded the continuation of the construction. During the 17th century, Baroque embellishments were incorporated, guided by the artistic direction of painter Andrea Ansaldo. The contemporary Neoclassical facade, a creation of Carlo Barabino, was integrated between 1830 and 1840.

A Latin portico, adorned with a triangular roof, stands as the entrance to the basilica. This feature is supported by six ionic stone columns and two pilasters. The facade’s upper portion is embellished with two lunette windows, with the smaller window positioned above the larger one. Flanking the facade are two bell towers, adding to the basilica’s architectural grandeur.

Internally, the church follows a Latin cross layout, with three naves divided by rows of Corinthian columns and arches. This arrangement forms an exquisite setting that resembles a 17th-century art gallery. The interior is bedecked with opulent inlaid marble, ornate gilded stucco, and frescoes contributed by 23 local artists and sculptures by 13 craftsmen. The result is a sumptuous visual feast that captures the essence of artistry and devotion.

Location: Santissima Annunziata del Vastato, Piazza della Nunziata, Genoa, Metropolitan City of Genoa, Italy

Spianata di Castelletto (Esplanade of Castelletto)

Belvedere Castelletto — CC BY-SA 4.0 / EvelinaRibarova

The term “Castelletto” means “little castle.” It generally refers to a neighborhood, not a mini fortress. There was a small fortress overlooking Genoa proper. It was built in the 10th century and torn down in the 19th century to clear room for residential buildings.

When the Castelletto was demolished, it left behind the Belvedere Montaldo, a vantage point 240 feet high offering great views of Genoa proper. The best way to reach the Belvedere is the public lift in Portale Square, described as the best route to heaven by the poet Giorgio Caproni. The lift terminus is a beautiful art nouveau tower.

It is not widely known that the city’s old reservoirs, which collected water from the ancient aqueduct over the Bisagno Valley, are located under the ruin of the Castelletto.

The Esplanade of Castelletto neighborhood is in the hills above the city. It is a real neighborhood, ideal for afternoon or evening explorations. It is easily reached from the city center.E

Location: Spianata Castelletto, Spianata di Castelletto, Genoa, Metropolitan City of Genoa, Italy

Via Giuseppe Garibaldi (Giuseppe Garibaldi Street)

Doria Tursi Interno — CC BY-SA 4.0 / Maurizio Beatrici

Giuseppe Garibaldi Street stands as one of the captivating “New Streets” that emerged during the Renaissance era, a testament to the vision of Genoese aristocrats. Constructed in 1583, the street initially bore the names Major Street (Strada Maggiore) or New Street (Strada Nuova). In 1882, it was bestowed the name Giuseppe Garibaldi. The street spans 956 feet in length and spans 25 feet in width.

During the 16th and 17th centuries, the affluent oligarchs of Genoa harbored aspirations to reshape their medieval city and expand it into the northern regions. The city was basking in unprecedented opulence, equipped with ample resources to fuel its urban expansion ambitions. The elite, brimming with nobility and prosperity, envisioned a city adorned with opulent palaces and splendid villas nestled in the outskirts.

The street’s nomenclature underwent transformation, evolving from New Street and Major Street to the evocative Golden Street (Strada Aurea). Ultimately, in 1882, the name solidified as Giuseppe Garibaldi Street. Along this notable avenue, the New Street Museum complex finds its place, flanked by three prominent palaces: Doria Tursi Palace (which serves as the Town Hall), White Palace, and Podesta Palace.

During the days of the Republic, the city maintained Rolli, curated lists cataloging the most magnificent homes and palaces belonging to noble families. These illustrious abodes would host significant state visits. Depending on the visitor’s stature, a palace would be designated as the host venue. Notably distinguished guests were afforded the most sumptuous, opulent accommodations.

Twice each year, in both spring and autumn, Genoa ushers in Rolli Days. On these weekends, the exquisite edifices lining Giuseppe Garibaldi Street fling open their doors to welcome the public within their ornate confines.

Charles Dickens, in his work “Pictures from Italy,” eloquently penned: “…When shall I forget the Streets of Palaces: the Strada Nuova and the Strada Balbi!…again, and again, and again,…every palace is succeeded by another…” These streets are a captivating facet of Genoa that never ceases to surprise and inspire.

Location: Palazzo Doria Tursi, Via Garibaldi, Genoa, Metropolitan City of Genoa, Italy | Hours: From 1st Novemeber From Tuesday to Friday 9 am - 6.30 pm Saturday and Sunday 9.30 am - 6.30 pm Closed: MondayFrom 18 April from Tuesday to Friday 9 am - 7 pm Saturday and Sunday 10 am - 7,30 pm Closed on non-holiday Mondays Last admission one hour before closing | Price: The Genova Museum Card is a single ticket, valid for 24 hours , which allows you to access only once the 28 city museums, 19 civic museums and 9 non-civic museums, for the price of 15 euro inclusive of AMT public transport | Website

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Self-guided Walking Tour of Florence (With Maps!)

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Florence, located in Italy’s Tuscany region, serves as its capital. It’s an exquisite city boasting centuries of history and showcasing remarkable Renaissance art and architecture. Among its renowned landmarks are the iconic Florence Duomo, the Galleria dell’Accademia, where Michelangelo’s masterpiece sculpture “David” is housed, and the Uffizi Gallery.

Whether you have just a day to explore Florence or an extended stay in this picturesque city, there’s an abundance of activities to keep you occupied. As one of my preferred Tuscan cities, Florence never fails to offer fresh discoveries!

Uffizi Gallery

Florence, Italy Uffizi Museum — CC BY-SA 3.0 / Michelle Maria

If you had to choose just one Renaissance location to visit in Florence or in the entire world, the most obvious and compelling choice would be the Uffizi Gallery. Housed in the Palazzo degli Uffizi, originally intended as the offices of magistrates, this magnificent structure was constructed in the 16th century by Giorgio Vasari for Cosimo Medici, the first Duke of Florence. It became an ideal space to house the Medici family’s remarkable art collection and has grown to become one of Florence’s most popular tourist attractions.

The Uffizi Gallery boasts an awe-inspiring collection of must-see works of art, including masterpieces by Sandro Botticelli, Leonardo da Vinci, Michelangelo, and Caravaggio, among others. The interior decoration, particularly the intricate ceilings, is equally spectacular and worth exploring. With over 50 lavish rooms to wander through, visitors may find it challenging to absorb everything in one visit. Taking a break and recharging at the on-site café with a terrace is highly recommended, offering unparalleled views of Florence.

Due to its world-class status, the museum is often crowded, and long queues are not uncommon, especially during peak seasons. Booking tickets in advance through the official website can significantly reduce wait times and may offer discounted rates.

The Uffizi’s internal courtyard, designed by Vasari, is a long and narrow space opening towards the Arno River through a Doric screen, and its innovative architectural features set a precedent for standardized streetscapes in Europe. Michelangelo’s masterpieces, including “David” and the “Doni Tondo,” can also be admired within the gallery, displaying his extraordinary talent as both a sculptor and a painter.

Overall, the Uffizi Gallery is a true treasure trove of Renaissance art and a captivating experience that immerses visitors in the beauty of history and creativity.

Location: Uffizi Gallery, Piazzale degli Uffizi, Florence, Metropolitan City of Florence, Italy | Website | Skip-the-Line Uffizi Small Group Tour Available!

Museo Galileo

From the Uffizi Gallery walk under the archway and onto the road overlooking the Arno river. Turn left and the next building you come to is the Uffizi Gallery.

The museum dedicated to Galileo Galilei in Florence is a remarkable tribute to the renowned scientist and a must-visit destination for anyone interested in the history of science and astronomy. Galileo, born in Pisa in 1564, made groundbreaking discoveries that revolutionized our understanding of the universe. His telescopes and lens, which played a pivotal role in observing Jupiter’s moons, are on display, providing a unique opportunity to connect with the scientific legacy of this great mind.

One of the highlights of the museum is the large-scale reconstructions of Galileo’s experiments on motion, weight, velocity, and acceleration. These interactive displays, sometimes demonstrated by knowledgeable staff members, offer visitors a hands-on experience of the scientific principles Galileo explored.

The museum also pays homage to the Academy for Experimentation (“Accademia del Cimento”), founded in 1657 in Florence, making it the world’s first scientific institution. The academy was established as a tribute to Galileo, and its pioneering inventions are proudly showcased here. Early thermometers, hygrometers, and barometers developed by the academy members provide fascinating insights into the early advancements in scientific instruments.

Aside from Galileo’s contributions, the museum features other historical artifacts related to exploration and navigation. The 1554 world map created by Portuguese cartographer Lopo Homem and the nautical instruments devised by Sir Robert Dudley are just some of the treasures that visitors can admire during their visit.

Overall, the museum dedicated to Galileo Galilei is a journey through the scientific legacy of one of history’s most influential figures. It offers a unique opportunity to appreciate the wonders of astronomy, scientific experimentation, and the remarkable innovations that emerged during Galileo’s time.

Visiting Museo Galileo: Daily 09:30 – 18:00, Tuesday 09:30 – 13:00 € 13,00 Buy Now

Location: Museo Galileo, Piazza dei Giudici, Florence, Metropolitan City of Florence, Italy | Hours: Daily 09:30 - 18:00 | Price: Adults: €13.00 | Website | Buy Museo Galileo Entry Tickets Here!

Piazza della Signoria

From the entrance turn left and walk down Via dei Castellani. Turn second left into Via della Ninna.

Signoria Square, located alongside the Cathedral Square, is a significant center of attraction in Florence and serves as the city’s civil heart. Dominated by the formidable Palazzo Vecchio, a fortified palace, the square is steeped in historical importance as it was the birthplace of the Florentine Republic. This square holds a special place in the hearts of the locals, serving as a hub of social life and evoking images of Michelangelo’s “David,” which once stood here in its original location, now replaced by a replica.

The square’s central location dates back to Roman times when it was a small town called Florentia, surrounded by a theatre, baths, and a textile workshop. Over the centuries, various additions were made, including a church, a loggia, and an enormous 5th-century basilica, as revealed during excavations in the 1980s.

One of the captivating aspects of Signoria Square is its asymmetrical shape and the multitude of artworks it houses, both large and small. This makes it a favourite spot for photographers, who capture the square’s beauty from various angles. Even without a camera, standing in the middle of the square and taking in the 360-degree view is a mesmerizing experience.

The square is dominated by the formidable Palazzo Vecchio, a fortified palace. Adjacent to it is the “Loggia dei Lanzi” or Lanterns’ Lodge stands, functioning as an open-air museum accessible to the public free of charge. The lodge boasts an impressive collection of statues, including the renowned “Rape of the Sabine Women,” “Hercules and the Centaur,” and a bronze “Perseus,” all strategically positioned to engage the visitors.

Location: Piazza della Signoria, Piazza della Signoria, Florence, Metropolitan City of Florence, Italy

Palazzo Vecchio (Old Palace)

Exterior Of Palazzo Vecchio — CC BY-SA 4.0 / Jordiferrer

The Palazzo Vecchio, also known as the Old Palace, is an essential site to visit in Florence, offering a profound understanding of the city’s history and culture. This grand Romanesque-style palace has been a significant seat of power in Florence since its construction in 1299, serving as the town hall for centuries and currently housing the office of the Florence mayor since 1872.

During the reign of Cosimo I de’ Medici, who became the Grand Duke, the palace underwent a transformation as it was enlarged and renovated in the Renaissance style. The palace’s facade is adorned with shields depicting the city’s political history and is embellished with a series of sculptures, including remarkable works like Michelangelo’s “David,” Donatello’s “Judith and Holofernes,” the “Hercules and Cacus,” and the heraldic lion symbolizing Florence known as “Marzocco.”

Exploring the Palazzo Vecchio offers a captivating journey through time. From the grand Hall of the Five Hundred (“Salone dei Cinquecento”), designed to celebrate the Duke’s victories, to the more intimate quarters, visitors are immersed in historical intensity and artistic wonders. Giorgio Vasari’s iconographic program has adorned the private quarters of the Medici rulers with magnificent decorations, providing a glimpse into their secluded lives.

The palace’s Tower of Arnolfo is an additional attraction, and access may require an additional fee. Marvelling at the breath-taking ceilings in each room is a memorable experience, although it may lead to a crick in the neck due to their grandeur.

One of the remarkable sculptures in the grand hall is Michelangelo’s marble group, “The Genius of Victory.” Originally intended for Julius II’s tomb, the sculpture represents an allegory of triumph rather than a moment of battle. The expressive treatment of the surfaces and the contrast between the young and elegant genius and the dominated older captive create an extraordinary visual impact.

In addition to the museum, you can also climb the Torre di Arnolfo, tower of Palazzo Vecchio. The tower is 95 metres high and you have a great view over the city centre of Florence. You can also go up to the fortress wall. There are tickets for the museum, for the wall and for the tower individually or as a cheaper combination ticket.

Visiting Palazzo Vecchio (Old Palace):
Museum: €12.50 Friday to Wednesday 9:00 am – 7:00 pm and Thursday 9:00 am – 2:00 pm
Palazzo Vecchio Tower (Torre di Arnolfo): €12.50 Friday to Wednesday 9:00 am – 5:00 pm and Thursday 9:00 am – 2:00 pm

Top Tip for Visiting Palazzo Vecchio: The queues at the ticket counter in Palazzo Vecchio are often very long. Waiting for 2 hours or more is not uncommon. Skip the Line tickets for Palazzo Vecchio are available. These tickets without queuing are slightly more expensive at about €20.00. You also have the option of taking a Palazzo Vecchio Guided Tour (€50).

Location: Palazzo Vecchio, Piazza della Signoria, Florence, Metropolitan City of Florence, Italy | Hours: MUSEUM Monday/Tuesday/Wednesday/Friday / Saturday /Sunday - 9 a.m.-7 p.m. Thursday: 9 a.m - 2 p.m.TOWER Monday/Tuesday/Wednesday/Friday - 9 a.m.-5 p.m. Thursday: 9 a.m. - 2 p.m. Please arrive 15' before your visit | Price: Adults: €12.50 | Website | Palazzo Vecchio Guided Tour Available!

Loggia dei Lanzi

The 14th-century loggia that showcases remarkable works of art. Among these are Giambologna’s “Rape of the Sabine Women,” Benvenuto Cellini’s bronze “Perseus” (1554), and Agnolo Gaddi’s “Seven Virtues” (1384–89). The loggia derives its name from the Lanzichenecchi, Swiss bodyguards of Cosimo I, who were stationed here. Present-day guards continue this tradition, vigilantly monitoring crowd behaviour and strictly forbidding anyone from carrying food or drink within the area.

On the Loggia dei Lanzi, the statues are arranged in three rows. In the first row, there are two lions, and on the right and left of them stand two very well-known statues. In the middle row, there are three sculptures, and behind the back wall, there are six more statues.

Location: Loggia dei Lanzi, Piazza della Signoria, Florence, Metropolitan City of Florence, Italy

Complesso di San Firenze & Zeffirelli Museum

Walk past the Replica of statue of David and turn left at the Fountain of Neptune. The Palazzo Gondi built in 1490 is on your left. Turn left into Piazza di S. Firenze, the Complex of San Firenze, located on the southeast corner of San Firenze Square.

The complex of San Firenze (Complesso di San Firenze) in Florence is one of the rare examples of the Baroque style in the city, which now houses the Museum Zeffirelli (Museo Zeffirelli) and the Church of San Filippo Neri (Chiesa di San Filippo Neri). A part of it was used as the city court until a few years ago.

The museum exhibition at the Franco Zeffirelli Foundation takes visitors on a journey through Zeffirelli’s life and career, starting from his humble beginnings in 1953. The exhibition is organized into 20 chapters, each represented in different rooms, showcasing nearly 300 sketches, posters, fliers, costumes, set-design models, original drawings, and behind-the-scenes photographs from his film sets. Zeffirelli’s work includes notable films such as “Tea with Mussolini,” “Hamlet,” “Jane Eyre,” “The Taming of the Shrew,” and his acclaimed 1968 version of “Romeo and Juliet,” which earned him an Academy Award nomination. The museum also features a tearoom on the ground floor, extending into the palazzo courtyard, providing visitors with a pleasant space to relax. Adjacent to the tearoom, a store offers Zeffirelli’s books and film memorabilia, allowing enthusiasts to delve deeper into the legacy of this extraordinary filmmaker.

Visitng Zeffirelli Museum: €12, 10.00 to 18.00 from Tuesday to Sunday.

Location: Complesso di San Firenze, Piazza di San Firenze, Florence, Metropolitan City of Florence, Italy | Website

Museo Nazionale del Bargello

Palau Del Bargello Florence — CC BY-SA 3.0 / Joanbanjo

Continuing up Via del Proconsolo you soon come to the Museo Nazionale del Bargello on your right.

The Bargello Museum in Florence is a must-visit destination for architecture enthusiasts and art lovers alike. Housed in a medieval fortress, the museum boasts a remarkable collection of some of Italy’s most treasured sculptures and artworks. Originally known as the People’s Palace (“Palazzo del Popolo”), the Bargello is one of the city’s oldest structures, dating back to 1255. Over the centuries, the building has served various functions, including housing the “Captain of the People,” the chief of police in Florence, known as the “bargello,” which gave the palace its name. Later, it was used as a prison until the mid-19th century when it was transformed into a museum showcasing a vast array of Gothic and Renaissance sculptures.

Inside the museum, visitors can admire works by renowned artists such as Michelangelo, Verrochio, Brunelleschi, and Donatello, among others. Donatello’s statue of David is a particular highlight, as it holds great significance as the first male nude sculpture publicly exhibited since ancient times, representing a pivotal moment in the evolution of European art.

The Bargello’s inner courtyard provides an elegant space adorned with relief and freestanding sculptures, creating a picturesque setting for visitors to enjoy. The gallery, located off the courtyard, and the spacious exhibition area above house some of the museum’s most famous pieces.

In addition to its exceptional Renaissance treasures, the museum’s collection includes rare artifacts from the Byzantine, Roman, and Medieval periods. Visitors can also appreciate jewelry pieces from the European Renaissance and Islamic origins, adding to the diverse and enriching experience.

To enhance the visitor experience, all exhibits at the Bargello Museum are accompanied by English descriptions, ensuring that art enthusiasts from around the world can fully immerse themselves in the historical and artistic significance of the museum’s remarkable collection.

Visiting Museo Nazionale del Bargello: €11.00 Monday, Friday, Saturday and Sunday 08.15-18.50; Wednesday, Thursday. 08.15-13.50. Bargello Museum: Skip the Line Tickets

Location: Museo Nazionale del Bargello, Via del Proconsolo, Florence, Metropolitan City of Florence, Italy | Hours: 9 April to 30 September 2023 08.15-18.50 Monday, Friday, Saturday and Sunday 08.15-13.50 Wednesday, Thursday1 to 30 October 2023 08.15-18.50 Saturday and Sunday 08.15-13.50 Monday, Wednesday, Thursday and Friday | Price: Adults: €11.00 | Website | Reserved Entry Ticket to Bargello Museum

Badia Fiorentina - Monastero

A little further up Via del Proconsolo on the opposite side of the road to the Bargello National Museum is the Badia Fiorentina – Monastero

The Badìa Fiorentina is a beautiful old monastery that is situated in the historical centre of Florence. It is also known as the Abbey of Santa Maria Assunta and is one of the five ancient abbeys of the city. It is located very close to where Dante grew up. Established in 978 by Willa, the widowed spouse of Count Uberto of Tuscany, it has witnessed centuries of religious and cultural significance. The tomb of their son, Count Ugo, sculpted by Mino da Fiesole, adds to the abbey’s historical importance and showcases the skilled craftsmanship of the Renaissance era.

Inside the church, visitors are treated to Filippino Lippi’s masterpiece, “The Virgin Appearing to St Bernard,” a captivating artwork that brings life and emotion to the sacred space.

Exploring the Chiostro degli Aranci, or “cloister of the orange trees,” provides a tranquil retreat within the abbey complex. Although the orange trees cultivated by the monks are no longer present, the cloister’s early frescoes and the glimpse of the hexagonal 14th-century campanile mentioned by Dante in “The Divine Comedy” create a unique and enchanting atmosphere.

Location: Badia Fiorentina - Monastero, Via del Proconsolo, Florence, Metropolitan City of Florence, Italy | Price: Free | Website

Casa di Dante (Dante House-Museum)

Firenze, Casa Di Dante — CC BY-SA 4.0 / Gianni Careddu

Continue up Via del Proconsolo and turn first left onto Via Dante Alighieri. The second turning on the right is the Museo Casa di Dante. It stands opposite the early 14th century Torre della Castagna. The tower is called Chestnut, as the city council that used to place chestnuts in special bags during voting.

During the Renaissance, Florence witnessed extensive reconstruction, yet the eastern part of the city retains a distinctive medieval atmosphere. As you wander through the intricate maze of narrow alleyways and concealed passages, you will encounter scenes that would still be familiar to Dante Alighieri, the beloved Italian poet. Casa di Dante, his former residence, still stands near the parish church where he first caught sight of his beloved Beatrice Portinari.

Inside the three-story house-museum, you will find a captivating display of artifacts that shed light on crucial moments in Dante’s life. The first floor is dedicated to his early years, while the second floor showcases documents relating to his exile in 1301 and the final chapters of his life spent in Ravenna. As you ascend to the top floor, you will be greeted by an extensive collection of Dante’s personal belongings, including original items and carefully crafted replicas. Among these treasures, take delight in the miniature copy of the “Divina Comedia,” a testament to its enduring legacy as the smallest printed edition.

In Dante’s epic poem, he embarks on a journey through Hell and Purgatory, guided by the poet Virgil, only to be led through Paradise by his beloved Beatrice. Although Dante initially referred to his work as the “Comedy,” it gained immense popularity. Eventually, a lavish edition published in Venice in 1555 assumed the title we now universally recognize.

Visitng Casa di Dante: €8.00 Winter: November 1 – March 31: Tue. – Fri. 10am – 5pm & Sat. and Sun. 10 a.m. – 6 p.m. Summer: April 1 – October 31: Daily 10am – 6pm

Location: Museo Casa di Dante, Museo Casa di Dante, Via Santa Margherita, Florence, Metropolitan City of Florence, Italy | Hours: November - March: Tuesday through Friday from 10 a.m. to 5 p.m; Saturday and Sunday from 10 a.m. to 6 p.m.;Closed on Mondays April - October: Open daily 10 a.m. to 6 p.m | Price: € 8,00 | Website

Cattedrale di Santa Maria del Fiore (Florence Cathedral)

Cathedral Of Santa Maria Del Fiore & Piazza Duomo

Walk along the lane to the side of the museum. Turn left into via del Corso and then first right onto Via dello Studio at the end of which lies Florence Cathedral.

Indeed, the Florence Cathedral, commonly known as the Duomo, is a true architectural marvel and a symbol of Renaissance ingenuity. Its dome, designed by Filippo Brunelleschi, remains an engineering wonder to this day. The entire cathedral complex, including the dome, is a testament to the skill and creativity of the Renaissance masters who contributed to its construction.

The construction of the cathedral took several generations of architects and craftsmen, and Brunelleschi’s innovative approach to completing the dome was a game-changer. His use of large-scale models and specially designed machinery demonstrated his genius as an architect and engineer. It is fascinating to know that Leonardo da Vinci, one of history’s greatest polymaths, was inspired by Brunelleschi’s machinery and created sketches of it.

The statue of Brunelleschi standing in the piazza in front of the Cathedral pays tribute to his contribution and serves as a reminder of the extraordinary effort that went into creating this architectural masterpiece.

Inside the Dome, the fresco “Dante and the Divine Comedy” by Domenico di Michelino adds to the artistic and historical significance of the Cathedral. Depicting the renowned poet Dante Alighieri holding his masterpiece, “The Divine Comedy,” alongside scenes from Hell, Purgatory, and Heaven, the fresco celebrates Dante’s legacy. The inclusion of depictions of 15th-century Florence in the painting offers a unique perspective on the city’s history.

The exterior of the Cathedral, with its intricate mix of marbles, is another splendid aspect of the structure. The skilful combination of marbles creates a visual spectacle, almost resembling a work of art rather than solid stone.

Visiting Florence Cathedral: There are 3 types of ticket available see https://operaduomofirenze.skiperformance.com/

Ghiberti Pass €15.00
- Santa Reparata (Cathedral) : daily from 10 a.m. to 5 p.m., but on Sundays only from 1:30 p.m. to 4:45 p.m., probably because there is a service in the morning.
- Baptistery: Mon – Sat: 8:15 to 10:15, then small break and again from 11:15 to 19:30. On Sunday continuous from 8;15 to 13:30.
- Cathedral-Museum Florence: opening hours every day from 9 to 19 o’clock
Giotto Pass €20.00 (The above plus)
- Giotto’s Bell Tower: Very long opening hours every day from 8:20 to 19:15, also on weekends.
Brunelleschi Pass €30.00 (The above plus)
- Brunelleschi’s Dome: 8:30 a.m. to 7 p.m., on weekends shorter in the evening (Saturday to 5 p.m., Sunday to 4 p.m.).

Location: Cathedral of Santa Maria del Fiore, Piazza del Duomo, Florence, Metropolitan City of Florence, Italy | Hours: Generally open from 10.45am - 4.30pm Sundays and religious holidays: closedDuring Holy week - Holy Thursday: 12:30 - 4:30pm Good Friday: 10:30am - 4:30pm Holy Saturday: 11am - 4:45pm | Website | Guided Tour (includes Cathedral, Duomo Museum, and Baptistery)

Campanile di Giotto (Giotto's Bell Tower)

The famous Giotto’s Bell Tower is a freestanding belfry belonging to the Santa Maria del Fiore Cathedral in Florence. It was designed by the acclaimed painter and architect Giotto di Bondone, after whom it is named. Giotto is widely regarded as the first of many great Italian artists who contributed to the Renaissance. Soaring to a height of 85 metres, this tower stands as an exceptional example of Florentine Gothic architecture, adorned with intricate sculptural decorations and vibrant marble embellishments.

Tragically, Giotto passed away during the tower’s construction, and the project had to be completed by two other architects. Besides his contributions to Renaissance architecture, Giotto also left his mark as a skilled painter and sculptor. His artistic legacy is evident in the exquisite white, green, and red marble adornments on the tower, as well as the grand figurative cycle within the belfry, which he left unfinished.

Exploring the interior of the tower is possible, and out of the three major tall structures in Florence, climbing this one is arguably the easiest. Despite the seemingly daunting 414 steps, the staircase is designed in a way that allows for rest stops along the way. Each level within the tower houses a large bell, totaling seven bells—one for each musical note. Unlike the crowded spaces of the Duomo Cathedral and the Arnolfo Tower in the Old Palace (or “Palazzo Vecchio”), the resting areas within Giotto’s Tower are relatively spacious and engaging, offering visitors diverse and remarkable views of the city below.

From the very top, one can observe the Cathedral’s dome and the Baptistery of San Giovanni from a unique and somewhat unconventional perspective. The sweeping view of Florence includes its timeless alleys and rooftops that have retained much of their charm over the past five centuries.

Location: Campanile di Giotto, Cattedrale di Santa Maria del Fiore, Piazza del Duomo, Florence, Metropolitan City of Florence, Italy | Skip the Line Duomo Complex Tour with Giotto Tower Ticket Available!

Battistero di San Giovanni (Baptistery of St. John)

Baptistery, Florence — CC BY-SA 2.0 / Bradley Weber

The exquisite Florence Baptistry, named after Saint John the Baptist, the patron saint of the city, is located in the Cathedral Square and San Giovanni Square, diagonally opposite the Duomo Cathedral. It was constructed in the 7th century atop a Roman structure believed to have been a temple dedicated to Mars. The baptistery has an octagonal shape, a common feature of baptisteries since early Christian times. The number eight symbolizes regeneration in Christianity, representing the six days of creation, the day of rest, and the day of re-creation through the sacrament of baptism.

During its reconstruction in 1059, the baptistery was adorned with white and dark green marble, creating a striking zebra-like pattern. However, it is most renowned for its three sets of bronze doors. The south doors, designed by Andrea Pisano, depict scenes from the life of St. John and elegantly illustrate the eight virtues of Christianity in bronze. The north doors, crafted by Lorenzo Ghiberti, took him 21 years to complete and portray the life of Christ. Ghiberti was then commissioned to create the east door, on which he worked for an additional 27 years. These doors were famously dubbed by Michelangelo as the “Gates of Paradise,” and the ten panels on this door depict “the Story of Joseph.”

Inside, visitors can admire magnificent mosaics adorning the ceiling and a baptismal font that has been in place since 1576, used for the baptism of the son of Francesco I de’ Medici, the ruler of Florence. Besides members of the Medici family, the baptistery witnessed the baptisms of many Renaissance-era personalities and almost all Catholic Florentines until the 19th century. Exploring this architectural marvel is, therefore, a journey into the rich Catholic history of Florence.

Location: The Baptistery of St. John, Piazza San Giovanni, Florence, Metropolitan City of Florence, Italy | Hours: Sundays 8:15 am to 1:30 pm, Tuesday-Friday 8:15 to 10:15 am, 11:15 am to 7:30 pm, Saturdays 8:15 am to 7:30 pm. | Price: A cumulative ticket to the entire Duomo complex costs €18 and is valid for 72 hours after the first entry. | Website | Baptistry Small-Group Tour (Includes Dome Climb, Museum)!

Palazzo Medici Riccardi (Medici Riccardi Palace)

Walk down Via dei Servi to the north east of the Cathedral. Turn left down Via de’ Pucci. On your right is the Palazzo Pucci, owned by the aristocratic Pucci family since around 1480. The present palace was designed around 1748 by the architect Paolo Falconieri. Walk on another two blocks until you come to Riccardi Medici Palace.

The first Medici palace, once the residence of Cosimo the Elder and Lorenzo the Magnificent, served as a bustling hub for numerous prominent Renaissance artists, including the prodigious Michelangelo, who was discovered by Lorenzo while still in his formative teenage years.

This grand edifice was an imposing spectacle of its time, setting a new standard with its three tiers of progressively textured stonework and sizeable, evenly spaced two-light windows. A magnificent cornice adorned the entire exterior, exemplifying its imposing presence. The building encloses an elegant square courtyard at its core, in stark contrast to the commanding impression projected by its façade. Together, they symbolize the duality of the Medici family, projecting an image of wealth, influence, and even ruthlessness to the outside world, while fostering an atmosphere of refinement as patrons of the humanist Renaissance within their sanctuary.

While the courtyard and gardens offer a delightful and complementary experience, it is undoubtedly worthwhile to pay the admission fee and ascend to the upper rooms. These spaces exhibit designs, decor, style, furnishings, and collections that bear testament to the profound power, far-reaching influence, and immense wealth of the Medici dynasty.

A hidden gem within the palace is the Magi Chapel, mesmerizing with its diminutive size yet resplendent floor-to-ceiling frescoes by the gifted artist Benozzo Gozzoli. The intricate details within the artwork, such as the elaborate costumes, depictions of animals, and picturesque scenery, captivate the observer’s gaze. One can spend an hour studying the reputed likenesses of various members of the illustrious Medici clan, along with notable figures like the Wolf of Rimini: Sigismondo Malatesta. The vibrant colours – considering the work was started in 1459 – create a visual feast where the composition unfolds in a bit of a whirlwind.

Near the end of the tour is the astonishing Galleria, a completely “over-the-top” Baroque marvel, resplendent with walls covered in shimmering gold and a grand domed ceiling adorned with scenes from Greek mythology. Additionally, there is an underground sculpture museum, housed within the former stables. Fortunately, there are minimal queues for entry, allowing visitors to relish the magnificence of the rooms comfortably and at their leisure.

The Medici Chapels & Basilica di San Lorenzo

Cappelle Medici Basilica Di San Lorenzo Florence Italy — CC BY-SA 2.0 / Adam63

Continue along the road to the square and the Basilica di San Lorenzo.

This grand edifice was an imposing spectacle of its time, setting a new standard with its three tiers of progressively textured stonework and sizeable, evenly spaced two-light windows. A magnificent cornice adorned the entire exterior, exemplifying its imposing presence. The building encloses an elegant square courtyard at its core, in stark contrast to the commanding impression projected by its facade. Together, they symbolize the duality of the Medici family, projecting an image of wealth, influence, and even ruthlessness to the outside world, while fostering an atmosphere of refinement as patrons of the humanist Renaissance within their sanctuary.

A hidden gem within the palace is the Magi Chapel, mesmerizing with its diminutive size yet resplendent floor-to-ceiling frescoes by the gifted artist Benozzo Gozzoli. The intricate details within the artwork, such as the elaborate costumes, depictions of animals, and picturesque scenery, captivate the observer’s gaze. One can spend an hour studying the reputed likenesses of various members of the illustrious Medici clan, along with notable figures like the Wolf of Rimini: Sigismondo Malatesta. The vibrant colors – considering the work was started in 1459 – create a visual feast where the composition unfolds in a bit of a whirlwind.

Location: Cappelle Medicee, Piazza di Madonna degli Aldobrandini, Florence, Metropolitan City of Florence, Italy | Reserved Entrance Ticket to the Medici Chapel

Piazza della Repubblica

Head back towards Riccardi Medici Palace and turn right down Borgo S. Lorenzo. You pass the Battistero di San Giovanni and soon arrive at Piazza della Repubblica.
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The Piazza della Repubblica stands as the center of Florence. The Colonna dell’Abbondanza, or Column of Abundance, signifies the exact geographical midpoint of the city, originally the ancient midpoint of the Roman Forum. It also serves as the boundary between three of Florence’s four historic neighborhoods on this side of the Arno River: the Santa Croce azzurri, San Giovanni verdi, and Santa Maria Novella rossi; while the Santo Spirito bianchi neighborhood is situated in the Oltrarno district across the river.

A part of the current piazza was once used as a market due to its significance in terms of commerce, politics, and social activities in the city. Many stories and tales related to Florence originate from this square. According to one such tale, in 1245, St. Peter Martyr was trying to preach to a large crowd when the devil, disguised as an imposing black horse, attempted to disturb the onlookers by running wildly through the market and endangering them. Recognizing the danger, St. Peter raised his arm and made the sign of the cross towards the skittish horse, which immediately stopped and vanished. Centuries later, in memory of this event, Bernardo Vecchietti commissioned Giambologna to create a bronze standard-bearer in the shape of a small devil, placing it at the corner of his palace between Via Vecchietti and Via Strozzi.

The current appearance of the piazza can be attributed to urban renovations that took place during Florence’s period as the capital of the Kingdom of Italy, known as the Risanamento. During this time, older buildings, including medieval towers and noble palaces, were demolished and replaced with elegant structures, including the historic Caffè Le Giubbe Rosse, which transformed Piazza della Repubblica into a sophisticated center of public life.

Location: Piazza della Repubblica, Florence, Metropolitan City of Florence, Italy

Palazzo Davanzati

Walk directly across the Piazza and right into Via Porta Rossa.

The Davanzati Palace, originally constructed in the 14th century as the residence of the Davizzi family, who were merchants and bankers, now bears the name of the Davanzati family, who were bankers for the Popes at Avignon. The Davanzati family acquired the palace in 1578 and added their large coat of arms to the facade. Today, the palace is open to the public as the Museum of the Old Florentine House, offering a captivating and invaluable glimpse into a typical wealthy Florentine home from the Medieval to Renaissance era. Visitors can explore frescoes, paintings, sculptures, and period furniture that adorn the interior.

To visit the upper floors of the palace, which showcases the rooms where a wealthy family would have lived, including a kitchen equipped with period-appropriate equipment, a guide is required. Visitors can either book in advance on the website or arrange a time with the receptionist. It is highly recommended to see these upper floors, as the bedrooms, in particular, boast stunning wall paintings. However, the lower floors, holding delightful collections of embroidery and lace-making, can also be visited without a guide.

For older children, this experience will be both educational and fascinating, surpassing any description in a history schoolbook. The Museum of the Old Florentine House offers a unique opportunity to step back in time and immerse oneself in the opulence and lifestyle of a wealthy Florentine family during the Medieval and Renaissance periods.

Location: Palazzo Davanzati, Via Porta Rossa, Florence, Metropolitan City of Florence, Italy | Hours: 08.15-13.50 Tuesday, Wednesday, Thursday 13.15-18.50 Friday, Saturday, Sunday (2nd and 4th of the month) | Price: €7.00 or Cumulative ticket for Bargello, Medici Chapels, Davanzati, Orsanmichele and Casa Martelli: € 22.00 | Website

Ponte Vecchio

Head back along Via Porta Rossa and turn right into Via Calimala.

The Ponte Vecchio, also known as The Old Bridge, first appeared in documents in 996. During World War II, while all the other six local bridges crossing the Arno River were destroyed by retreating German forces, Ponte Vecchio was miraculously spared. This Medieval stone arch bridge stands as a testament to the lasting legacy that a monarch can create.

Today, the bridge is still lined with shops, just as it was in the Middle Ages. These days, the shops are occupied by jewelers, art dealers, and souvenir sellers. However, in the past, the bridge’s tenants were all butchers who disposed of rotten animal carcasses directly into the river below. It wasn’t until the 16th century when Grand Duke Fernandino I de’ Medici ordered that all the butcher shops be replaced by goldsmiths. This not only got rid of the unpleasant smell but also transformed the bridge into one of the most charming and golden spots in Italy.

From a distance, the bridge reveals a fascinating secret—a hidden upper level that features a kilometer-long tunnel connecting the Pitti Palace with the Old Palace. Historically, this tunnel provided a secure route for Duke Fernandino to move between the two palaces discreetly when he felt uneasy in public. Although the passageway has been closed for safety reasons since 2016, the Uffizi Gallery has exciting plans to reopen it.

One of the legends surrounding the bridge is the origin of the economic term “bankruptcy.” The story goes that a money-changer who couldn’t pay his debts had his trading table physically broken by soldiers as punishment for his insolvency. The table was called “banco,” and from this incident, the term “bancorotto” came into existence.

Today, the Old Bridge offers a delightful stroll, especially in the evenings, if it’s not packed end to end with thousands of tourists crossing the river over its cobblestones.

Location: Ponte Vecchio, Ponte Vecchio, Florence, Metropolitan City of Florence, Italy | Hours: 24 Hours | Price: Free

Palazzo Pitti (Pitti Palace)

The Pitti Palace is truly an architectural marvel in Florence, and missing a visit to this splendid site would be a regrettable omission. Its main highlight is undoubtedly the stunning Renaissance architecture, complemented by the breathtaking gardens that offer new adventures at every turn.

Today, the enormous palace houses several museums under one roof. However, its origins trace back to being the official residence of the immensely powerful Medici family from the 16th to the 18th century. Initially built in the second half of the 15th century for Luca Pitti, the construction remained unfinished at the time of his death in 1472. In 1550, the palace was acquired by Eleonora di Toledo, the wife of Grand Duke Cosimo I de’ Medici. Later, when the Medici dynasty ended, the property passed into the hands of the House of Lorraine, and during the early 19th century, Napoleon Bonaparte used it as a power base during his rule over Italy.

Every aspect of this palace exudes elegance and sophistication, whether it’s the Palatine Gallery featuring over 500 paintings, the opulent Royal Apartments of the Medicis, the “Medici Treasury” housing priceless 15th-century silver, the Costumes Gallery, or the Porcelain and Carriages Museums. The impressive painted ceilings, walls, and intricate ground decorations create an ambiance of a private royal residence. Remarkably, since 1919, the palace and all its contents have belonged to the Italian people, attracting over 5 million visitors each year.

Visiting the Pitti Palace offers an extraordinary opportunity to immerse oneself in the grandeur and cultural richness that defines Florence’s history and artistic legacy.

Location: Palazzo Pitti, Piazza de' Pitti, Florence, Metropolitan City of Florence, Italy | Hours: From Tuesday to Sunday from 8.15am to 6.30pm | Price: Full €11 (Pitti + Boboli: €15) | Website | Skip the Line Tickets Available!

Forte di Belvedere

Fort Belvedere Florence — CC BY-SA 4.0 / Chabe01

Fort Belvedere stands as a remarkable example of Italian Renaissance and military architecture, dating back to the end of the 16th century when it was built by Grand Duke Ferdinando I de’ Medici. This grand fortress served a dual purpose: to protect the city of Florence and to showcase the power and prestige of the Medici Family. It also functioned as a repository for the Medici’s treasury and offered a secure refuge for the Grand Duke during times of potential attack. To facilitate this, the fort was connected to the Old Palace (“Palazzo Vecchio”) via a corridor over the Old Bridge (“Ponte Vecchio”), as well as through other passages linking it to the Pitti Palace and Boboli Gardens.

From a military perspective, Fort Belvedere, being the largest fortress in Florence, occupied a strategic vantage point over the city and its surroundings. In the context of warfare during the Renaissance period, forts played a crucial role in defense strategies, and Belvedere excelled as a citadel and garrison for over a century after its completion. Its walls were intentionally positioned at angles to one another, enabling effective observation and, if necessary, crossfire to defend the neighboring walls. Interestingly, the renowned scientist Galileo Galilei used the fort for astronomical observations and, following his life imprisonment sentence in 1633, resided nearby at Villa Arcetri.

After undergoing a five-year renovation to enhance safety measures, the fort reopened to the public in July 2013, now primarily serving as an exhibition center. The nominal entry fee is well worth it, as visitors can freely explore the site and enjoy breathtaking panoramic views of Florence and the surrounding hills. Fort Belvedere remains a captivating testament to the rich history and architectural prowess of the Italian Renaissance period.

Location: Forte Belvedere, Via di San Leonardo, Florence, Metropolitan City of Florence, Italy

Basilica di San Miniato al Monte

San Miniato Al Monte, Florence — CC BY-SA 2.0 / Thomas Woodtli

San Miniato, perched on one of the highest points in Florence, is celebrated as one of the most exquisite examples of Romanesque architecture in Tuscany and one of Italy’s most splendid churches. Though it may present challenges for those with limited mobility, it forms a delightful combination with the nearby Michelangelo Square (“Piazzale Michelangelo”). The best part is that admission to San Miniato is completely free, allowing visitors to explore the church and the adjacent Olivetan monastery, situated to the right of the basilica as they ascend the stairs.

According to legend, St. Miniato, also known as Minas, an Armenian prince serving in the Roman army under Emperor Decius, was denounced as a Christian after becoming a hermit. He was brought before the Emperor, who ordered him to be thrown to wild beasts in an amphitheater. Surprisingly, a panther summoned to attack him refused to harm him. Despite eventually being beheaded in the presence of the Emperor, St. Miniato is said to have picked up his own head, crossed the Arno River, and ascended the hill of Mons Fiorentinus to his hermitage. A shrine was later established at this spot, followed by a chapel in the 8th century.

The present-day basilica was funded by a guild of cloth merchants, who took responsibility for its upkeep. Adorned with stunning mosaic decorations, an exquisite marble inlay altar, and even a “pagan” horoscope, the basilica is a spectacular sight, showcasing remarkable craftsmanship by some of Florence’s most esteemed artists. San Miniato’s architectural beauty and historical significance make it a must-visit destination for those exploring the cultural treasures of Florence.

Location: San Miniato al Monte, Via delle Porte Sante, Florence, Metropolitan City of Florence, Italy | Hours: Monday-Saturday 9:30-13:00; 15:00-19:00 Sunday 8:15-13:00; 15:00-19:00 | Website

Piazzale Michelangelo (Michelangelo Square)

Florence undeniably captivates with its stunning beauty, and Michelangelo Square stands as irrefutable proof of this fact. Designed by Giuseppe Poggi, this expansive space, adorned with souvenir stalls, offers a magnificent panorama of Florence’s rooftops. The most iconic and photographed view from here showcases the Duomo Cathedral and its cupola, along with the Giotto Bell Tower and the Old Palace (“Palazzo Vecchio”). Over time, this famous vista has graced countless postcards, yet other notable landmarks can also be spotted nearby, such as Fort Belvedere, the Holy Cross Basilica (“Santa Croce”), and the Old Bridge (“Ponte Vecchio”).

The square itself was laid out in 1869 when Florence served as the capital of Italy, during an urban renewal program known as the “Risanamento” or “Rebirth” of the middle class.

Dedicated to the renowned Renaissance sculptor Michelangelo, the square features replicas of some of his works found elsewhere in Florence, including the famous “David” and the four allegories from the Medici Chapel of San Lorenzo. While the originals are crafted from white marble, the bronze copies displayed here were transported uphill by nine pairs of oxen, likely leaving them rather sweaty, to fulfil Giuseppe Poggi’s visionary concept.

Thousands of visitors flock here to witness the sunset, which is truly a sight to behold. Finding the perfect spot, you can revel in the sun’s reflection on the Arno River while sipping a glass of wine. Bringing your own drink is a good option, unless you prefer to take advantage of the various restaurants and bars situated around the square, with the most renowned boasting a Neoclassical design. Considering the prime location, prices here are actually quite reasonable.

Midway up the main staircase, you’ll discover a delightful city rose garden, where you can spend a serene half-hour strolling amidst the trees and roses, enjoying enchanting views of the Duomo and the cityscape.

After sunset, you can easily descend the hill, relishing the tranquillity of dusk along the way. Michelangelo Square provides an unforgettable experience that captures the essence of Florence’s timeless charm.

Location: Piazzale Michelangelo, Piazzale Michelangelo, Florence, Metropolitan City of Florence, Italy | Hours: 24 Hours | Price: Free

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The Ultimate Self-guided Tour of the Duomo and Baptistery in Florence

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Standing on opposite sides of Piazza del Duomo, separated by Via dei Calzaiuoli, are two of the most renowned structures in Florence: the Baptistery of St. John and the Cathedral of Santa Maria del Fiore. Locally, the latter is often referred to as the “Duomo.” Their bright white marble exteriors, adorned with green and pink stone trimmings, possess a unique and quintessentially Florentine charm. If there were a pulsating heart at the core of this city, it would undoubtedly reside right here.

Whether you are captivated by their grandeur, historical significance, or spiritual aura, visiting these landmarks in Florence is a rite of passage for many. However, numerous individuals come here and admire these structures without fully grasping the context behind their construction and artistic brilliance. In this post, I aim to shed light on some of these mysteries and hopefully enable you to appreciate these attractions for more than just their outer beauty.

Opening Hours of Duomo and Baptistery

Cathedral: Mon-Sat: 10am-4:30pm; Sun: 1:30pm-4:30pm
Giotto’s Bell Tower: Mon-Sun: 8:15am-7:20pm
Dome: Mon-Sat: 8:30am-7pm; Sun: 1pm-4pm
Crypt of Santa Reparata: Mon-Fri: 10am-5pm; Sat: 10am-4:30pm; Sun: Closed
The museum will be closed on the first Tuesday of each month.

Tickets

While exploring the interior of the Duomo is free you’ll need a ticket if you want to see the inside of the Baptistery, to climb up the bell tower or the dome and visit the Duomo Museum. These attractions are all included in one ticket, so if you want to visit just one, you’ll still have to pay the same price as visiting them all. The best way to buy your ticket inside is online and in advance, so you can assure yourself access into the Duomo’s attractions.

Adults: €18 (if booking online there is an extra €2 pre-booking fee)
Children: €3
Audio guides: €2,50 per person

Climbing the Dome: When booking online you need to select the time when you want to do the dome climb. You cannot change this time after booking and must be there within 15 minutes of your pre-selected time-slot.

Is it worth going inside the Florence’s Duomo?

I personally find the interior of Santa Croce far more appealing than the somewhat plain interior of the mentioned location. Although the frescoes on the dome are breath-taking, the rest of the interior may not be as captivating. On the other hand, the interior of the Baptistry is simply exceptional, with its mesmerizing mosaics that are truly out of this world. Some visitors enjoy ascending the tower and dome inside the cathedral for the panoramic view from the top, but be prepared to wait in line if you choose to do so. If time is limited, I would suggest skipping the interior visits.

The exteriors of these structures are equally impressive, and Florence has so much more to offer, making it more worthwhile to explore other attractions instead of waiting in line. However, if you have ample time or a deep interest in interior artworks, it’s worth making the effort to see them. Early morning visits may help avoid long lines. One highlight of the ticketed entry is the museum, which showcases original artworks and sculptures that were once housed within the church. You can also admire the original Baptistery doors and exquisite robes worn by priests during various events on the Catholic calendar, making it an intriguing part of your visit.

Basilica of Santa Maria del Fiore

The magnificent Basilica of Santa Maria del Fiore, a truly awe-inspiring Cathedral that commenced construction in 1296 and was finally completed in 1436—over the course of more than 140 years! The temple is dedicated to Santa Maria del Fiore, or “Saint Mary of the Flowers.” In Italian culture, Mary is often associated with flowers, particularly roses, which symbolize the transience of life and death. Mary carries the weight of knowing her son’s fate, yet she continues to raise him with boundless love in her heart. Like a beautiful flower that we know will eventually fade, we still admire its splendour until its final moments.

The History of the Basilica of Santa Maria del Fiore

The city’s main religious monument, a grand and impressive church, among the world’s largest in volume. Brunelleschi’s majestic cupola is an iconic symbol, visible from the surrounding hills. The cathedral’s construction spanned a long period, with the present façade completed in 1887. The use of pink, green, and white marble creates a harmonious composition with the nearby baptistery and campanile.

Santa Maria del Fiore is situated on the site of the earlier, smaller Santa Reparata church, originally built in the late fourth or early fifth century. In the eleventh century, it was reconstructed as a Romanesque basilica. In the twelfth century, Santa Reparata became the city’s cathedral, replacing San Lorenzo. The church featured a six-bay aisled nave and three semicircular eastern apses, with the central apse larger than the flanking ones. Its facade was located ahead of the present cathedral’s west front and extended halfway along the present nave.

Basilica of Santa Maria del Fiore in the Late thirteenth century

By the late thirteenth century, Florence’s size and wealth had significantly increased, rendering Santa Reparata too small. In 1294, Arnolfo di Cambio was tasked by the city’s government to build a new cathedral. The construction began on September 8, 1296, and the church was dedicated to Santa Maria del Fiore, symbolized by the lily, emblem of the city and Virgin Mary. Arnolfo initiated the wider facade and raised the nave flank walls before his death in 1302. Progress slowed after his passing. In 1331, the Magistrati dell’Opera was established to oversee the project, and funding from the Arte della Lana guild boosted the progress. Giotto was appointed chief master in 1334 but mainly focused on the campanile’s construction before passing away three years later. His successor, Andrea Pisano, also worked on the campanile. Francesco Talenti took over around 1350 and completed the campanile in 1359. However, his attention later returned to the church itself by 1356.

During this phase of construction, the eastern part of Santa Reparata, the canons’ residence, and the monastic buildings were still intact, along with the church of San Michele Visdomini to the east. Francesco Talenti introduced a new model for the cathedral, retaining the Latin cross plan but reducing the number of nave bays to four while increasing their size and raising the height of the nave vault. Talenti also proposed a large cupola at the crossing. By 1364, the first three nave bays were completed, but Talenti was later replaced. Lapo Ghini, his colleague and successor, presented a revised proposal with a modified plan for the eastern apses. The cupola’s diameter was increased from approximately 36m to 41m, and it was to stand on an octagonal drum with circular windows, as it appears today. Talenti returned as master, and by around 1370, the form of the cupola and eastern apses had been defined. The nave vault was completed in 1378, followed by the aisle vaults two years later. Construction continued until 1421 on the transepts, chancel, and the drum supporting the cupola.

In 1418, a competition was held to design the cupola, and both Lorenzo Ghiberti and Brunelleschi participated. Although Ghiberti won, his role was limited, and eventually, Brunelleschi took full control of the project. The construction of the cupola progressed under Brunelleschi’s direction and was completed up to the base of the lantern in 1436.

After winning the competition for the design of the crowning lantern, Brunelleschi began its construction in 1443 but passed away three years later. The project was then continued by Michelozzo di Bartolomeo and later by Bernardo Rossellino. Finally, under Andrea del Verrocchio’s supervision, the lantern was completed in 1468. The lengthy construction period was due to the challenging logistics of hauling marble to such heights. The lantern takes the form of an octagonal classical tempietto, resembling a small chapel. During this period, Brunelleschi also designed the four exedrae, situated below the circular windows of the drum and between the cupolas of the three tribunes or eastern apses. They feature deep niches separated by paired pilasters, showcasing a refined early Renaissance style.

The Exterior of Basilica of Santa Maria del Fiore

The Southern flank of the Basilica of Santa Maria del Fiore

The southern flank of the cathedral is the oldest section, covered in white Carrara marble and adorned with decorative green Prato marble panels. A relief of the Annunciation from 1310 can be found on the wall near the campanile. Close by is the Porta del Campanile, featuring a Virgin and Child in the lunette, previously attributed to Andrea Pisano but now generally credited to Simone Talenti. Further east, there is the Porta dei Canonici from 1378, designed by Piero di Giovanni Tedesco and others. In its lunette, there is another depiction of the Virgin and Child, created by Niccolò di Pietro Lamberti in 1395.

The Eastern End of the Basilica of Santa Maria del Fiore

At the east end of the cathedral, you’ll find the impressive three equal arms of the transepts and chancel, all rising towards Brunelleschi’s magnificent cupola. Each of these arms has five facets, featuring tall Gothic two-light windows on each face. Above the lower order, raking buttresses support the smaller upper order, topped by a small but incomplete cupola that abuts the base of the octagonal drum. The drum has a large oculus on each face, and it was originally planned to construct eight marble-clad galleries just above it. However, only one facet was completed, and the remaining seven were never built, leaving rough masonry in their place. Several proposals for the galleries’ completion, preserved as models, can be found in the Museo dell’Opera di Santa Maria del Fiore.

The North Face of the Basilica of Santa Maria del Fiore

On the north face of the exterior, the Porta della Mandorla (1391–7) was created by multiple masters, including Giovanni d’Ambrogio, Piero di Giovanni Tedesco, and Niccolò Lamberti. The spandrel above the lower arch features a rich relief by Nanni di Banco, while the lower lunette once held an Annunciation attributed to Jacopo della Quercia, now housed in the Museo dell’Opera. In the gable, enclosed within an almond-shaped mandorla, is the Assumption of the Virgin with St. Thomas, also sculpted by Nanni di Banco.

The west façade of the Basilica of Santa Maria del Fiore

The original west façade, designed by Arnolfo di Cambio, was only completed up to the top of the central portal. It was a complex late Gothic work with sculpted pieces by Nanni di Banco, Donatello, and Niccolò Lamberti, now housed in the Museo dell’Opera. In 1587, it was dismantled by decree of Grand Duke Francesco I and undertaken by Bernardo Buontalenti.

The façade remained bare until 1843 when Nicola Matas proposed a new design. The present neo-Gothic façade, completed in 1871-87, was designed by Emilio de Fabris and finished by Luigi del Moro after Fabris’s death. It showcases the greatness of Christianity and the significance of the Virgin Mary, with principal figures such as St. Antonino and Pope Eugenius IV in the niches.

Main Portal Catedral Florence — CC BY-SA 4.0 / Diego Delso, delso.photo

The bronze doors, created by Augusto Passaglia and Giuseppe Cassioli, depict scenes from the Life of the Virgin, and the upper gallery features the Virgin and Child, flanked by the Twelve Apostles, also by Passaglia.

The Great Dome

The design of the church followed the Italian Gothic architectural tradition, characterized by pointed arches and cross-ribbed vaults. The Cathedral’s overall layout adheres to a Latin cross design, with a particular focus on accommodating the most iconic feature of the church—the enormous dome. Arnolfo di Cambio, the initial architect, had already incorporated space for the dome in his floorplans. However, by the time of his passing, the concept of constructing such a colossal dome had not yet been fully realized.

During the 140 years of the Cathedral’s construction, architects from all over the world grappled with the immense challenge of figuring out how to build a dome of such scale without it collapsing. Giotto di Bondone, Andrea Pisano, and Francesco Talenti were among the architects who worked on different aspects of the church and contributed to the development of the dome.

Ultimately, it was Filippo Brunelleschi, a Florentine architect, who successfully completed the construction of the magnificent dome. His innovative and revolutionary approach involved the use of innovative engineering techniques, such as a double-shell structure and an ingenious herringbone pattern, to ensure the stability and strength of the dome. Brunelleschi’s ingenious design remains an exceptional feat of engineering and a masterpiece of Renaissance architecture. The dome stands as a testament to human ingenuity and artistic brilliance, crowning the Florence Cathedral with its awe-inspiring presence.

The Interior of the Basilica of Santa Maria del Fiore

The cathedral interior exudes a grand and unadorned simplicity, except for the remarkable stained-glass windows. It measures 153 m in length, 38 m wide across the nave and aisles, and 90 m across the transepts. The plan is a modified Latin cross, featuring a nave with only four large square bays and relatively narrow aisles. The nave is articulated by massive compound piers and pilasters, supporting simple pointed arches and rising to a continuous walkway on corbels. Above are plain quadripartite vaults with stone ribs. The clerestory features large oculi in the centre of each bay. The cathedral boasts forty-four exquisite stained glass windows, making it one of Italy’s finest collections.

Floor Patterns In Multi-Coloured Marble In The Central Nave — CC BY-SA 4.0 / Txllxt TxllxT

The floor is made of polychrome marble, displaying intricate geometric patterns. Its construction started in 1526 based on Baccio d’Agnolo’s design, but it took over a century to finish.

Western Nave & Remains of the Church of Santa Reparata

Below the western part of the nave lies a crypt, which is the remains of the earlier church of Santa Reparata. These excavations, conducted from 1965 to 1974, unveiled a complex history of successive buildings and alterations, including some from the Roman and early Christian periods. Notably, in the southeast corner, near the foot of the stairs, lies the tomb slab of Brunelleschi, the only artist of Florentine origin buried in the church.

West Wall of Basilica of Santa Maria del Fiore

Inside the west wall of the cathedral, you can find several notable features. Firstly, there is a mosaic depicting the Coronation of the Virgin, created around 1290, originally located in the baptistery. Adjacent to the mosaic, there is a large clock adorned by the artwork of Paolo Uccello, dating back to 1443. On the west wall itself, there are three circular stained-glass windows designed by Ghiberti: one featuring St. Lawrence with Angels, another depicting the Assumption, and the third showcasing St. Stephen with Angels. These artistic elements contribute to the rich and awe-inspiring ambiance within the cathedral.

In the right aisle of the cathedral, as you move along, you’ll come across several remarkable sculptures and artworks. In the first bay, near the corner, there is a bust of Filippo Brunelleschi, likely crafted from his death mask, skillfully made by his adopted son, Andrea Cavalcanti, in 1446. Next to it, within a wooden aedicule, you’ll find a statue of Isaiah, attributed to the renowned artist Donatello. As you proceed further along in the same bay, there is a bust of the famous painter Giotto, sculpted by Benedetto da Maiano in 1490. In the fourth bay, just before the Porta della Canonica, there’s a bust of Marsilio Ficino, the prominent neo-Platonist philosopher, created by Andrea Ferrucci in 1521. The adjacent stained-glass window, dated to 1394–5, is a masterpiece by Agnolo Gaddi, adding to the splendor of the cathedral’s interior.

Internal Dome

The crossing and cupola of the cathedral hold impressive artworks and decorations. Originally, Brunelleschi envisioned covering the inner surface of the cupola with mosaics similar to those found in the nearby baptistery. However, instead, a massive fresco depicting the Last Judgment was painted by Giorgio Vasari and Federico Zuccari between 1572 and 1579, continuing even after Vasari’s death in 1574.In the drum of the cupola, you’ll find seven exquisite stained-glass windows, created between 1443 and 1445. Regrettably, one window by Uccello is now lost. These windows portray scenes from the Life of Christ and were designed by Uccello (2), Andrea del Castagno (1), Donatello (1), and Ghiberti (3). Together, these artworks add grandeur and religious significance to the magnificent interior of the cathedral.

Dome Of Basilica Of Santa Maria Del Fiore — CC BY-SA 4.0 / Diego Delso, delso.photo

Within each of the three arms of the tribunes, there are five square chapels, each illuminated by Gothic two-light windows that showcase exquisite stained-glass images of saints set into elegant aedicules. This impressive design and arrangement of the chapels and stained-glass windows were proposed by Brunelleschi and Ghiberti in 1435, with Ghiberti being responsible for their creation. The chapels and their beautiful stained-glass depictions add to the overall grandeur and spiritual atmosphere of the cathedral’s interior.

South East Sacristy: Sacristy of the Canons

To the southeast of the central octagon, you will find the ‘old sacristy,’ also known as the sacristy of the canons. Above its entrance, there is a captivating Ascension in enamelled terracotta, skilfully crafted by Luca della Robbia in 1451.

The splendid cantoria (choir loft) by Donatello, which was created in 1439, once adorned the space above the doorway, but it was relocated to the Museo dell’Opera in 1688.

In the chancel’s eastern chapel, you will discover two graceful kneeling angels made of white glazed terracotta, also crafted by Luca della Robbia. Additionally, there is a bronze reliquary urn created by Ghiberti, adding to the beauty and significance of this sacred space within the cathedral.

North Sacristy: Sacristy of the Masses

In the North Sacristy, also known as the Sacristy of the Masses or of the Servites, you will be greeted by a beautiful relief of the Resurrection, expertly crafted by Luca della Robbia in 1442, positioned above the doorway. The bronze doors at the entrance are another remarkable work by Luca, created in collaboration with Michelozzo and Maso di Bartolomeo. Just like in the old sacristy, Luca della Robbia’s magnificent cantoria once adorned the space above the doorway, but it is now displayed in the Museo dell’Opera.

Inside the sacristy, the interior is adorned with stunning intarsia panels made of timber, designed in trompe l’oeil perspective. These panels were crafted by various artists, including Giuliano and Benedetto da Maiano, between 1436 and 1465. They add to the richness and beauty of this sacred space. In the north transept, you will notice a gnomon set into the floor, created in 1475. This gnomon was once used for solar observations through a window in the cupola lantern, showcasing the ingenuity and scientific curiosity of the time.

Left Aisle

In the left aisle of the cathedral, as you walk through the first bay, you will come across a figure of Joshua, attributed to the renowned sculptor Donatello. In the second bay, you will find a portrait bust of Antonio Squarcialupi, skilfully created by Benedetto da Maiano in 1490. Moving to the right, there are two notable trompe l’oeil frescoes honouring condottieri (mercenary captains). The first fresco, by Uccello and dated 1436, commemorates Sir John Hawkwood (known as Giovanni Acuto). The second fresco, by Andrea del Castagno in 1456, pays tribute to Niccolò da Tolentino.

As you proceed to the fourth bay, near the Porta della Mandorla, you will encounter the famous portrait of Dante and his Worlds, an artwork by Domenico di Michelino from 1465. The portrait depicts the renowned poet Dante Alighieri holding a copy of his magnum opus, the Divine Comedy. The backdrop showcases contemporary Florence, where Brunelleschi’s newly completed cupola now dominates the cityscape, providing a glimpse of the architectural pride of the time.

Baptistery of San Giovanni Battista

The Baptistery of San Giovanni Battista is believed to be one of the oldest places of worship in Florence. The current Baptistery was constructed between 1059 and 1128 and received its name in honour of St. John the Baptist, the patron saint of Florence. During the spread of Christianity and the decline of the Pagan religion, Christians sought ways to transition smoothly from one belief system to another.

Baptistere San Giovanni Florence — CC BY-SA 4.0 / Chabe01

One such method was replacing a Roman god with a Christian saint. This is how St. John the Baptist became the patron saint of Florence, taking the place of the widely worshiped god, Mars, who was associated with war. Since Mars had a strong appeal, they needed a saint who could captivate in a similar manner. Saint John possessed a rugged character, not necessarily appearing “holy” or pristine, which resonated well with the sensibilities of the people of Florence.

The octagonal floor plan of the Baptistery was commonly used during the early centuries of Christianity, though nowadays it has become quite rare. The octagonal design brings about a beautiful sense of symmetry, creating a unified and serene structure. The original architect of the Baptistery remains uncertain, but various renowned artists have been credited with contributing to its design. The likes of Pisano, Giotto, Ghiberti, Donatello, and even Leonardo da Vinci have been associated with its creation. Being a place touched by the hands of so many masters adds to its significance in the city’s history.

The Baptistery Portals

In addition to the use of marble and other materials discussed earlier, bronze played a primary role in crafting lavish and majestic doorways. These entrances were referred to as “portals” and symbolized the gateways to the palace of God.

Pisano’s Southern Portal

Southern Doors Of The Florence Baptistry — CC BY-SA 3.0 / Kandi

The oldest set of doors, crafted by Andrea Pisano in 1329, originally faced east toward the Duomo but were later moved to the south in 1452 and replaced by newer designs. These doors depict stories from the Old Testament and were commissioned by the Merchants Guild of Florence, one of the wealthiest guilds in the city. Their choice to prominently display intricate clothing carvings possibly served as subtle advertising, referencing their trade’s manufacturing. Compared to the newer doors, these designs appear more subdued, with less realistic shapes of people and facial features lacking strong emotions. My personal favourite aspect of these designs is the lavishly decorated door frames, abundant with lush greenery and flowers, giving a sense of vibrant growth and beauty.

Northern Portal

The second set of doors, situated on the northern side, was designed by Lorenzo Ghiberti in 1422. However, Ghiberti didn’t simply receive the commission right away. In 1401, the church organized a competition to determine who would be honoured with this prestigious commission. The purpose of these doors was to commemorate the end of the devastating Black Death that had swept through much of Europe, resulting in the death of millions. Remarkably, Florence had been relatively spared, with only a comparatively small fraction of its citizens succumbing to the disease. To participate in the competition, artists had to submit a small bronze panel depicting the scene of Abraham Sacrificing Isaac.

North Doors Of The Baptistry Florence — CC BY-SA 4.0 / Yair Haklai

Ultimately, the selection committee faced a dilemma between Brunelleschi’s design and Ghiberti’s. Unable to make a decision, they proposed that the artists collaborate on the project. However, Brunelleschi declined the offer, insisting that anything less than a creation entirely his own wasn’t worth his time. As a result, Ghiberti was awarded the job.

It took him a staggering 21 years to complete these doors. The panels on these doors feature 28 scenes from the New Testament, illustrating the life of Jesus Christ. Each scene is adorned with rich decorative elements, framed by abundant foliage, and complemented by gilded busts of prophets and sibyls (women believed to possess the ability to foretell the future).

The current doors are actually replicas, as the original ones are now housed at the Cathedral Museum. Nevertheless, these recreations are awe-inspiring examples of the sculptural art form that was emerging during that time. Ghiberti’s masterful work has left an enduring legacy, and the doors are rightfully regarded as some of the most remarkable artistic achievements of their era.

Ghiberti’s Eastern Portal

The third set of doors, crafted between 1425 and 1452, was also the work of Ghiberti, following the tremendous success of his first commission. These doors earned the name “the gates of paradise,” a title that endures to this day, thanks to Michelangelo, who was deeply impressed by them. As a student, Michelangelo would frequently visit the Baptistery to study these magnificent works of art. In contrast to the quarter foil frames of the previous gates, these panels are larger, totalling ten in number, and they portray scenes from both the Old Testament and the life of Saint John the Baptist.

East Doors Gates Of Paradise — CC BY-SA 3.0 / Joanbanjo

In this new series, Ghiberti utilized a technique called “schiacciato,” which allowed him to create a sculpted relief by carving only a few millimetres deep. This technique produced an illusion of greater depth and motion within each scene. Unlike the previous panels that mainly focused on the characters, these new renditions incorporated landscape elements, infusing each panel with a more immersive atmosphere. Surrounding the doors are a series of miniature busts and sculptures. Of particular note are the two busts featured in the centre, which represent a self-portrait of the artist, Ghiberti, and his father, Bartolomeo Ghiberti. This level of artistry and attention to detail further solidifies the doors’ reputation as truly exceptional and deserving of their “gates of paradise” title.

Baptistery Interior

The interior of the Baptistery was inspired by the grandeur of the Roman Pantheon, featuring a majestic domed ceiling adorned with intricate Byzantine mosaics. The construction of the roof dates back to the 1200s, and it remains a remarkable masterpiece. Millions of tiny gold and glass tiles were meticulously arranged to create the captivating scene of “universal judgement.” Remarkably, it took over a century to complete this entire piece. The lengthy timeline of its creation allows visitors to observe the evolution of art styles over the years, as techniques improved and changed throughout the process.

Descending from the centre of the octagonal dome, various rings of mosaics depict specific storylines, all cantered around the theme of judgment. These captivating scenes add depth and significance to the central theme and create a truly awe-inspiring visual experience for those visiting the Baptistery. The combination of historical inspiration, masterful artistry, and the gradual development of techniques over time makes the interior of the Baptistery a treasure trove of artistic and cultural richness.

Life of Joseph, the Virgin Mary and Jesus and St. John the Baptist

The top layer of the octagonal dome, situated under the lantern, is adorned with intricate depictions of plants and animals. Just below this section, a series of angels surround and offer praise towards the central image of Jesus. Continuing downward, there are scenes from the story of Genesis, followed by depictions from the Life of Joseph, the Virgin Mary, Jesus, and finally, scenes from the life of St. John the Baptist, the patron saint of Florence.

In the center of the mosaics, breaking into multiple rows, stands the central figure of Jesus. He is depicted with his hands outstretched to either side, and the marks of the crucifixion nails are visible, still bleeding in the center of his palms. On the right side of his feet are images of damnation, portraying terrifying representations of the tortures of hell in an extremely brutal manner. The shapes of the various figures in this section aren’t human-like and appear almost alien, as if hell itself distorts the human form. These depictions were meant to instill fear in the citizens of Florence, serving as a reminder to lead virtuous lives to avoid suffering in the afterlife for eternity.

The contrasting images on the left side of Jesus show salvation, offering a glimmer of hope for those who follow a righteous path. The mosaics in the Baptistery’s dome serve not only as artistic marvels but also as powerful expressions of religious beliefs and the consequences of one’s actions in the afterlife.

The Marble Floor of the Baptistery

The marble floor of the Baptistery is crafted using a technique called ‘intarsia’ or ‘intarso.’ This method involves using multiple colors of marble, carefully arranged together to create a unified and intricate design. The result is a stunning and harmonious piece of art beneath your feet.

At one point in history, the lantern in the ceiling of the Baptistery was open to the outside air, allowing natural light to enter. This light would shine upon a sundial embedded into the marble floor. The Florentine designers ingeniously incorporated astrological signs and the sundial to tell the time based on the position of the sun. While the lantern is no longer open and the sundial has been removed, the zodiac signs on the marble floor can still be observed today. These astrological symbols offer a fascinating glimpse into the ingenuity and cultural significance of the Baptistery’s design, combining both artistic beauty and functional utility in one magnificent structure.

The Tomb of Guccio de Medici

The tomb of Guccio de Medici, who passed away in the 1300s, serves as the earliest example of the Medicis’ preoccupation with making their funerals as splendid as their lifestyles. Upon his death, Guccio was interred within an ancient Roman sarcophagus. To enhance the tomb’s significance and reflect the family’s prominence, a carving of the Medici coat of arms and renowned Medici coins were added to the Roman structure. This blending of ancient and contemporary elements showcases the Medicis’ desire to leave an enduring mark of grandeur and prestige even in their final resting places.

The Tomb of the Anti Pope John XXIII

The tomb of Antipope John XXIII in the Baptistery remains one of the most contentious and controversial tombs within the building. Pope John XXIII, whose birth name was Baldassari Cossa, was buried in this illustrious setting. However, despite the grandeur of his burial place, he was posthumously stripped of his papal title due to his numerous wrongdoings and scandalous life. His actions and behavior had earned him widespread disapproval and dislike from nearly everyone in Florence, with one notable exception—the Medici family.as

Interestingly, the Medici family held a favorable view of Antipope John XXIII. When Cossa assumed power, he entrusted the financing of the Vatican to the Medici bank. As one of the largest institutions in the world, the Vatican’s choice of the Medici bank as their primary money lender catapulted the Medici family to prominence and wealth. Prior to this significant association, the Medici were merely one of many money lenders in Florence. However, with the Vatican’s support, they transformed into one of the wealthiest non-royal families in Europe. This financial arrangement cemented the Medici family’s rise to fame and became a crucial factor in their ascent to power and influence in Renaissance Florence.

Donatello and the Baptistry

Despite the public’s dislike and disdain for Antipope John XXIII (Baldassari Cossa), the Medici family found themselves indebted to him. Under his influence, the Medici’s were somewhat under his control. When Cossa expressed his dying wish to be buried in the Baptistery, the Medici family honored his request, despite the ensuing public outrage.

In 1420, the Medici’s commissioned the renowned sculptor Donatello to create his funerary monument. The tomb features Cossa’s death mask, a representation of his face looking directly at the onlooker, rather than gazing upward towards the heavens as was typical of many death masks of that time. This positioning seems to challenge and defy the public to speak against him, as it appears he is always vigilant and listening.

Above his coffin, a lunette of the Madonna and child is placed, adorned with golden fringe. The entire monument is a stone canopy, exquisitely embellished. On either side of the coffin stand two Marzocco Lions, symbolizing the protectors of Florence.

The Medici’s fulfilled Antipope John XXIII’s last wish, and the monument erected in his honor is a display of their power, even in the face of public disapproval. This act further solidified the Medici family’s role in shaping the political and cultural landscape of Renaissance Florence.

The Campanile or Giotto’s Bell Tower

To comprehend the design of the Cathedral’s façade as it appears today, it’s crucial to first examine the campanile, or bell tower, designed by Giotto in 1334. The façade, as we’ll discover later, was relatively plain until its redesign in the 18th century. However, the bell tower, before the completion of the dome, was a multi-coloured treasure and nearly the most impressive feature of the Cathedral. The tower stands an impressive 15 meters wide and over 84 meters tall, showcasing its remarkable size and grandeur. Yet, beyond its dimensions, the most captivating aspect of the bell tower lies in its vibrant colours. Giotto explained that he used different hues to exemplify the two fundamental principles of Florentine art: “rectitude (righteousness) and beauty.”

Sadly, Giotto passed away before witnessing the tower’s completion in 1387. It was reported that he died of grief over the bell tower’s one design flaw. Giotto had inadvertently made the base of the tower a little too narrow, hindering the effect of vertical momentum. He deeply regretted this decision, stating that he had made “too-small a bed for your feet” concerning the tower’s design. His concerns were warranted, as the tower later required renovation to support the full height of the construction at its base. However, today, such an imperfection is hardly noticeable. After Giotto’s death, two additional architects, Andrea Pisano and Francesco Talenti, stepped in to fulfil and complete Giotto’s vision for the bell tower. Together, they brought Giotto’s masterpiece to its awe-inspiring final form, ensuring that his legacy would live on in the splendour of the magnificent campanile.

Andrea Pisano

The first floor of the bell tower holds one of its most captivating features. Upon closer inspection of the hexagonal panels encircling the base of the tower, one can marvel at the intricate white stone reliefs, beautifully framed by pink marble, which further contrasts against the green, serpentine marble. These reliefs depict a fascinating tapestry of medieval life, combining religious doctrines, historical events, and liberal arts.

The Statues In The Niches East Side Giottos Campanile — CC BY-SA 4.0 / Yair Haklai

These panels serve as a visual narrative, showcasing the history of mankind as understood during medieval times. Alongside the stories from the Bible, they depict humanity’s most significant discoveries and achievements.

South side: astronomy, medicine, hunting, wool-working, and legislation
East side: navigation, social justice, agriculture, festivals, and architecture.
North side: sculpture, painting, harmony, grammar, logic, music, poetry, geometry, and arithmetic.

Francesco Taletnti

As we ascend to the upper levels of the tower, designed by Francesco Talenti, we encounter a new mathematical treatment that adds to its unique charm. Each level is slightly taller than the one below it, a deliberate design choice that creates an optical illusion when viewed from above. This ingenious use of perspective gives the tower a sense of height that surpasses its actual dimensions, showcasing the Renaissance fascination with the intersection of science, mathematics, and art.

The Bells of the Campanile

At the summit of the tower, one can find seven bells, each with its own unique sound. The largest of these bells is named Santa Reparata, in homage to the saint to whom the original church was dedicated. The sound of this bell ringing across the square, accompanied by pigeons taking flight, creates an enchanting and evocative soundscape that echoes the history and spirit of Florence. This sweet melody of the bells adds to the allure and magic of the Cathedral, leaving a lasting impression on visitors and locals alike.

Climbing the Campanile Bell Tower

For those adventurous souls eager to experience the breathtaking view from the bell tower, or even the more ambitious individuals looking to climb both the bell tower and the dome, the entrance can be found at the northeast corner of the bell tower. Thankfully, you can use the same grand ticket for entry, providing you access to these awe-inspiring heights.

Summit Of The Campanile Bell Tower — CC BY-SA 4.0 / Nono vlf

As you embark on the ascent, be prepared to conquer 400 steps to reach the top. The climb may demand some effort, but the panoramic vista that awaits from above makes it an endeavour well worth undertaking. From this elevated vantage point, you’ll be treated to an unforgettable view of Florence’s iconic skyline and the surrounding beauty of the city.

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Self-guided Walking Tour of Lucca

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Lucca, Italy, is a stunning city in Tuscany with a unique charm. Its well-preserved medieval walls encircle the city, giving it a cozy and untouched feel. Lucca is renowned for its numerous churches, earning it the nickname “the city of a hundred churches.” Additionally, the city’s thriving pottery shops have earned it the title “the city of ceramics.” This combination of history, architecture, and artistic traditions makes Lucca a captivating destination in Italy.

Quick Jumplinks to Navigate the Guide

Thought about touring Lucca by bicycle?
The City Walls of Lucca
Lucca Cathedral (Cathedral of San Martino)
Church of Saint John and Saint Reparata
Piazza Napoleone
Museo Puccini
Church of San Michele in Foro
Torre delle Ore
Domus Romana
Palazzo Pfanner-Controni
Basilica of San Frediano
Piazza dell Anfiteatro
Guinigi Tower (Torre Guinigi)
Church of St Maria della Rosa

Arriving by Train: This walking tour starts and ends at the Train Station in Lucca.

Arriving by Car: Almost all parking in the immediate periphery is “paid parking” (designated by blue lines) or “permit holders only” (designated by yellow lines). Park outside the city walls / ZTL. Free parking is available to the east of the train station is Parking gratuit.
Parcheggio Piazzale Umberto I is near to the train station and the start of the walk.

Thought about touring Lucca by bicycle?

One of the best ways to explore the city center is by biking. The city is quite compact, meaning you can easily see all the landmarks in a day, especially if you get around faster with a bicycle. There are several guided bike tours available but you can also opt to do a self-guided tour by just renting a bicycle.

The City Walls of Lucca

Luccas Historical Walls — CC BY-SA 3.0 / Colin W

From the train station cross over the small park Piazzale Bettino Ricasoli, carefully crossing the main ring road, at the crossing. Cross the grass to reach the San Colombano Bulwark. Walk anticlockwise around the walls.

Walking along Lucca City Walls is a must-do experience when visiting the city. The entire loop spans just over 4km and offers fantastic views over the rooftops of Lucca. From the walls you can see the medieval defensive towers that still stand within the city, such as the Torre del Ore and Torre Guinigi.

The walls provide convenient on and off-ramps, as well as shady benches for relaxation while walking. Note that weekends, particularly in summer, can get a bit crowded, so early mornings are recommended for a cooler and less crowded experience with the best lighting.

Although not ancient, Lucca City Walls were built in the 16th century as defensive fortifications against rival cities like Genoa, Florence, and Pisa. Standing at 12 meters high and up to 30 meters thick in some places, the walls boast several bastions and town gates to discover during your walk. Don’t miss the opportunity to glimpse into the Botanical Gardens shortly after starting the wall walk and the gardens of the Palazzo Pfanner on the other side!

Tip Tip for Visiting Lucca City Walls: There is a specific guided tour of Lucca’s Renaissance City Walls you can take if you are interested in more specific information.

Lucca Cathedral (Cathedral of San Martino)

Cattedrale Di San Martino Lucca — CC BY-SA 4.0 / Mongolo1984

When you arrive back at the San Colombano Bulwark you should be able to see the white building of the Cathedral across the green space. Walking anti-clockwise around it you pass through Piazza Antelminelli and Piazza San Martino until you come to the entrance.

Lucca Cathedral is an absolute must-see when visiting Lucca. Its Romanesque façade is a stunning sight, adorned with delicate arches and intricately carved black and white striped columns. The cathedral was reconstructed in the 13th century, built atop a previous church. The bell tower, which precedes the main cathedral, is made of different materials, giving it a unique appearance.

Upon entering, take note of the sculpture on the right, the famous 13th-century carving of St. Martin, after whom the cathedral is named, along with a beggar. According to the tale, Martin, a soldier, generously cut off part of his cloak to provide warmth to a freezing beggar by the wayside. This act of compassion led to visions of Jesus, his conversion to Christianity, and ultimately his sainthood.

The cathedral’s most precious treasure is the Volto Santo, a carving of Christ on the Cross. Every September, this sacred artefact is carried through the streets of Lucca during a religious procession. Additionally, don’t miss the opportunity to explore the impressive pulpit and admire the exquisite stained glass windows inside the cathedral. These captivating features add to the cathedral’s rich historical and artistic significance, making it a truly awe-inspiring destination in Lucca.

Visiting Lucca Cathedral: Entrance to the main cathedral is €3. Open Mon-Sat 10am-6pm, Sun 12-6pm. There’s a combination ticket for the Cathedral and Church of San Giovanni & Santa Reparata (the next place on our tour). This ticket is €10 and allows you into all the attractions within both churches.

Location: St Martin Cathedral, Piazza Antelminelli, Lucca, Province of Lucca, Italy | Website

Church of Saint John and Saint Reparata

Chiesa Dei Santi Giovanni E Reparata, Lucca, Toscana, Italia — CC BY-SA 3.0 / Myrabella

From the Cathedral entrance walk diagonally opposite to the north west and walk down Via Duomo.

The church of Saints Giovanni and Reparata is situated in Piazza San Giovanni, in the Romanesque district of Lucca’s historic center, in close proximity to the Cathedral of San Martino. Throughout history, the church has undergone various transformations and uses. During the Napoleonic period, it served as a storage facility for the archives of the old Republic. In 1828, it was re-consecrated.

Today, the church and baptistery present the result of a reconstruction effort from the twelfth century, blending both elements into the present appearance. Remarkably, visitors have the opportunity to explore the excavations sites that house remnants of the original fifth-century basilica and the early Christian baptistery. These excavations have unearthed a stratification of five levels, corresponding to the five major stages in the history of Lucca, from the Roman period to the late Empire. Below the basilica’s excavations, the remains of the city’s first cathedral can be found.

The building has experienced further changes over time, especially during the High Middle Ages, ultimately leading to its current appearance. Among the fascinating findings in the excavations are a fragment of a first-century BC Roman house pavement, remains of thermal baths dating back to the first-second century BC, Lombard burial sites, and artifacts from the medieval baptistery and Carolingian crypt.

Puccini Festival Opera Recitals and Concerts are held every thur/fri/sat from 1st November until 31st March, in the Church of San Giovanni, book here.

Visiting church of Saints Giovanni and Reparata: It costs €4 to enter the main church, archaeological exhibit and bell tower. Alternatively, see the Combination Ticket. Open 10am-6pm every day.

Location: Church of Saint John and Saint Reparata, Piazza San Giovanni, Lucca, Province of Lucca, Italy | Hours: Monday - Sunday: 10:00 - 18:00 | Price: Church of Santi Giovanni e Reparata Church + Archaeological area + Baptistery + bell tower of San Giovanni Full price: €4.00 | Website

Piazza Napoleone

Continue along Via Duomo and you soon come to Piazza del Giglio, in the centre of which is a Statue of Giuseppe Garibaldi. Garibaldi devoted himself to the Italian unification movement and personally led many military campaigns. Italy was unified in Garibaldi 1861. More importantly for the UK the Garibaldi biscuit was invented by Peek Freans in 1861 and was named after the Italian revolutionary of the same name, possibly relating to Garibaldi feeding his Redshirts on raisin sandwiches at some point during the campaign to unify Italy.

Piazza del Giglio connects to the larger Piazza Napoleone.

Piazza Napoleone is a charming and expansive square situated at the heart of Lucca, adorned by numerous impressive buildings. It serves as a vibrant venue for various festivals and events, adding to its lively atmosphere. Along the edges of the square, several inviting cafes offer delightful spots to relax and enjoy the surroundings.

Among the notable buildings facing the square, the Ducale Palace stands out as a prominent attraction. Visitors can pass through its archway, leading to a tranquil courtyard where one can find a sense of serenity amidst the bustling city. Another remarkable edifice is the Giglio Theatre, an architectural gem that adds to the square’s splendour.

Overall, Piazza Napoleone is a captivating destination, combining historical landmarks with a lively ambiance, making it a must-visit location in Lucca for both locals and tourists alike.

Location: Piazza Napoleone, Piazza Napoleone, Lucca, Italy | Hours: 24 Hours | Price: Free

Museo Puccini

Casa Natale Di Giacomo Puccini Lucca — CC BY-SA 3.0 / kajikawa

After walking across to the Palazzo Ducale di Lucca walk north along Via Pozzotorelli until you reach Piazza San Michele. Before visiting Chiesa di San Michele in Foro in the square turn left into Via S. Paolino and stop at the Piazza Cittadella to see the Puccini Museum.

The Puccini Museum is dedicated to the life and works of the renowned composer Giacomo Puccini, who was born in Lucca in 1858. The museum showcases the fascinating legacy of this musical genius, famous for creating masterpieces like “La bohème,” “Tosca,” and “Madama Butterfly.” Additionally, visitors can book tickets to attend his operas right at the museum.

Located on the second floor of the house where the composer was born, the museum may be considered somewhat typical and a bit uneventful. However, it provides a glimpse into Puccini’s world through a collection of musical instruments, costumes from his operas, musical scores, and a selection of letters penned by him. Furthermore, the museum offers insights into the social history of Puccini’s time, allowing visitors to appreciate the context in which the composer lived and worked.

Though relatively small, the museum can be explored in about 30 minutes, making it a convenient and enriching stop for those interested in the life and artistic contributions of Giacomo Puccini.

Visiting Puccini Museum: Tickets are €9. The museum is open all year round, but closed on Tuesdays Oct-Mar. It opens at 10am and closes from 2pm to 7pm depending on the season. There’s a free guided tour of the museum in English at noon on Fridays from Jun-Sept.

Location: Puccini Museum Corte S. Lorenzo, 9 55100 Lucca LU Italy | Hours: March Mon – Sun 10:00 am – 6:00 pm Closed on Tuesdays (except on holidays)1st April – 30th September 10:00 am – 7:00 pm Open every day1st October – 1st November Mon – Sun 10:00 am – 6:00 pm Closed on Tuesdays (except on holidays)2nd November – 7th December Mon – Fry 10:00 am – 2:00 pm Sat – Sun 10:00 am – 5:00 pm Closed on Tuesdays (except on holidays and 29th november) and from 7th to 18th November8th December – 8th January 10:00 am – 5:00 pm Closed 25th December9th January – 28th February Mon – Sun 10:00 am – 5:00 pm Closed on Tuesdays (except on holidays)Last admission 30 minutes before closing | Price: Adults € 9,00 | Website

Church of San Michele in Foro

Head back to Piazza San Michele and the Chiesa di San Michele in Foro.

The Church of San Michele, located in the historic center of Lucca, has a history dating back to 1070. It played a significant political role as the meeting place for Lucca’s highest legislative body. The Pisan Romanesque-style facade is adorned with sculptures, including a statue of the Archangel Michael. Inside, notable artworks include Luca della Robbia’s Madonna and Child and Filippino Lippi’s Magrini altarpiece.The church also has the mummified body of The Incorruptible St. Zita on display and the Tomb of St. Richard, the King of Wessex.

Visitng Church of San Michele: Open 9am-5pm weekdays, 9am-6pm Fri-Sun. Free entry.

Location: Church of San Michele in Foro, Piazza San Michele, Lucca, Province of Lucca, Italy

Torre delle Ore

Leave the square at its south east corner along the Via Roma. Turn first left onto Via Fillungo. The Torre delle Ore is on your right.

Climbing up the Torre delle Ore offers breathtaking views of the city. This clock tower, dating back to the 13th century, chimes every 15 minutes. However, be cautious not to stand near the bell when it rings, as it can be quite loud.

As you ascend the tower, you’ll come across informative boards detailing its fascinating history, providing interesting insights and breaking up the long climb.

Impressively, the Torre delle Ore is actually the tallest tower in Lucca, standing at 50 meters, surpassing the more renowned Guinigi Tower, which is 45 meters tall. The advantage of ascending the Torre delle Ore instead of Guinigi Tower is twofold: from the top, you can enjoy a view of Guinigi Tower adorned with its iconic rooftop oak trees, and the Torre delle Ore is generally less crowded with tourists. On the other hand, if you climb Guinigi Tower, it’s challenging to see the tower itself due to the obstructing trees.

For panoramic vistas and a less crowded experience, the Torre delle Ore is a fantastic choice to admire the enchanting cityscape of Lucca from above.

Visiting Torre delle Ore: Open mid-March to early November only, from 10.30am to between 4pm and 7:30pm depending on the season. Tickets are €5, or get a combination ticket.

Location: Torre delle Ore, Via Fillungo, Lucca, Province of Lucca, Italy | Price: A combination ticket covering the nearby Torre Guinigi or the Orto Botanico costs €6/4 (or €9/6 for all three sights).

Domus Romana

Continue walking along Via Fillungo and take the second lane on the left. At the next corner, the Domus Romana is a short distance on your right.

The Domus Romana in Lucca is a fascinating history museum where you can explore archaeological discoveries and learn about the city’s history spanning over 2000 years. Walking through the museum and its excavations gives you a unique perspective on Lucca’s past. The tour begins with an informative video, and then you’ll be guided through the museum located within the remains of a Roman house unearthed in 2010, found in the basement of a modern building. The museum houses numerous artifacts and intriguing maps, providing a rich and educational experience for visitors.

Visiting Domus Romana: Tickets are €5. Open 10am-6pm every day except Tuesdays.

Location: Domus Romana Lucca Via Cesare Battisti, 15 55100 Lucca LU Italy | Hours: Open every day 10.00 - 18.00 Closed on Tuesdays | Price: €5.00 | Website

Palazzo Pfanner-Controni

Continue along Via S. Giorgio and take the first right.

Palazzo Pfanner-Controni is a delightful 17th-century villa featuring a charming Baroque garden. The garden itself is a serene oasis, exuding the enchanting fragrance of roses and lemon blossoms. Visitors can relish in the tranquility while exploring the well-manicured pathways and lush greenery.

Moreover, a tour of a small section of the palace interior is available, allowing guests to step back in time and appreciate the grandeur of the past. This combination of a lovely Baroque garden and the glimpse into the palace’s interior creates a memorable and enriching experience for all who visit Palazzo Pfanner-Controni.

Visiting Palazzo Pfanner-Controni: Open Apr-Nov, 10am-6pm. Tickets to the gardens and residence are €4.50 each or €6.50 combined.

Location: Palazzo Pfanner, Via degli Asili, Lucca, Province of Lucca, Italy

Basilica of San Frediano

Chiesa Di San Frediano, Lucca, Toscana, Italia — CC BY-SA 3.0 / Myrabella

Turn left out of Palazzo Pfanner and first left onto Via Cesare Battisti. When you reach Basilica di San Frediano walk clockwise around it to reach the entrance.

The Basilica of San Frediano is a renowned Romanesque church that boasts a stunning golden mosaic on its facade, capturing the attention of visitors. Constructed during the 12th and 13th centuries, the basilica actually predates the cathedral, adding to its historical significance.

Inside, one of the most captivating attractions is the mummy of St. Zita, a young girl who passed away in 1272. Remarkably, her body naturally mummified, and upon its discovery, it was found to be miraculously preserved, showing no signs of deterioration. This extraordinary occurrence led to her being recognized as a saint, making her mummy an intriguing and sacred relic housed within the basilica. The combination of its striking exterior and unique interior makes the Basilica of San Frediano an extraordinary and spiritually significant site in Lucca.

Basilica of San Frediano Key Information: Open 9:30am-4:30pm every day. Tickets are €3.

Location: Basilica di San Frediano, Piazza San Frediano, Lucca, Province of Lucca, Italy

Piazza dell Anfiteatro

From the entrance to the Church walk straight across Piazza San Frediano and turn left into to Via Fillungo. Either turn first right and right again to reach Piazza dell’Anfiteatro; if you would like to see more of the shops, turn second right, right again along the narrow Via del Portico. You are now behind the dell’Anfiteatro, so turn right and then left to enter.

Piazza dell’Anfiteatro, also known as Anfiteatro Romano or Piazza del Mercato, holds a fascinating historical background. In the ancient times of the first to second centuries BC, a Roman amphitheatre once stood at this location. Although the original structure was destroyed and its foundations now lie several meters underground, the shape of the amphitheatre is still evident today, thanks to the houses built by the inhabitants of Lucca during the Middle Ages, which followed the old walls.

If you carefully observe the buildings lining the street that follows the outer curve of the amphitheatre, you can spot some old arches and stones that once belonged to the original amphitheatre, providing a glimpse of its past grandeur. In recent history, this square used to host a market, but nowadays, it is adorned with touristy cafes and upscale shops, creating a lively and vibrant atmosphere that attracts visitors from all over. Piazza dell’Anfiteatro is not only a historical gem but also a bustling and charming destination to explore in Lucca.

Location: Piazza dell'Anfiteatro, Piazza dell'Anfiteatro, Lucca, Province of Lucca, Italy | Hours: 24 Hours | Price: Free

Guinigi Tower (Torre Guinigi)

Torre Guinigi, Guinigi Tower, Lucca — CC BY-SA 3.0 / LivornoDP

Take the southenr exit from the Piazza dell’Anfiteatro, turn left then first right down Via Canuleia. Walk straight across at the crossroads into Via delle Chiavi D’Oro, Torre Guinigi is at the end of the road.

The Guinigi Tower is a fascinating and iconic attraction, renowned for its unique rooftop garden filled with trees. Standing at a height of 45 meters, this tower dates back to the 14th century and has become a symbol of Lucca.

Commissioned by the wealthy and influential Guinigi family, the tower served as a display of their affluence and prominence in the city. The rooftop garden, adorned with oak trees, holds symbolic significance, representing the rebirth of the city.

Visitors can enjoy panoramic views from the top of the tower, amidst the lush greenery of the garden. However, it is essential to note that the tower can get quite crowded. To avoid long queues on the narrow steps, it is advisable to visit early in the day or during late hours. This way, you can fully appreciate the beauty and splendor of the Guinigi Tower without the inconvenience of overcrowding. The Guinigi Tower marks the final stop on the walking tour and offers an unforgettable experience in the heart of Lucca.

Visiting Guinigi Tower: Tickets are €5. Opens all year round from 10am. Closes between 4pm and 8:30pm depending on the season.

Location: Guinigi Tower, Via Sant'Andrea, Lucca, Province of Lucca, Italy | Hours: January 1 - March 20: 10.00 - 16.00 21 March - 31 May: 10.00 - 18.30* (* Saturday and Sunday closing 19:30) 1 June - 20 September: 10.00 - 19.30* (* June -Luglio: Saturday and Sunday closing at 8.30 pm; August: Saturday and Sunday closing at 20.00) 21 September - 30 September 10.00 - 18.30 1 October - 31 December: 10.00 - 16.00 (closed on 25 December) | Price: Adults € 6.00 | Website

Church of St Maria della Rosa

Turn left out of Guinigi Tower, past the Museo del motore a scoppio Barsanti, a small museum to tell the true story of the inventors of the internal combustion engine, Barsanti and Matteucci (https://www.barsantiematteucci.it/). Turn right at the t-junction down Via dell’Angelo Custode until you reach Chiesa di Santa Maria della Rosa.

The Church of Saint Mary della Rosa is a captivating Gothic church dating back to the 13th century, and what makes it truly remarkable is its integration with a section of the ancient Roman city wall. The church’s exterior features a stunning façade facing the street, while its interior exudes a unique and atmospheric ambiance.

Inside the church, a fascinating sight awaits visitors as they can observe the large stone blocks from the ancient Roman wall, which have been incorporated into the left side of the building. This blend of architectural styles and historical elements adds to the church’s allure and offers a glimpse into the rich layers of history that Lucca holds.

Location: Chiesa di Santa Maria della Rosa, Via della Rosa, Lucca, Province of Lucca, Italy

You are now within sight of San Colombano Bulwark, where you can retrace your steps to the train station.

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Complete Guide to Visiting The Leaning Tower of Pisa!

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Quick Facts about the Leaning Tower of Pisa

How many years did it take to build?

The Leaning Tower of Pisa took nearly 200 years to be constructed.

Was it built to lean?

Its leaning began during the building process, and upper levels were purposely built at an angle to counteract it.

How many steps does it have?

The tower has 294 steps on the north side and 296 steps on the south side.

Is it a UNESCO World Heritage Site?

Both the tower and the cathedral were designated as UNESCO World Heritage Sites in 1987.

Is the Leaning Tower of Pisa going to fall over?

Restoration work took place from 1989 to 2001, following the collapse of a tower in Pavia. The tower was closed to visitors during this time. In 2008, engineers confirmed that the leaning has stabilized, and the tower is expected to remain stable for the next 300 years.

Who were the architects of the Tower at Pisa?

It is thought that the architects and engineers who designed the leaning Tower of Pisa are: Bonanno Pisano, Gherardo di Gherardo, Giovanni Pisano, Giovanni di Simone

How tall is the Leaning Tower of Pisa?

The original completed height of the Tower of Pisa is 60 meters. Actually the tower’s height is 56.67m on the highest side and 55,86m on the lowest side.

What is The Leaning Tower of Pisa’s Name in Italian?

The Leaning Tower of Pisa’s Name in Italian is Torre Pendente is pronounced TOR-reh pen-DEN-teh.

How Long does it take to climb the Leaning Tower of Pisa?

If you plan to climb the Leaning Tower of Pisa, it takes about 30 minutes.

Why was the Leaning Tower of Pisa built?

Pisa had grown from a small seaport town to a regional powerhouse in the 12th century, mostly due to the treasure accumulated from the attack on Palermo and Sicily which left Pisans victorious. To exhibit this prosperity, Pisa began to invest its wealth in the form of grand buildings and opulent structures. Hence, the idea for the Field of Miracles, today’s Piazza dei Miracoli was born. In this compound, the Pisa Cathedral, The Pisa Baptistery, the cemetery and a tall bell tower were designed to be erected. Hence, the tall bell tower which we know today as the Leaning Tower was built.

What is the easiest to get to Pisa

The easiest way to get to Pisa is by train and most people visit Pisa as a day trip from Florence. Direct trains from Florence take between 1 hour and 1 hour and 11 minutes, depending on the speed of the train. These trains leave every 20 to 30 minutes.

After arriving at the Pisa Centrale train station, it is a 22-minuted walk to the Leaning Tower. Taxis are available to speed up your journey and cost roughly €10 one way.

Where is the Leaning Tower of Pisa?

The Tower itself is located in a grassy field known as “Piazza dei Miracoli”, which translates to English as “Square of Miracles“. The Square of Miracles is located in the northern part of Pisa, about 1km (less than 1 mile) from the very centre of the town of the Leaning Tower. Pisa is located just an hour away from Florence and the Cinque Terre by train, it is very easy to see Pisa from either of these locations and even easier when traveling between the two.

What Else is in the Square of Miracles?

The Square of Miracles is another name for the Duomo Complex. The buildings on this square include the Leaning Tower of Pisa, the cathedral, the baptistery, the Camposanto, the Sinopie Museum, and the Opera del Duomo Museum.

Baptistery

Constructed in the 12th century, the round Battistero di San Giovanni (Pisa Baptistery) stands as the second building within the Campo dei Miracoli. Externally, it boasts intricate beauty, but upon entering, one is greeted with a more austere, sparse, and somewhat sombre design.

The atmosphere almost transports you into a scene from The Game of Thrones, where imminent bloodshed seems likely.

The baptistery’s renowned acoustics are a treat, and during our visit, we were fortunate to witness one of the guardians singing, showcasing its mesmerizing sound – an unforgettable moment. Interestingly, this performance occurs every 30 minutes, making it a must-see, preferably from the upper gallery.

On the second floor, a window opens to a breath-taking view of the Cathedral façade and Piazza dei Miracoli – an incredible sight not to be missed.

Pisa Cathedral

Constructed in 1092, the Duomo di Pisa impresses with its splendor both inside and out.

Gaze upwards to marvel at the golden ceiling, take in the exquisite artistry of Giovanni Pisano’s masterful pulpit carvings, and linger to appreciate the delicate fusion of slender pillars and the striking angles of the façade that faces the baptistery.

Camposanto

The last stop at Campo dei Miracoli was the Camposanto Monumentale, the old cemetery. Although slightly fatigued at that point, we admired its frescoes, sarcophagi, arches, and sculptures. The site’s beauty shines through, especially when the light is just perfect. It holds significance as it was built on sacred soil brought from Golgotha and the Third Crusade, serving as the final resting place for several holy figures.

Please note that in the ticketing system, these attractions are collectively referred to as ‘monuments,’ along with the Opera del Duomo museum and Sinopie museum.

How do I buy Tickets to see the Leaning Tower of Pisa?

Tickets can be bought from the official website. At a time, access to the Leaning Tower is limited to 45 people only. Each visit lasts for a strict 30 minutes.

If the Tickets are sold out for the date you will be here, you can also get a ticket through GetYourGuide. You have the option of a Reserved Entrance to Leaning Tower of Pisa & Cathedral.

Tower & Cathedral: €20, which includes the Leaning Tower of Pisa and the cathedral

Tower & Cathedral skip the Line Ticket: About €22. If you are in the height of the season you can spend over an hour in line, if this does not appeal try buying a Leaning Tower of Pisa and Cathedral Skip-the-Line Ticket.

Complete Visit (without Tower): €10, which includes the cathedral, baptistery, Camposanto, and both museums. Even though it is called the Complete ticket, IT DOES NOT INCLUDE THE TOWER.

Cathedral + One Site: €7; for 7 euros, you can visit the cathedral plus one other site, choosing between the baptistery, Camposanto, Opera del Duomo Museum or Sinopie Museum.
N.B. This does not include tickets for the tower.

Combined Ticket: €27 which includes everything: the tower, cathedral, baptistery, Camposanto, and both museums

All-Inclusive Guided Tour with Optional Leaning Tower: Discover Piazza dei Miracoli on a guided walking tour and learn about the cathedral, baptistery, and the famous Leaning Tower. Have the option to climb the tower (if ticket selected). All-Inclusive Guided Tour with Optional Leaning Tower

When does the Leaning Tower of Pisa open?

With the exception of the cathedral, the sites at the Duomo Complex open at 9 am and close between 6 and 7 pm. The cathedral is open from 10 am to 6 pm.

What is the Best time of day to Visit the Tower?

With almost 500,000 annual visitors, the Leaning Tower of Pisa and Campo dei Miracoli can get very crowded. If you want to take photos without tons of other people in the frame, try to arrive early in the morning possible before the Tower opens for visits.

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