On a sunny day, there's no better place to be than soaking up the atmosphere at café tables in Bologna's Main Square, known as "Piazza Maggiore", or lounging on the steps under the arcades. This historic square, one of the oldest in Italy, underwent expansion in the 14th century and saw the addition of many grand buildings in the 16th century.

At its heart stands the impressive yet incomplete Basilica of San Petronio, a beloved landmark among locals. Nearby, you'll find notable structures such as the Municipal Palace, Notaries' Palace, Podesta Palace, and the Palace of the Banks. Adorning the center of the square is Giambologna's renowned statue of Neptune.

The slightly raised platform in the middle, familiarly known as the "crescentone" after the local flat bread "crescente" it resembles, holds historical significance. Damaged by Allied tanks during the liberation of Bologna in 1945, it serves as a commemoration of that historic day. In July and August, the space transforms into one of Italy's largest outdoor cinemas during the Under the Stars of Cinema ("Sotto le stelle del Cinema") film festival, with over 3,000 chairs arranged on the "crescentone", solidifying its status as the cultural heart of the city.

Tip:
For visitors seeking convenience, the excellent tourist office on the square offers the Bologna Welcome Card, providing excellent value by offering free admission to many city museums and attractions, as well as discounts for shops, restaurants, and events.

Adjacent to the historic King Enzo Palace ("Palazzo Re Enzo"), in the lively square bearing his name, proudly stands the Fountain of Neptune ("Fontana del Nettuno"), a masterpiece crafted by Giambologna in 1556. Born Jean Boulogne in Flanders, this sculptor found his creative groove in Florence; however, it was his aquatic masterpiece in Bologna that truly made waves.

At the heart of the fountain reigns a colossal Neptune (dubbed 'Il Gigante'), flanked by cherubs and four luscious sirens astride dolphins, playfully spouting water from, shall we say, unconventional sources. Initially causing quite the stir with its unabashed nudity, the statue eventually won over censorship, becoming a symbol of irreverence cherished by the locals who revel in uncovering the most strategic vantage points to admire Neptune's, ahem, commanding presence.

To accommodate the fountain, an entire city block was razed, making space for its imposing presence. Its base is covered with Verona marble, while each dolphin symbolizes prominent rivers of the era: the Ganges, Nile, Amazon, and Danube, while Neptune, in all his grandeur, reigns over the seas, symbolizing the Pope's dominion over Bologna and beyond.

Dedicated to Petronius, the city's patron saint, this 14th-century edifice stands as Bologna's principal church, containing an impressive 22 side chapels and featuring the Four Crosses, one of the oldest Christian symbols in the city. As one of Italy's most monumental Gothic basilicas, capable of housing up to 28,000 people, it was on track to surpass Saint Peter's in Rome until Pope Pius IV diverted funds to establish a new university, the Archiginnasio. Consequently, the façade, designed with cosmological and esoteric "diagramming", was left incomplete, with only partial cladding in pink Verona marble and a truncated transept visible down the alley to the right of the basilica. Nonetheless, San Petronio remains monumental, symbolizing civic will rather than religious authority. Built atop Roman foundations, the vaulted church reveals columns repurposed from the Augustan era, seamlessly integrated with medieval additions.

The Porta Magna, or central portal, features highly expressive reliefs, the final masterpiece of Sienese sculptor Jacopo della Quercia, which occupied the last 13 years of his life (1425−38). Adorning the architrave are scenes from the New Testament, while dramatic reliefs on the two pilasters flanking the door depict scenes from the Old Testament. Michelangelo, during his visit to Bologna in 1494, admired these reliefs and incorporated several motifs – such as "The Creation of Adam" – into the Sistine Ceiling. The lunette above the portal showcases the Madonna and Child between Saint Petronius and Saint Ambrose.

Also inside lies the world's longest indoor meridian line, inlaid into the pavement of the left aisle in 1655. Stretching 66.8 meters (219.16 feet), it was calculated and designed by astronomer Giovanni Cassini, who taught astronomy at the University. A sunray enters from a hole in the vault 27 meters high and precisely strikes the line, enabling accurate time measurement.

Tips:
Admission is free, but there's a small fee for photography. Visitors should adhere to the dress code, ensuring that shoulders and knees are covered. From the newly renovated panoramic terrace (reachable from Piazza Galvani via elevator and a short flight of stairs), one can enjoy magnificent views of the cityscape and the Apennine hills to the south.

Facing the Main Square ("Piazza Maggiore") stands the elegant Podestà Palace (accessible only during special exhibitions), erected in the 13th century as the epicenter of political power. Alas, it quickly became evident that the place was too small for the business of governance, prompting the birth of the neighboring King Enzo Palace ("Palazzo Re Enzo").

The Podesta Palace features a Renaissance porticoed facade (replacing the original Gothic one) facing the Main Square and is distinguished by its brick tower, the Torre dell'Arengo, originally erected to summon citizens in emergencies. Architecture enthusiasts should take note of the pillars of the portico, carved with a whopping 3,000 rosettes, each one as unique as a snowflake in a blizzard!

Beneath the vault, known as the Voltone del Podesta, terracotta statues of the town’s patron saints were once displayed. Today, visitors are drawn to the echo in the 'whispering gallery' – stand at one of the four corners of the arcade, whisper sweet nothings, and your voice will softly reverberate from the opposite corner. It's like having a secret conversation with yourself!

Tucked away from the Main Square ("Piazza Maggiore") lies the Quadrilatero, a historic maze of food shops bustling with the same lively energy it had during its medieval prime. This ancient enclave was once the domain of the city's guilds, including blacksmiths, goldsmiths, butchers, fishmongers, and furriers, whose legacies live on in the street names today.

For an authentic taste of Emilia, look no further than this vibrant culinary hub. Open-air stalls, specialty food shops, and the Middle Market-now transformed into a chic food hall-offer a tempting array of regional delicacies and freshly prepared tapas-style snacks. Visitors are encouraged to indulge in a bit of "gaze and graze," sampling juicy peaches, cherries, intricately crafted pastries, handmade pasta, savory delights like pink Parma ham, and freshly caught seafood.

For a quick bite, grab some fried fish from Pescheria Pavaglione or listen to the satisfying smack of pizza dough being prepared at Rossopomodoro pizzeria. And let's not forget about the Baladin microbrewery tucked away in the basement-a haven for craft beer enthusiasts and burger aficionados alike. With its quirky, vintage-chic decor and two floors of inviting space, it's a must-visit spot for those seeking a taste of the unconventional.

Dominating the scene at Piazza di Porta Ravegnana, where the main gate of the Roman walls once stood, are the iconic Two Towers, emblematic of Bologna's medieval past when the city boasted around 120 such structures. Dating back to the 12th century, these likely served as both lookout points and symbols of prestige. Legend has it that the Asinelli and Garisenda families, engaged in a fierce competition to erect the tallest and most magnificent tower in the city.

For a taste of history and panoramic vistas over the terracotta rooftops, brave the ascent to the top of the Asinelli Tower, rising over 97 meters (318 feet) high. Though the climb is steep, navigating a narrow spiral staircase of nearly 500 steps, the reward is well worth the effort. From the summit, you can spot other surviving medieval towers and, weather permitting, catch a glimpse of the Alpine foothills beyond Verona. Like many of Bologna's towers, both the Two Towers have a noticeable tilt: Garisenda tilts 3.33 meters (11 feet) northeast, while Asinelli leans 2.23 meters (7.3 feet) westward. Originally reaching 60 meters (197 feet), Garisenda was truncated by 12 meters (39 feet) in the mid-14th century due to unstable foundations; however, from certain angles, the two towers appear to be of equal height. Dante, who briefly sojourned in Bologna during his exile from Florence, famously referenced the leaning tower in "The Inferno" (before its reduction), likening it to the bent figure of Antaeus, the giant son of Poseidon, trapped in ice at the depths of hell.

Beneath the towers, yet not overshadowed, stands the 17th-century Saint Bartholomew's Church, featuring a Renaissance portico. Inside, seek out Francesco Albani's "Annunciation" in the fourth chapel of the south aisle, and Guido Reni's small "Madonna with Child" in the north transept. On the square's north side, the abrupt appearance of a starkly modern office building sparked controversy in the 1950s.

Navigating through this ecclesiastical maze, a pilgrimage through Bologna's holiest sites, demands patience and time. Originally a complex of seven churches, akin to Jerusalem's architecture, it is known as Le Sette Chiese ("the Seven Churches"), though only four endure today. Dating back to the 5th century, Santo Stefano may have been established by Bishop Petronius as his cathedral atop a former pagan temple site; by the 10th century, however, it evolved into a Benedictine sanctuary. The complex is still overseen by stern Benedictines, one of whom reveals: "Dante often came here to meditate in 1287, but we are inclusive - even local prostitutes come here."

The interconnected churches and courtyards, including the Benedictine cloisters, create a harmonious ensemble. From the picturesque square, the larger church on the right is the Church of the Crucifix ("Chiesa del Crocifisso"), the central one is the Basilica of "San Sepolcro", modeled after Jerusalem's Holy Sepulchre, and on the left stands Santi Vitale e Agricola, Bologna's oldest church.

Enter through the Church of the Crucifix, originally Lombard but extensively renovated. Ascend a central staircase to the Presbytery, then descend to a graceful crypt housing relics of early Bolognese martyrs Vitale and Agricola. A door on the left leads to the Basilica of the Holy Sepulchre, a unique polygonal structure surrounded by ancient columns.

Bathed in mystical light, the 11th-century Santi Vitale e Agricola captivates with its Romanesque Lombard simplicity. Adjacent is Pilate's Courtyard ("Cortile di Pilato"), featuring a marble basin erroneously attributed to Pontius Pilate, while beyond lies the mysterious Martyrium, a transverse church illuminated by niches, including one displaying a sculpted scene by Bolognese artist Simone de' Crocifissi.

The peaceful Benedictine cloister features two tiers of loggias and houses a small museum of early Bolognese paintings and reliquaries, along with a shop offering liqueurs and lotions produced by the monks.

Via Santo Stefano exudes the same charm as the Main Street ("Strada Maggiore"), with late Gothic palaces once favored by Bolognese silk merchants. As you stroll, occasional upward glances reveal 12th-century tower-houses integrated into late-medieval residences, now embellished with Renaissance facades. The cobblestone Saint Stephen's Square (although more triangular than square), particularly vibrant during antiques markets or gourmet food fairs, provides an intimate setting for Saint Stephen's (Santo Stefano) complex, the city's most revered site. Exploring this ecclesiastical labyrinth, with its array of ancient and medieval churches, requires ample time. Originally a complex of seven churches, akin to Jerusalem's architecture, it is known as Le Sette Chiese ("the Seven Churches"), though only four remain.

Dating back to at least the 5th century, the complex may have been established by Bishop Petronius as his cathedral atop a former pagan temple site; by the 10th century, however, it evolved into a Benedictine sanctuary. Santo Stefano is still overseen by stern Benedictines, one of whom reveals: "Dante often came here to meditate in 1287, but we are inclusive - even local prostitutes come here for confession at Easter."

The interconnected churches and courtyards, including the Benedictine cloisters, create a harmonious ensemble. From the picturesque square, the larger church on the right is the Church of the Crucifix ("Chiesa del Crocifisso"), the central one is the Basilica of the Holy Sepulchre ("San Sepolcro"), modeled after Jerusalem's Holy Sepulchre, and on the left stands Santi Vitale e Agricola, Bologna's oldest church.

A defining characteristic of Bologna is its extensive network of "portici", or porticoes, stretching for nearly 40 kilometers (25 miles). Originally constructed from wood outside the homes of shopkeepers to provide additional space for trade, these elegant arcades date back centuries. In 1568, primarily due to concerns over fire hazards, regulations mandated that porticoes be constructed from brick or stone, though a handful of the original wooden structures still remain.

Among these structures, the Portico San Luca stands out as the world's longest, stretching for almost 3.5 kilometers (2 miles) up to the hilltop Sanctuary of San Luca. Its existence is owed to the dedication of Don Ludovico Genaroli, who spent two decades championing its construction. The portico serves to shield pilgrims making their vows to the Madonna of Saint Luke from inclement weather and harsh sunlight, while also facilitating the annual procession that transports the revered image from the Sanctuary to Saint Peter's Cathedral in the city center for a week of festivities before returning it to its hillside abode overlooking Bologna.

Funded by devout believers, artisan guilds, and prominent Bolognese families, this monumental undertaking was realized under the guidance of the Bolognese architect Carlo Francesco Dotti (1670-1759). Dotti was not only responsible for completing the portico project but also for designing the new basilica constructed to accompany it, as well as the Meloncello Arch ("Arco del Meloncello"), marking the starting point of the ascent to the Colle della Guardia.

The cafés, banks, and shops lining Via Rizzoli paint a modern picture of a street that has existed for over two millennia, originally known as Via Aemilia. This segment of the Roman "decumanus maximus" (the main east-west road axis) connects the heart of the city, Piazza Maggiore, with the Two Towers, emblematic of Bologna. Emerging in the early 20th century from the former Middle Market ("Mercato di Mezzo") area, it now bears the name of the renowned orthopedist Francesco Rizzoli, a Milan native who made Bologna his home.

On scorching days, the porticos offer pedestrians welcome relief from the sun, while their exquisite mosaic flooring adds a touch of Roman elegance to this historic thoroughfare. During peak hours, it comes alive with a variety of street performances.

Tip:
For genuine Italian gelato, both creamy and light, with a selection of vegan options, be sure to visit OGGI Gelato Bologna.