A'Piscaria, is "fish market" in Sicilian. Here is the most venerable and hectic place in Catania, take a stroll through the always busy fish market of Catania. This market makes the one in Palermo look tame. The market and the stalls extend from one street to another.

So many different kinds of fish and the people are of different kinds as well. Cockles, clams, mussels, urchins, what would you like? Everything, the shouting, the smells, the colors, the humor beneath the red awnings are all a happy frenzy here.

The market has been open every day since 1800. That's a long run on Broadway. Together with the Mondays Fair it is the most exciting market in Sicily.

Only a few steps away from the Cathedral of Catania and the Palace of the Elephants, the Piscaria extends out in all directions. It sneaks into streets, hides and reappears unexpectedly. Visitors are welcome. The main attraction is a toss-up; the people, or the fish?

Walk through the stalls of sea bass, shrimp, swordfish, oops, some are still moving! The fish are processed and cut, the sellers call out "vuciata!" the loudest gets the sale.

The Elephant Fountain (Fontana dell'Elefante) is a striking landmark in the heart of Cathedral Square (Piazza del Duomo) in Catania. Designed by architect Giovanni Battista Vaccarini between 1735 and 1737, this monument has become the emblem of Catania, showcasing the city’s resilience and cultural richness following the devastating earthquake of 1693.

The fountain's centerpiece is a black basalt statue of an elephant, affectionately called U Liotru, a symbol of the city. The origins of Vaccarini's inspiration are debated, with some attributing it to Gian Lorenzo Bernini’s Elephant and Obelisk in Rome, while others see a link to the Hypnerotomachia Poliphili, a Renaissance text.

The fountain’s base, made of white marble, features sculptures representing the Simeto and Amenano rivers, the key to Catania’s identity. The elephant statue itself faces the Cathedral of Saint Agatha, the city's patron saint, with an Egyptian-style obelisk mounted on its back. This granite obelisk, likely from ancient Syene, bears decorative motifs but no decipherable hieroglyphs. Atop the obelisk are symbolic elements: a globe, palm leaves for martyrdom, lilies for purity, and a metal tablet inscribed with a dedication to Saint Agatha, crowned by a cross.

Since its creation, the fountain has undergone multiple renovations, reflecting its central role in Catania’s history. Initially completed in 1737, a marble basin was added in 1757. In 1826, an iron fence and garden were installed, though these were later removed in 1998 to create a more accessible public space. Notably, the fountain narrowly escaped relocation to Piazza Palestro in 1862, thanks to a popular uprising led by Bonaventura Gravina.

Today, the Elephant Fountain stands as a symbol of Catania's spirit, blending history, artistry, and devotion in one iconic monument.

The Roman Theater of Catania is actually two open air semicircular theaters. The site is bordered by San Francesco Square, Vittorio Emanuele Street and Teatro Greco Street in central Catania. The large theater and the smaller one, called the Odeon, are part of Graeco-Roman Archaeological Park of Catania.

The theater was built in the 2nd century AD. It was not completely excavated until the 19th century. Seats rise up a hillside facing the sea. The orchestra and stage have a diameter of 84 feet. The cavea (seating) section has a depth of 322 feet. Twenty-one rows of seats could hold up to 7,000 spactators. Exits were below the seats.

After the fifth century AD the theater and Odeon were no longer used. Digging on the site began in the 18th century during the rule of Ignazio Paterno Castello, the Prince of Biscari.

Finally, in 1959 the site was cleared of houses that were encroaching on the area and the theater and the Odeon were exposed. Artifacts removed from the dig are displayed nearby in the Pandolfo House and Liberti House.

Close to the Cathedral and Bellini squares in the center of Catania, is the University Square. Late Baroque palaces of the University of Catania line the square.

There is the University Palace, Gioeni Asmundo Palace and the San Giuliano Palace. The alternate name for the square is Student Square. In former times the square featured a statue by Antonio Cali of King Francis I of the Kingdom of the Two Sicilies. King Francis abdicated in 1830 and the statue followed.

The square now has four elaborate lampposts sculpted in bronze and designed by Vincenzo Corsaro. The lampposts together form a candelabra. Each candle has figures at the base that tell a tale of Sicily. In the telling, the statues celebrate virtues traditionally esteemed in Sicily: Chastity; Patriotism; Filial Devotion, and; Cleverness.

The lamp-post Gemmazita shows a woman dives into a well to avoid a lustful French soldier. This event is said to the cause of the War of Sicilian Vespers which was a successful rebellion on the island of Sicily that broke out at Easter 1282 against the rule of the French-born king Charles I.

The lamp-post Paladin shows a knight of Catalan defeats a Saracen and marries a princess.

The lamp-post Fratelli Pi shows two brothers save their elders from a river of lava by carrying them on their shoulders (the brothers' shoulders).

The lamp-post Colapesce (Tail-Fish) shows Count Ruggero asks a very young merman if he can see Mount Etna underwater. The boy says yes. He dives holding a log. He is not seen again but the volcano spits out the log during an eruption.

The Ancient Royal and Eminent Basilica Collegiate of Our Lady of the Alms, more commonly referred to as the Basilica della Collegiata, stands as a remarkable example of Sicilian Baroque architecture in the heart of Catania, Sicily. Completed in 1794, the church is a testament to the city’s resilience, having been rebuilt in the early 18th century following the devastating earthquake of 1693 that destroyed much of Catania. Originally constructed in the Middle Ages, it was elevated to a collegiate church by Pope Eugenius IV.

The Basilica's redesign by Angelo Italia reoriented it towards the newly planned Via Uzeda (now Etnea Street) as part of post-earthquake urban renewal. Stefano Ittar, a Polish architect, crafted the stunning late Baroque façade with a two-tiered design: six stone columns on the lower level, statues flanking a central window on the upper level, and a bell structure above. A grand staircase with a wrought iron parapet leads to the church.

The Basilica's interior follows a traditional plan with a nave, two aisles, and three apses. The central apse, housing the rectory, is the focal point. The right aisle features a baptistery, three saintly altars, and the Altar of the Virgin of the Immaculate Conception, adorned with a marble balustrade and statue. Above the high altar in the nave’s apse is an icon of the Virgin with Child, a copy of a Byzantine original. An 18th-century wooden organ and choir enhance the sacred atmosphere. The left aisle leads to the Holy Sacrament Chapel with a polychrome marble altar and includes Olivio Sozzi's altarpiece of Sant’Apollonia. The 1896 frescoes by Giuseppe Sciuti depict the Life of Mary, Angels, and Saints.

The Basilica della Collegiata is not only a jewel of Sicilian Baroque but also a testament to the enduring faith and artistic legacy of Catania.

There is the Coloseum, the Ampithraetre of Capua, and the Verona Arena. They are in the groups of the largest arenas. The amphitheater of Catania, eroded, dismantled and mostly buried is also among that group. The amphitheater of Catania was built around 200 AD. It lies below the slopes of Montevergine Hill on the northern side of town.

Only a piece of it can be seen. It is close to the Stesorico Square. It is a part of the exhibit of the Greek-Roman Archaeological Park of Catania. It was an elliptical arena with radial walls and vaults to support the seats.

A gallery with a facade encircled the exterior. The ellipse of the arena had a large diameter of 268 feet. The small diameter was 164 feet. The outside diameters were 478 feet and 345 feet. The outside circumference was 1,015 feet. A respectable size overall. The materials used in the walls show some degree of recycling.

Seating capacity was about 15,000. More could have been accommodated by adding standing room only bleachers of wood. The theatre was able to stage sea battles, making use of the city's aqueduct. An iron gate is presently used for access. Two ionic columns flank the gate and support an architrave with the inscription, "Ampitheatrum Insigne".

Legend has it that the theatre was spared burial by lava in the eruption of Mount Etna in 251. It was in that year Saint Agatha died. Her spiritual intervention might have saved many. However, the lava stopped before reaching Catania. There is no evidence she favored sports arenas, but then she did favor Catania.

In 1693 the arena was buried by the earthquake of that year. Giovanni Gioeni used rubble to build homes and a neo-classical facade for the Church of San Biagio. The ground that buried the amphitheater was used as a garden. The amphitheater of Catania had just disappeared. It reappeared in excavations of the 1700s.

Only a tenth of the amphitheater is visible today.

The Botanical Garden of the University of Catania (Orto Botanico dell'Università di Catania) is a prominent botanical garden covering an area of 16,000 square meters. It is managed by the University of Catania's botany department and holds membership in the Botanic Gardens Conservation International (BGCI).

The garden’s origins trace back to 1847 when an initial attempt to establish it was disrupted by the revolutions of 1848. It was successfully founded in 1858 by Francis Roccaforte Tornabene, a Benedictine monk and botanist. The first plantings, in 1862, featured specimens sourced from botanical gardens in Sweden, France, Naples, and Palermo. In 1865, thanks to a generous donation from Mario Coltraro, the garden expanded to include an area dedicated to indigenous Sicilian flora. In the early 1900s, the garden was further enriched by the creation of the Giardino Botanico "Nuova Gussonea" on Mount Etna, focusing on native mountain plants.

The Botanical Garden, revitalized after World War II damage and the 1958 loss of its Tepidario greenhouse, now spans two sections. The 13,000 square meters Hortus Generalis hosts exotic plants in limestone-bordered squares, with greenhouses for succulents, tropical species, and aquatic tanks. The 3,000 square meters Hortus Siculus focuses on Sicilian species, featuring lava-stone-bordered beds arranged by the botanical family.

The garden also boasts a striking neoclassical departmental building, adding architectural charm to this scientific and cultural landmark. The Orto Botanico stands as a testament to botanical heritage and research, offering visitors a unique glimpse into both exotic and native Sicilian plant species.

Bellini Garden is the most popular garden in which to go for a walk among locals. It is dedicated to the famous Italian composer born in Catania, V. Bellini.

Before the construction of a public garden, the area was occupied by the garden maze or labyrinth owned by the Ignazio Paternò Castello, prince of Biscari. In 1854, the Municipality of Catania bought the area of the maze, and in 1864 started to adapt the area into a public garden.

Starting from 1875, the municipality acquired several further areas surrounding the maze, and two years later the work to unify these areas was undertaken. The Bellini Garden was inaugurated in 1883.

Inside, the villa is equipped with numerous architectural features such as ponds, fountains, statues and busts of many distinguished people from Catania.

Doh, re, mi, fa, so, la, ti; seven notes, seven steps up the pyramid monument to Vincenzo Bellini. Atop a column atop the pyramid Vincenzo sits. He's like a professor. With a manuscript on his knee he sits and ponders the Church of Saint Agatha at Fornace. He venerated her all his short life. He died at 34 in 1835.

The monument was designed and sculpted by Giulio Monteverde. It was unveiled in September 1882. Some say the monument should have been in the Bellini Square, across from the not yet finished Massimo Bellini Theatre. Others wished they would replace the elephant with the composer in the Cathedral Square. But no, he is with his saint.

Below the composer, around the pyramid are four statues representing four of his operas: Norma, I Puritani (The Puritans), La Sonnambula (The Sleepwalker) and Il Pirata (the Pirate). The entire monument is enclosed in an iron art nouveau fence.

Close by the Church of the Saint Agatha, in the center of Catania, is Bellini Square. It is in the form of a great circle paved with white and grey stones laid down in overlapping concentric arcs. At the edge of the widest circle of tiles, across from the Massimo Bellini Theater, are benches, plantings and trees.

In the center of the square is the 18th century Fountain of the Dolphins, designed by architect Giovanni Battista Vacarrini. The Massimo Bellini Theatre is the gem of the square, a neo-Baroque theater dedicated to the world famous composer, Vincenzo Bellini. The theater was designed by architects Andrea Scala and Carlo Sala.

The Massimo Bellini Theatre is an opera house. It opened in May 1890 with the world premier of the opera Norma, by Catania composer, Vincenzo Bellini. The Sicilian Baroque style of the Opera house blends well with the other buildings on the square.

During the day the square is a great place to find peace in the shade of the trees, away from the madding, crowded Cathedral Square. In the Bellini Square liveliness comes at night.

The Church of the Abbey of Saint Agatha (Badia di Sant'Agata), a masterpiece of 18th-century Baroque architecture, stands prominently in Catania, Italy, across the street from the left transept of the city’s cathedral. This Roman Catholic church, part of a female Benedictine convent, is dedicated to Saint Agatha, the patron saint of Catania, and embodies a rich history intertwined with resilience and devotion.

The nunnery was originally founded in 1620 under the Benedictine rule. However, the devastating 1693 earthquake destroyed the convent, claiming the lives of 15 of its 28 nuns. Reconstruction efforts began modestly with cloisters and a perimeter fence, but the ambitious rebuilding of the church itself only commenced in 1736 under the architect Giovanni Battista Vaccarini. His design incorporated a surviving 17th-century portal by Giovanni Maria Amato, preserving a tangible link to the pre-earthquake structure.

The church’s façade, completed by 1742, exudes Baroque elegance, while the octagonal dome, finished in 1768, offers panoramic views of Catania and the imposing Mount Etna. The elongated octagonal interior features a harmonious blend of white marble flooring and yellow Castronovo marble, handpicked by the architect Nicolò Daniele. A metal grill behind the main altar enables the cloistered nuns to observe mass discreetly, while a glass chandelier hangs beneath the dome, adding a touch of grandeur.

The side altars house stucco statues crafted in 1782 by Giovanni Battista Marino, Mario Biondo, and Giovanni Battista Amato, depicting Saint Benedict, the Immaculate Conception, Saint Joseph, and Saint Euplio. The centerpiece of the main altar is a striking statue of Saint Agatha, a fitting tribute to the saint to whom the church is dedicated.

The church was consecrated in 1796, marking its completion as a spiritual and architectural triumph. Over the centuries, the structure endured additional challenges, including earthquake damage in 1990. A comprehensive restoration completed in 2012 ensured its preservation for future generations.

Agatha was a pious virgin from a noble Catania family in 231 AD. The Roman prefect Quintianus made amorous moves on her. She rebuffed him. He martyred her. But things went bad for Quintianus. His horse kicked him in the river. He hasn't been seen since.

The Cathedral of Catania, also known as Cathedral of Saint Agatha, stands in the Cathedral Square (Piazza del Duomo). It is built in Italian Baroque style. The facade was fashioned in 1700 after a devastating earthquake in 1693. It has three levels with niches and columns of Corinthian granite.

The main entrance has a carved wooden door showing 32 plaques of the life of the Saint. The dome was created in 1802. The bell tower is a rebuilt. A parvis with a white stone balustrade harbors five statues of saints in Carrara marble.

The interior has a Latin Cross plan and three naves. The apse dates from the 12th century. In the north transept is the Chapel of the Holy Crucifix. The cathedral holds the tombs of Vincenzo Bellini, the great Italian composer, and King Frederick III, John of Randazzo and Constance of Aragon.

They say Saint Agatha protects Sicily against enemies, corrupt officials and even Mount Etna. Carved into the facade of the cathedral are the letters N.O.P.A.Q.V.I.E. which are the initial letters of each word in a sentence in Latin that says "Agatha will revenge any injustice perpetrated by those who offend her land".

A promise that has been kept for 1,800 years.

In the Cathedral Square there is a black lava elephant with an obelisk on his back. It is thought of as the symbol of Catania even if the inference is obscure. The elephant was brought here with his obelisk by Giovanni Battista Vaccarini. Giovanni was the architect charged with restoring the Square after the earthquake of 1693.

The Cathedral Square is the busy center of Catania. The Baroque square and the buildings around it are the restorations of architect Vaccarini, They are Uzeda Gate, from 1696, The great Cathedral, 1739, the Church of Saint Agatha, 1767, the Town Hall Building, 1741 and our friend, the Elephant, 1736. Altogether a stunning achievement.

Three streets connect to the square. First is Etnea Street. This is the cardo maximus, the north-south axis of the Ancient Roman City. Next is the Giuseppe Garibaldi Street, named for the great Italian patriot. Lastly we have the Vittorio Emanuele II Street, crossing the city from east to west.

The Town Hall Building, is on the north side of the square, facing the lava elephant of Vaccarini. On the opposite side the the Palace of the Clerics faces the Amenano fountain. The fountain is fed by the underground Amenano River.

The Festival of Saint Agatha is a three day celebration that starts on February 3 of each year. It involves a procession called "della luminaria", followed by a concert and fireworks.

The Port of Catania is a dynamic gateway on the Mediterranean Sea, offering a blend of historical significance and modern functionality. Situated at the foot of Mount Etna, the port boasts a picturesque setting and state-of-the-art facilities, making it one of Sicily's most important maritime hubs.

Originally constructed in 1438, the port has endured and evolved through centuries of rebuilding, including significant restoration after a devastating 17th-century earthquake. Today, it consists of two distinct sections: the historic western port and the modern eastern area. Its total surface area of 615,000 square meters accommodates a wide range of activities, from cargo storage to passenger services.

Catania Cruise Terminal, managed by Catania Cruise Port since 2011 and part of the Global Ports Holding network since 2016, serves as a key hub for cruise operations. Located on the Sporgente Centrale Pier, it supports transit, inter-porting, and homeporting with three docks accommodating up to five modern cruise ships.

In addition to cruise operations, the port supports diverse maritime activities, including cargo transport, yacht docking, and ferry services with national and international connections. Restoration efforts at the Old Customs House have transformed this historic building into a vibrant venue for business and cultural activities, further integrating the port into the city’s waterfront development.

Catania’s mild climate and strategic location in the heart of the Mediterranean make it an ideal year-round cruise destination. Visitors can enjoy a variety of excursions and activities, from exploring Mount Etna to discovering Catania’s cultural landmarks, with convenient pre-and post-cruise options supported by nearby hotels and efficient transportation networks.

With its deep-water quays, modern infrastructure, and proximity to major cruise itineraries, the Port of Catania combines tradition and innovation, standing as a proud emblem of Sicily's maritime heritage.