31 Best Sights in Siracusa and the Southeast, Sicily

You'll need to hire a guide to explore the over 5,000 tombs covering the limestone cliffs that make up this Iron and Bronze Age burial site. On a huge plateau over the Anapo River, the necropolis dates to between the 13th and 8th centuries BC. If you decide not to hire a guide, you'll need to drive to get here. There are two main entrances: one near the town of Sortino and the other from the town of Ferla. The entrance by Sortino involves a good walk down the sides of the gorge while the Ferla entrance is more of a gentle stroll along a well-beaten path. Set aside a minimum of two hours for your visit, but it is better to allocate at least half a day; be sure to wear a good pair of walking shoes and bring plenty of water.

 Siracusa is most famous for its dramatic set of Greek and Roman ruins, which are considered to be some of the best archaeological sites in all of Italy and should be combined with a stop at the Museo Archeologico. If the park is closed, go up Viale G. Rizzo from Viale Teracati to the belvedere overlooking the ruins, which are floodlit at night.

Before the park's ticket booth is the gigantic Ara di Ierone (Altar of Hieron), which was once used by the Greeks for spectacular sacrifices involving hundreds of animals. The first attraction in the park is the Latomia del Paradiso (Quarry of Paradise), a lush tropical garden full of palm and citrus trees. This series of quarries served as prisons for the defeated Athenians, who were enslaved; the quarries once rang with the sound of their chisels and hammers. At one end is the famous Orecchio di Dionisio (Ear of Dionysius), with an ear-shape entrance and unusual acoustics inside, as you'll hear if you clap your hands. The legend is that Dionysius used to listen in at the top of the quarry to hear what the enslaved people were plotting below.

The Teatro Greco is the chief monument in the Archaeological Park. Indeed it's one of Sicily's greatest classical sites and the most complete Greek theater surviving from antiquity. Climb to the top of the seating area (which could accommodate 15,000) for a fine view: all the seats converge upon a single point—the stage—which has the natural scenery and the sky as its backdrop. Hewn out of the hillside rock in the 5th century BC, the theater saw the premieres of the plays of Aeschylus, and Greek tragedies are still performed here every year in May and June. Above and behind the theater runs the Via dei Sepulcri, in which streams of running water flow through a series of Greek sepulchres.

The well-preserved and striking Anfiteatro Romano (Roman Amphitheater) reveals much about the differences between the Greek and Roman personalities. Where drama in the Greek theater was a kind of religious ritual, the Roman amphitheater emphasized the spectacle of combative sports and the circus. This arena is one of the largest of its kind and was built around the 2nd century AD. The corridor where gladiators and beasts entered the ring is still intact, and the seats (some of which still bear the occupants' names) were hauled in and constructed on the site from huge slabs of limestone.

One of Sicily’s best-kept secrets, the archaeological park of Akrai is home to what is said to be Siracusa’s first inland settlement, built to defend its overland trading route from other Greek colonies. You can access the site by a steep but steady 20-minute walk or a five-minute drive. Today, the site contains mainly ruins, but it is well worth visiting simply to see the Teatro Greco, originally constructed in the 3rd century BC to seat 600. Around the site, you'll also find two old stone quarries used to build the settlement, then converted into burial chambers as well as a remarkably well-preserved portion of the stone road into the area. Mount Etna may be seen rising majestically in the distance.

Locals consider this the most important church in Palazzolo Acreide, rebuilt and repaired after the 1693 earthquake. When you enter, usually a volunteer will be available to take you on a brief tour. The main focal points are the relics and the statue of St. Paul paraded annually through the town with alternate moments of piety and raucous pyrotechnics, between June 26 and June 29.

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

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

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

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

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

For those seeking sea air, limpid and shallow waters, and fine sand, Sampieri's wonderful beach is a popular destination. There are a few bars, restaurants, and beach clubs at the west end; walking eastwards a pine-forest-and-sand-dune-backed free-access public beach leads to Punta Pisciotto's sculpted volcanic stone cliffs and picturesque ruin, Fornace Penna. This former brick and tile factory built in 1912 is a stunning backdrop in both reality and in the Montalbano TV series, although the fictional inspector's beachside pad in the show is up the coast at Donnalucata. Adventurous walkers and cyclists will enjoy the coastal paths from Sampieri to nearby Marina di Modica, while a westward rocky shoreline trail traces the Covo dei Contrabbandieri to another small beach town, Cava d'Aliga. Sampieri is a 6-mile drive from Scicli along the SP40, or 20 minutes via bus or train (getting to and from Sampieri's train station and beach involves a walk along the busy road without sidewalks, though). Amenities: food and drink; lifeguards; parking (free); showers; toilets. Best for: sunset; surfing; swimming; walking.

The protected reserve encompasses 15,000 hectares with paths crisscrossing bird- and wildlife-rich lagoons, macchia scrubland, and unspoiled beaches, including Calamosche, Eloro, Marianelli (most pristine and peaceful), and Vendicari with its tonnara (fishery) ruins. There are five entrances, the nearest to Noto being Ingresso Marianelli, some 7 miles southeast of Noto via SP19. There's no reliable public transport here, so you'll need a car.

The ornate facade of this 18th-century Baroque church—a UNESCO World Heritage site—dominates Piazza del Popolo. The interior is worth a visit for its towering marble main altar, carved wooden sacristy, and numerous statuary and artworks, including some dedicated to the cult of Madonna Odigitria, traditionally venerated by the residents of the upper part of town with a music-and-flower-filled annual May procession. 

Originally from the early 800s, today this castle is mostly in ruins, but if you follow the well-constructed paths that wind through it, you can still pass through some rooms and doorways and get a sense of what the castle once looked like. The views are lovely near the castle walls that extend above the cliffs, and you can see how castle defenders watched for enemies here. Access to the ruins is wheelchair-friendly, but some climbing of stairs is required to complete the tour of the entire site.

The southern tip of Ortigia island is occupied by this castle built by Frederick II (1194–1250), from which there are fine sea views (until recently, it was an army barracks). The grounds (with bar) are open to the public and have become a popular spot for picnics and lunch breaks. Highlights of the castle are the vaulted main hall and the cannon emplacements in the basement—at their most evocative on stormy days when you can hear the waves crashing against the walls. Contemporary art shows, usually featuring sculpture, are staged in the cathedral-like interiors and even in the surrounding waters.

Not far from the Archaeological Park, off Viale Teocrito, the catacombs below the church of San Giovanni are one of the earliest known Christian sites in the city. Inside the crypt of San Marciano is an altar where it is believed that St. Paul preached on his way through Sicily to Rome. The frescoes in this small chapel are mostly bright and fresh, though some dating from the 4th century AD show their age. To visit the catacombs, you must take a 45-minute guided tour (included with the admission price), which leaves about every half hour and is conducted in Italian and English.

The fabulously voluptuous facade makes a stunning contrast with the limestone cliffs soaring above the edge of the town's historic center. A dizzying fusion of the Baroque and rococo lies behind the lace grate doors of this single-nave church; your eyes eventually lead to the central altarpiece painting, Martyrdom of Saint Bartholomew (1779) by Francesco Pasucci. Most enchanting is the Neapolitan wooden nativity scene conceived in the 16th century and remodeled by Pietro Padula (1773–76).

Founded in the 17th century by the Jesuits, Scicli's "mother church" was rebuilt following the 1693 earthquake. Housing the remains of the town's patron saint, Guglielmo the Hermit, a side chapel also hosts the life-size papier-mâché statue of the Madonna su cavallo (on a horse), also known as the Madonna delle Milizie. She is paraded through the streets on the last Saturday in May to celebrate her feast day.

Designed by Rosario Gagliardi in 1738 (and completed in 1791), Ragusa's main cathedral, a fine example of the Sicilian Baroque, was further modified in the 19th century with the addition of a Neoclassical cupola. The flamboyant convex facade with bell tower rises 203 feet, looking like a wedding cake from the sloping piazza below to provide sightlines for the 141-foot dome. Although visitors enter via side entrances, the ornate portal frames wooden doors that are decorated with six episodes in the martyrdom of San Giorgio, all carved by Fiorello (1793). The three-nave interior is more subdued in comparison and contains numerous paintings and statuary by mostly 18th-century Sicilian artists, as well as an impressive 3,383-pipe Organum Maximum made in Bergamo in 1881; that alone is well worth hearing and a reason to visit. But you may wish to linger to take in the artworks and sunlight-bathed atmosphere from 20 vibrant, stained-glass windows, each detailing more saintly scenes and allegories.

Statues of the apostles line the staircase of Modica's honey-colored stone cathedral, which was originally constructed in the 14th century, then rebuilt in an impressive Baroque style following its destruction in the 1693 earthquake. Look down to marvel at the ornate intarsia stone tiling and above at the vaulted ceiling frescoes (1760-80) depicting Biblical scenes by local artist Gian Battista Ragazzi and his son Stefano. Flanked by an impressive wooden choir the main altar has a vibrant marble statue Madonna del Soccorso (also called Madonna della Mazza), which dates from 1507. This curious image of Mary, who is wielding a club to smash a Satanic figure while cradling the baby Jesus, has its origins in the legend of 14th-century Nicola La Bruna from Palermo, whose vision of Mary is said to have cured a grave illnes. On a political note, there was a long and bitter dispute with lofty rival San Giorgio (Modica's other cathedral) regarding which church was rightfully Modica's "Chiesa Madre" (Mother Church); thankfully, they now share that status more amicably. If you're a glutton for churches, consult www.laviadellecollegiate.it for information and itineraries that cover Modica's plethora of places of worship.

A freshwater spring, the Fountain of Arethusa sits next to the sea, studded with Egyptian papyrus that's reportedly natural. This anomaly is explained by a Greek legend that tells how the nymph Arethusa was changed into a fountain by the goddess Artemis (Diana) when she tried to escape the advances of the river god Alpheus. She fled from Greece, into the sea, with Alpheus in close pursuit, and emerged in Sicily at this spring. It's said if you throw a cup into the Alpheus River in Greece, it will emerge here at this fountain, which is home to a few tired ducks and some faded carp—but no cups. If you want to stand right by the fountain, you need to gain admission through the aquarium; otherwise look down on it from Largo Aretusa.

The impressive collection of Siracusa's splendid if scruffy archaeological museum is organized by region and time period around a central atrium and ranges from Neolithic pottery to fine Greek statues and vases. Compare the Landolina Venus—a headless goddess of love who rises out of the sea in measured modesty (a 1st-century-AD Roman copy of the Greek original)—with the much earlier (300 BC) elegant Greek statue of Hercules in Section C. Of a completely different style is a marvelous fanged Gorgon, its tongue sticking out, that once adorned the cornice of the Temple of Athena to ward off evildoers. It's a massive collection so be prepared to be fatigued at some point while walking around the disheveled space-station-esque modernist (1961) complex. 

Housed in the 16th-century former convent of Sant'Agostino, the small but intriguing Papyrus Museum uses informative exhibits and videos to demonstrate how papyri are prepared from reeds and then painted—an ancient tradition in the city. Siracusa, it seems, has the only climate outside the Nile Valley in which the papyrus plant—from which the word "paper" comes—thrives.

Charming Salvatore Amorelli, known affectionarly as Totò, has been crafting pipes since 1982, and his evocative, tobacco-perfumed workshop-museum, which is hidden away within a historic courtyard lined with beautifully gnarled pieces of wood, is a joy to visit. As you enter his workshop, smiling Salvatore will take you through the fascinating history of the pipe, the different types of wood and techniques he uses, with displays of pipes laid out on tables. Totò's pipes are sculptural works of art, enjoyed by people from around world, including Bill Clinton, who has a sax-shaped number. Visitors may drop by any day but Sunday, but it's better to call ahead to make an appointment (long lunches are sacred here, of course).

If the other palazzoli in Scicli simply hint at the luxury of the town's golden age, then this is a full-on assault on the senses. The exterior is covered by stone-carved statues, including representations of mythical creatures and enslaved people that serve as an essential reminder of the town's role in the region's slave trade. The private residence's saloni cannot be visited, but there's an interesting contemporary art gallery and small printworks at the street-level Bassi Beneventano ( www.lomagnoartecontemporanea.it).

If you want to see how the high society of Scicli once lived, then this is the place. Belying the plain yet grand exterior, the interiors overspill with opulence that may not be to today's tastes: think ornate antique furniture, silk wallpapers, and frescoes galore. Apart from the marbled staircase bathed in blue and yellow light from its gorgeously grated windows, the highlight is the terrace overlooking the immaculate gardens. Over the road you can visit historic pharmacy Farmacia Cartia (1902) with original wooden cabinets, apothecary jars, bottled potions, scales, and cash register.

Designed by architect Vincenzo Sinatra in the 17th century, Palazzo Ducezio (now the town hall) is still a sight to behold. Up until 2024 you could visit both of its two floors, with the top floor offering panoramic views of the surrounding area. However, a legal wrangle has halted visits. Still, the steps of the palace make for popular pews for watching the world pass before the Duomo's magnificent staircase. The best time to visit is in the afternoon or evening when the local buildings take on a golden hue in the fading light. Around the back, the Bassi di Palazzo Ducezio interiors stage exhibitions, including regular shows of the large, vibrant canvases by charming Siracusano artist Mario Zito, lecturer at the Accademia di Belle Arti di Palermo.

The center of this piazza has a Baroque fountain, the Fontana di Diana, festooned with fainting sea nymphs and dancing jets of water. Look for the Chiaramonte-style Palazzo Montalto, an arched-window gem just off the piazza on Via Montalto.

While the whole of Noto can make you feel that you are on a film set, its central plaza trumps the lot for stage-set impact. Piazza Municipo is home to three of the grandest buildings in Noto, including Palazzo Ducezio, now home to the local town hall, that forms the plaza's main part. If you climb to the top of the ornate staircase to the north you will find Cattedrale di San Nicolò while on the western side of the palazzo is Palazzo Landolina, which was once home to one of the most powerful families in Noto, the Sant'Alfano family.

For a glimpse of the magnificent interiors and gardens of the Palazzo Arcivescovile, the palace of 17th-century Archbishop Giovanni Antonio Capobianco, which is next to the Duomo, and the wondrous Biblioteca Alagoniana, this museum is well worth 45 minutes of your time. Visitors proceed through the ground floor, first taking in the pious displays in the vaulted Cappella Sveva, reminiscent of (and probably hewn by) Castello Maniace's stonemasons. Next is the atmospheric 17th-century Carcere Vescovile, with austere prison cells, narrow windows, and internal courtyard, all designed for the control of the inmates. Corridors lined with historic portraits of Ortigia worthies and documents lead to the uplifting itinerary highlight, the Biblioteca Alagoniana (1780), named for Bishop G. B. Alagona. Reeking of knowledge, intrigue, and mystery, the wood-lined library contains over 70,000 volumes, including 21 priceless Latin, Greek, and Arabic codexes, 17 incunabolo pamphlets from the late 1400s, and an illustrated Liber Cronicarium (1493, Nuremberg) by German polymath Hartmann Schedel (1440–1514). You exit the palazzo via the beautiful, flowery gardens.

This still-working theater from the 19th century offers guided tours of its small, ornate interior, although litigation has suspended tours as of this writing. Check ahead as it often presents programs of classic and contemporary theater in Italian, and music concerts. It was named for silent film actress Tina Di Lorenzo.