Palermo Introduction Walking Tour (Self Guided), Palermo
The German polymath Johann Wolfgang von Goethe, who visited Sicily in 1787, wrote: “To have seen Italy without having seen Sicily is not to have seen Italy at all, for Sicily is the key to everything.”, Palermo being his main reference point.
Palermo’s story begins with a trading post established by the ancient Phoenician civilization around the 8th century BCE. The Phoenicians called it Ziz, meaning “flower”, a reference to the fertile plain and natural harbor. When the Greeks later encountered the city, they renamed it Panormos, meaning “all harbor”. It eventually evolved into the modern Palermo.
Under Roman rule, Palermo functioned as a provincial city after Sicily became Rome’s first overseas territory in the 3rd century BCE. While not the island’s administrative capital, it benefited from agriculture and maritime trade. After the fall of the Western Roman Empire, the city passed through a period of instability, governed successively by Vandals and Byzantines.
A decisive transformation came with the Arab conquest in 831 CE. Renamed Balarm, Palermo became the capital of Islamic Sicily and one of the largest cities in Europe at the time. The Arabs introduced advanced irrigation systems, new crops such as citrus and sugarcane, and a refined urban culture. Markets, gardens, mosques, and palaces reshaped the city, establishing patterns that still influence its layout today.
In 1072, the Normans conquered the city, but rather than dismantling its multicultural character, they built upon it. This fusion produced a distinctive architectural language, visible in churches and palaces that combine Romanesque structures with Byzantine mosaics and Islamic decorative elements. By the 19th century, Palermo played a visible role in the movement for Italian unification, joining the Kingdom of Italy in 1860.
Walking through Palermo’s old town, visitors encounter layers of history at every turn. The Norman Palace rises as a reminder of medieval power, while Palermo Cathedral reflects centuries of changing styles and rulers. Nearby, the ornamented Church of Jesus contrasts with the Fountain of Shame in Pretoria Square. The walk naturally leads to Four Corners Square, the Baroque crossroads where Palermo’s historic quarters meet in a theatrical urban stage.
Here, among Phoenician names, Arab gardens, Norman palaces, and Baroque crossroads, Goethe’s words begin to make sense: Palermo is not just part of Sicily’s story, it is one of the places where the “key to everything” is still very much in view.
Palermo’s story begins with a trading post established by the ancient Phoenician civilization around the 8th century BCE. The Phoenicians called it Ziz, meaning “flower”, a reference to the fertile plain and natural harbor. When the Greeks later encountered the city, they renamed it Panormos, meaning “all harbor”. It eventually evolved into the modern Palermo.
Under Roman rule, Palermo functioned as a provincial city after Sicily became Rome’s first overseas territory in the 3rd century BCE. While not the island’s administrative capital, it benefited from agriculture and maritime trade. After the fall of the Western Roman Empire, the city passed through a period of instability, governed successively by Vandals and Byzantines.
A decisive transformation came with the Arab conquest in 831 CE. Renamed Balarm, Palermo became the capital of Islamic Sicily and one of the largest cities in Europe at the time. The Arabs introduced advanced irrigation systems, new crops such as citrus and sugarcane, and a refined urban culture. Markets, gardens, mosques, and palaces reshaped the city, establishing patterns that still influence its layout today.
In 1072, the Normans conquered the city, but rather than dismantling its multicultural character, they built upon it. This fusion produced a distinctive architectural language, visible in churches and palaces that combine Romanesque structures with Byzantine mosaics and Islamic decorative elements. By the 19th century, Palermo played a visible role in the movement for Italian unification, joining the Kingdom of Italy in 1860.
Walking through Palermo’s old town, visitors encounter layers of history at every turn. The Norman Palace rises as a reminder of medieval power, while Palermo Cathedral reflects centuries of changing styles and rulers. Nearby, the ornamented Church of Jesus contrasts with the Fountain of Shame in Pretoria Square. The walk naturally leads to Four Corners Square, the Baroque crossroads where Palermo’s historic quarters meet in a theatrical urban stage.
Here, among Phoenician names, Arab gardens, Norman palaces, and Baroque crossroads, Goethe’s words begin to make sense: Palermo is not just part of Sicily’s story, it is one of the places where the “key to everything” is still very much in view.
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Palermo Introduction Walking Tour Map
Guide Name: Palermo Introduction Walking Tour
Guide Location: Italy » Palermo (See other walking tours in Palermo)
Guide Type: Self-guided Walking Tour (Sightseeing)
# of Attractions: 13
Tour Duration: 2 Hour(s)
Travel Distance: 3.1 Km or 1.9 Miles
Author: Lilly
Sight(s) Featured in This Guide:
Guide Location: Italy » Palermo (See other walking tours in Palermo)
Guide Type: Self-guided Walking Tour (Sightseeing)
# of Attractions: 13
Tour Duration: 2 Hour(s)
Travel Distance: 3.1 Km or 1.9 Miles
Author: Lilly
Sight(s) Featured in This Guide:
- Porta Nuova (New Gate)
- Palazzo dei Normanni (Norman Palace)
- Palermo Cathedral
- Palazzo Conte Federico (Count Federico Palace)
- Mercato di Ballarò (Ballarò Market)
- Chiesa del Gesù (Church of Jesus)
- La Martorana (Martorana Church)
- Piazza Pretoria (Pretoria Square)
- Fontanna della Vergogna (Fountain of Shame)
- Quattro Canti (Four Corners Square)
- Mercato della Vucciria (Vucciria Market)
- Chiesa San Domenico (San Domenico Church)
- Teatro Massimo (Massimo Theater)
1) Porta Nuova (New Gate)
Charles V, Holy Roman Emperor and ruler of a vast, constantly moving empire, spent much of his reign in transit, holding together territories spread across Europe and the Mediterranean. In 1535, after his successful campaign against Tunis, he returned to Europe via Palermo, making a ceremonial entrance into the city.
Charles entered Palermo through the Gate of the Eagle. The city’s Senate, eager to commemorate the emperor’s presence, soon authorized the construction of a more monumental gateway. Work began in 1583 under Marcantonio Colonna, Viceroy of Sicily, and was completed the following year. Colonna officially named it the Austrian Gate, though locals quickly adopted the name New Gate.
In 1667, the structure was severely damaged when a nearby gunpowder store exploded, effectively destroying the gate. Once again, the Senate intervened, commissioning architect Gaspare Guercio to rebuild it. The reconstruction was completed in 1669, giving the gate the form largely seen today.
Architecturally, New Gate presents two distinct faces. The side facing the historic city and the Cassaro, Palermo’s oldest street, follows the classical language of a triumphal arch. The outward-facing facade, looking toward what is now Independence Square and the route toward Calatafimi road, features four monumental telamones, sculpted as captured Moors, a symbolic reference to Charles V’s victory in North Africa. Ironically, the emperor himself never lived to see these figures.
Charles entered Palermo through the Gate of the Eagle. The city’s Senate, eager to commemorate the emperor’s presence, soon authorized the construction of a more monumental gateway. Work began in 1583 under Marcantonio Colonna, Viceroy of Sicily, and was completed the following year. Colonna officially named it the Austrian Gate, though locals quickly adopted the name New Gate.
In 1667, the structure was severely damaged when a nearby gunpowder store exploded, effectively destroying the gate. Once again, the Senate intervened, commissioning architect Gaspare Guercio to rebuild it. The reconstruction was completed in 1669, giving the gate the form largely seen today.
Architecturally, New Gate presents two distinct faces. The side facing the historic city and the Cassaro, Palermo’s oldest street, follows the classical language of a triumphal arch. The outward-facing facade, looking toward what is now Independence Square and the route toward Calatafimi road, features four monumental telamones, sculpted as captured Moors, a symbolic reference to Charles V’s victory in North Africa. Ironically, the emperor himself never lived to see these figures.
2) Palazzo dei Normanni (Norman Palace) (must see)
Sicily has long been a reef of survival amid the tsunamis of war and invasion that have swept across the island since antiquity. In the 9th century, on one of the highest points of the old city and above earlier Punic remains, the Arab rulers of Palermo established a fortified residence. When Palermo became the capital of Islamic Sicily, this complex formed the core of the emir’s seat of power. Archaeological traces of both the Punic settlement and the Arab fortress can still be found beneath the foundations of what later became the Norman Palace.
When the Normans conquered Palermo in 1072, they established the County of Sicily, later elevated to a kingdom, with Palermo as its capital. Rather than demolishing the existing structure, the Normans transformed the former Arab stronghold into a royal residence. The palace evolved into a complex of interconnected buildings linked by arcades, combining residential, administrative, and ceremonial functions, and surrounded by gardens.
Under King Roger II, the palace reached its most celebrated form. Inside the Norman Palace between 1130 and 1140, he commissioned the Palatine Chapel, intended as a private royal chapel and consecrated in 1140. Dedicated to Saint Peter, it stands as one of the finest expressions of Arab-Norman-Byzantine art in 12th-century Sicily. Its dome, apse, and upper walls are covered in luminous Byzantine mosaics depicting Christ Pantocrator, the Evangelists, and scenes from the Bible.
Over the centuries, the palace passed through many hands. During the Bourbon period, several ceremonial rooms were redesigned, including the Red Room, Yellow Room, and Green Room, and the Hall of Hercules, famous for its fresco cycle depicting the hero. Other notable spaces include the Hall of the Viceroy, the Hall of the Winds, and the Hall of Pompeii.
Within the complex, the Maqueda Courtyard and the Courtyard of the Fountain feature multi-level Renaissance loggias and staircases. Of the original four defensive towers, only two survive today: the Pisan Tower at the south-eastern corner and the Treasure Tower at the south-western corner of the palace.
When the Normans conquered Palermo in 1072, they established the County of Sicily, later elevated to a kingdom, with Palermo as its capital. Rather than demolishing the existing structure, the Normans transformed the former Arab stronghold into a royal residence. The palace evolved into a complex of interconnected buildings linked by arcades, combining residential, administrative, and ceremonial functions, and surrounded by gardens.
Under King Roger II, the palace reached its most celebrated form. Inside the Norman Palace between 1130 and 1140, he commissioned the Palatine Chapel, intended as a private royal chapel and consecrated in 1140. Dedicated to Saint Peter, it stands as one of the finest expressions of Arab-Norman-Byzantine art in 12th-century Sicily. Its dome, apse, and upper walls are covered in luminous Byzantine mosaics depicting Christ Pantocrator, the Evangelists, and scenes from the Bible.
Over the centuries, the palace passed through many hands. During the Bourbon period, several ceremonial rooms were redesigned, including the Red Room, Yellow Room, and Green Room, and the Hall of Hercules, famous for its fresco cycle depicting the hero. Other notable spaces include the Hall of the Viceroy, the Hall of the Winds, and the Hall of Pompeii.
Within the complex, the Maqueda Courtyard and the Courtyard of the Fountain feature multi-level Renaissance loggias and staircases. Of the original four defensive towers, only two survive today: the Pisan Tower at the south-eastern corner and the Treasure Tower at the south-western corner of the palace.
3) Palermo Cathedral (must see)
In 831, Arab conquerors recorded the presence of a major Christian church on the site of today’s Palermo Cathedral, referring to it as a large “infidel temple”. They converted this structure into the Great Mosque of Palermo, which became the city’s principal place of worship during the Islamic period. In 1072, when the Normans conquered Palermo, the mosque was reconsecrated as a Christian church. This early cathedral played a ceremonial role in Norman rule, and Roger II, the first king of Sicily, was crowned here in 1130.
The present Palermo Cathedral reflects centuries of rebuilding, expansion, and restoration, resulting in an unusual mixture of architectural styles. The current structure was begun in 1185 under Walter Ophamil, the Anglo-Norman Archbishop of Palermo and a close advisor to King William II. Walter intended the new cathedral both as a statement of Norman authority and as a rival to the nearby Norman Palace. His remains are today preserved in the cathedral’s crypt.
One of the cathedral’s main entrances is located on Matteo Bonello Street, the western side of the cathedral, marked by a Gothic portal flanked by two towers. Above the portal is a niche containing a 15th-century statue of the Madonna. The most prominent entrance, however, is on the south side, where a broad Gothic-Catalan portico was added in 1465. This portico features three large arcades, decorative turrets, and rich sculptural detail.
The interior follows a Latin cross plan, with a central nave and two aisles divided by pilasters. Along the right side are chapels housing the royal tombs, including those of Roger II, Henry VI, Constance of Hauteville, and Frederick II. The cathedral’s sacred vestments, illuminated manuscripts, and the gold tiara of Constance of Aragon are preserved today in the Cathedral Treasury, located on the south side of the building, separate from the royal tombs inside the nave.
For those wishing to continue upward, access to the rooftop is located on the south-west tower, within the cathedral’s Monumental Area. A medieval stairway leads onto the roof, offering panoramic views across Palermo’s historic center.
The present Palermo Cathedral reflects centuries of rebuilding, expansion, and restoration, resulting in an unusual mixture of architectural styles. The current structure was begun in 1185 under Walter Ophamil, the Anglo-Norman Archbishop of Palermo and a close advisor to King William II. Walter intended the new cathedral both as a statement of Norman authority and as a rival to the nearby Norman Palace. His remains are today preserved in the cathedral’s crypt.
One of the cathedral’s main entrances is located on Matteo Bonello Street, the western side of the cathedral, marked by a Gothic portal flanked by two towers. Above the portal is a niche containing a 15th-century statue of the Madonna. The most prominent entrance, however, is on the south side, where a broad Gothic-Catalan portico was added in 1465. This portico features three large arcades, decorative turrets, and rich sculptural detail.
The interior follows a Latin cross plan, with a central nave and two aisles divided by pilasters. Along the right side are chapels housing the royal tombs, including those of Roger II, Henry VI, Constance of Hauteville, and Frederick II. The cathedral’s sacred vestments, illuminated manuscripts, and the gold tiara of Constance of Aragon are preserved today in the Cathedral Treasury, located on the south side of the building, separate from the royal tombs inside the nave.
For those wishing to continue upward, access to the rooftop is located on the south-west tower, within the cathedral’s Monumental Area. A medieval stairway leads onto the roof, offering panoramic views across Palermo’s historic center.
4) Palazzo Conte Federico (Count Federico Palace) (must see)
Curious to see how Palermo’s aristocracy has lived for centuries? Count Federico Palace offers a rare glimpse inside a privately owned noble residence that is still inhabited today. It is built directly over stretches of the ancient Punic and Roman city walls, and its most distinctive feature is the 12th-century Arab-Norman Busuemi Tower, which incorporates part of an earlier Islamic gateway. This layered structure makes the palace one of the clearest examples of Palermo’s continuous urban history.
The property passed into the hands of the Federico family in the 17th century, when they acquired it from the Olivetan monks of Santa Maria dello Spasimo, who had previously used parts of the complex as a hospice. Over time, the palace evolved into a noble residence organized around an internal courtyard. A marble staircase leads to the piano nobile, the palace’s main reception floor, opening onto a sequence of halls decorated in different historical styles.
Inside, the rooms preserve original furnishings and decorative elements from several periods. These include 15th-century wooden coffered ceilings, 18th-century frescoes attributed to Vito d’Anna, and collections of ceramics, weapons, and family heirlooms. One of the most memorable spaces is the ballroom, traditionally highlighted during visits. The palace also contains a historic piano associated with Richard Wagner, who stayed in Palermo in the early 1880s while working on Parsifal.
Visits are by guided tour only and are often led by a member of the Federico family, offering a personal perspective on the building’s history. The experience focuses on architecture, family heritage, and Palermo’s past.
The property passed into the hands of the Federico family in the 17th century, when they acquired it from the Olivetan monks of Santa Maria dello Spasimo, who had previously used parts of the complex as a hospice. Over time, the palace evolved into a noble residence organized around an internal courtyard. A marble staircase leads to the piano nobile, the palace’s main reception floor, opening onto a sequence of halls decorated in different historical styles.
Inside, the rooms preserve original furnishings and decorative elements from several periods. These include 15th-century wooden coffered ceilings, 18th-century frescoes attributed to Vito d’Anna, and collections of ceramics, weapons, and family heirlooms. One of the most memorable spaces is the ballroom, traditionally highlighted during visits. The palace also contains a historic piano associated with Richard Wagner, who stayed in Palermo in the early 1880s while working on Parsifal.
Visits are by guided tour only and are often led by a member of the Federico family, offering a personal perspective on the building’s history. The experience focuses on architecture, family heritage, and Palermo’s past.
5) Mercato di Ballarò (Ballarò Market)
Gaspare Palermo, a 19th-century writer, refers to Ballarò Square as “a large square in the Albergheria district, oblong in shape and not very wide, … paved with large flints.” Ballarò is widely regarded as the oldest and largest open-air market in Palermo. Rather than a single square, the market stretches through a network of streets, roughly from the area around Casa Professa Square toward Tukory Avenue.
Ballarò still feels closer to an Arab souk than to a European market. The dense mix of colors, smells, and sounds creates a living scene that recalls the city’s medieval past. Here, visitors find everything from fruit and vegetables to fish, meat, spices, and everyday household goods.
The origins of the market date back to the period of Arab rule, when Palermo, then known as Balarm, was one of the most important cities in the Mediterranean. The name Ballarò is considered to be linked to Bahlara, a village from which produce may have been brought into the city. For centuries, Ballarò developed around the Church of the Carmelite Fathers. Above all, it has long functioned as a traditional food market.
Ballarò still feels closer to an Arab souk than to a European market. The dense mix of colors, smells, and sounds creates a living scene that recalls the city’s medieval past. Here, visitors find everything from fruit and vegetables to fish, meat, spices, and everyday household goods.
The origins of the market date back to the period of Arab rule, when Palermo, then known as Balarm, was one of the most important cities in the Mediterranean. The name Ballarò is considered to be linked to Bahlara, a village from which produce may have been brought into the city. For centuries, Ballarò developed around the Church of the Carmelite Fathers. Above all, it has long functioned as a traditional food market.
6) Chiesa del Gesù (Church of Jesus) (must see)
The Church of Jesus, often called Professed House, is one of the most spectacular examples of Sicilian Baroque anywhere in Italy. While its exterior is relatively restrained, the interior is overwhelmingly rich and theatrical.
Approaching the church, the facade presents three portals at ground level. Above them, niches contain statues of Saint Ignatius of Loyola, the Madonna and Child, and Saint Francis Xavier. Inside, the visual impact is immediate. The rebuilt interior is defined by its extensive marble inlay decoration, which covers nearly every structural surface. Walls, pillars, arches, and balustrades are faced with panels of white, red, yellow, and green marble arranged in geometric patterns, floral motifs, and sculptural compositions.
Moving along the nave, the pillars themselves become part of the decorative program. Their marble surfaces are carved with dense reliefs and allegorical figures, interwoven with scrollwork and symbolic motifs typical of Jesuit Baroque decoration. Behind the high altar, in the apse, are some of the most important surviving sculptural works. Here are the large marble reliefs of the Adoration of the Shepherds and the Adoration of the Magi, conceived within the artistic circle of Giacomo Serpotta and executed by Gioacchino Vitagliano.
Much of what visitors see today is the result of careful reconstruction. In 1943, an Allied bombing raid caused the collapse of the dome and destroyed large sections of the church, along with many frescoes and decorative elements. The survival of the marble decoration and apse reliefs is therefore especially significant, preserving key elements of the original program within a reconstructed architectural shell.
As the space opens at the crossing, attention shifts upward toward the dome, which today reflects a postwar reconstruction of the original decorative scheme. The original Baroque dome frescoes were destroyed. However, original frescoes by Filippo Tancredi survive in the upper vaults of the nave, depicting Marian triumphal themes with angels and allegorical figures.
Approaching the church, the facade presents three portals at ground level. Above them, niches contain statues of Saint Ignatius of Loyola, the Madonna and Child, and Saint Francis Xavier. Inside, the visual impact is immediate. The rebuilt interior is defined by its extensive marble inlay decoration, which covers nearly every structural surface. Walls, pillars, arches, and balustrades are faced with panels of white, red, yellow, and green marble arranged in geometric patterns, floral motifs, and sculptural compositions.
Moving along the nave, the pillars themselves become part of the decorative program. Their marble surfaces are carved with dense reliefs and allegorical figures, interwoven with scrollwork and symbolic motifs typical of Jesuit Baroque decoration. Behind the high altar, in the apse, are some of the most important surviving sculptural works. Here are the large marble reliefs of the Adoration of the Shepherds and the Adoration of the Magi, conceived within the artistic circle of Giacomo Serpotta and executed by Gioacchino Vitagliano.
Much of what visitors see today is the result of careful reconstruction. In 1943, an Allied bombing raid caused the collapse of the dome and destroyed large sections of the church, along with many frescoes and decorative elements. The survival of the marble decoration and apse reliefs is therefore especially significant, preserving key elements of the original program within a reconstructed architectural shell.
As the space opens at the crossing, attention shifts upward toward the dome, which today reflects a postwar reconstruction of the original decorative scheme. The original Baroque dome frescoes were destroyed. However, original frescoes by Filippo Tancredi survive in the upper vaults of the nave, depicting Marian triumphal themes with angels and allegorical figures.
7) La Martorana (Martorana Church) (must see)
Martorana church, also known as the Church of Saint Mary of the Admiral, was founded by George of Antioch, a Syrian Christian who served as the principal minister and admiral of King Roger II of Sicily. One of the most powerful figures at the Norman court, George commissioned the church as his personal foundation, originally following the Byzantine rite, though it was not formally Eastern Orthodox in the modern sense.
The foundation charter dates to 1143 and was written in Greek and Arabic. Construction may have begun slightly earlier, but the church was certainly completed by 1151, the year of George’s death. Tradition holds that George of Antioch was buried in the church, likely in the narthex area.
Around 1194, Eloisa Martorana, a noblewoman, established a Benedictine convent adjacent to the church. Over time, the convent absorbed the church, which then became commonly known as La Martorana. The nuns gained fame for creating marzipan sweets shaped like fruit, known as “Martorana fruit”. Although the convent community eventually left, the name and the confection remain closely associated with the site.
Over time, the church underwent several architectural changes. The narthex, added later, now forms part of the entrance area. The bell tower, with its layered arches and loggias, survives from the medieval structure and today serves as the main point of entry.
The church is especially renowned for its interior mosaics, among the finest Byzantine mosaics in Sicily. One of the most wonderful images shows Roger II being crowned directly by Christ, positioned to the left as you face the altar. Above, the dome features Christ Pantokrator, surrounded by angels, prophets, and evangelists, forming a luminous theological and artistic centerpiece.
The foundation charter dates to 1143 and was written in Greek and Arabic. Construction may have begun slightly earlier, but the church was certainly completed by 1151, the year of George’s death. Tradition holds that George of Antioch was buried in the church, likely in the narthex area.
Around 1194, Eloisa Martorana, a noblewoman, established a Benedictine convent adjacent to the church. Over time, the convent absorbed the church, which then became commonly known as La Martorana. The nuns gained fame for creating marzipan sweets shaped like fruit, known as “Martorana fruit”. Although the convent community eventually left, the name and the confection remain closely associated with the site.
Over time, the church underwent several architectural changes. The narthex, added later, now forms part of the entrance area. The bell tower, with its layered arches and loggias, survives from the medieval structure and today serves as the main point of entry.
The church is especially renowned for its interior mosaics, among the finest Byzantine mosaics in Sicily. One of the most wonderful images shows Roger II being crowned directly by Christ, positioned to the left as you face the altar. Above, the dome features Christ Pantokrator, surrounded by angels, prophets, and evangelists, forming a luminous theological and artistic centerpiece.
8) Piazza Pretoria (Pretoria Square)
In 1573, the city senate purchased a monumental fountain originally designed for a private garden in Florence. Once reassembled, it quickly became clear that the sculpture was too large for the square. Several surrounding buildings were demolished to make room for it, leaving the fountain densely packed into the space it still occupies today.
Three sides of the square are enclosed by buildings. Dominating the south side is the Praetorian Palace, Palermo’s town hall, from which the square takes its name. The building is also known as the Palace of the Eagles, after the eagle symbols associated with the city. Originally constructed between 1463 and 1478, the palace has undergone later alterations, combining late Gothic origins with Renaissance and Neoclassical elements. Today, it houses the mayor’s offices and ceremonial rooms.
The east side of the square is bordered by the Church of Saint Catherine, which stands between Pretoria Square and Bellini Square. The church’s exterior reflects a mix of Renaissance structure and later Sicilian Baroque additions, while its interior is richly Baroque. An aristocratic residence also presses tightly against the square: Bonocore Palace on the north side.
The west side of the square opens toward Maqueda Street, where stands the Church of San Giuseppe dei Teatini, a Theatine foundation whose restrained exterior contrasts with the richly layered churches opposite it.
Three sides of the square are enclosed by buildings. Dominating the south side is the Praetorian Palace, Palermo’s town hall, from which the square takes its name. The building is also known as the Palace of the Eagles, after the eagle symbols associated with the city. Originally constructed between 1463 and 1478, the palace has undergone later alterations, combining late Gothic origins with Renaissance and Neoclassical elements. Today, it houses the mayor’s offices and ceremonial rooms.
The east side of the square is bordered by the Church of Saint Catherine, which stands between Pretoria Square and Bellini Square. The church’s exterior reflects a mix of Renaissance structure and later Sicilian Baroque additions, while its interior is richly Baroque. An aristocratic residence also presses tightly against the square: Bonocore Palace on the north side.
The west side of the square opens toward Maqueda Street, where stands the Church of San Giuseppe dei Teatini, a Theatine foundation whose restrained exterior contrasts with the richly layered churches opposite it.
9) Fontanna della Vergogna (Fountain of Shame) (must see)
The monumental fountain, crowded with nude figures, gods, animals, and mythological creatures, was originally designed as a garden fountain in Florence. It was commissioned around 1554 by Luigi de Toledo, a Florentine nobleman. When Luigi later ran into serious financial trouble, he was forced to sell the fountain.
The work was designed by the Florentine sculptor Francesco Camilliani and originally consisted of dozens of statues arranged around concentric basins, connected by an elaborate hydraulic system. Because of its size and complexity, the fountain had to be dismantled, shipped by sea, and reassembled. Despite the challenges, the Senate of Palermo purchased the fountain in 1573, convinced it would lend prestige to the city.
An outer stone ring encloses a water-filled basin, separated from the central area by a shallow moat. Stone steps bridge the water, allowing visitors to enter the inner circle. Here, classical deities preside over the scene, while animals and fantastical figures populate the lower levels, many of them designed as water spouts, with open mouths spraying jets of water.
In Palermo, however, the fountain’s reception was mixed. During the 18th and 19th centuries, its abundance of nude figures clashed with local sensibilities. Popular tradition claims that nearby nuns damaged some statues by breaking off anatomically explicit details. A more convincing explanation links the nickname to the Praetorian Palace itself, which by that time had become a symbol of municipal corruption and misrule. The naked statues were seen as a satirical mirror of shameless civic life.
In the end, both interpretations stuck. The square became known as Pretoria Square, while the fountain earned its enduring nickname: the Fountain of Shame.
The work was designed by the Florentine sculptor Francesco Camilliani and originally consisted of dozens of statues arranged around concentric basins, connected by an elaborate hydraulic system. Because of its size and complexity, the fountain had to be dismantled, shipped by sea, and reassembled. Despite the challenges, the Senate of Palermo purchased the fountain in 1573, convinced it would lend prestige to the city.
An outer stone ring encloses a water-filled basin, separated from the central area by a shallow moat. Stone steps bridge the water, allowing visitors to enter the inner circle. Here, classical deities preside over the scene, while animals and fantastical figures populate the lower levels, many of them designed as water spouts, with open mouths spraying jets of water.
In Palermo, however, the fountain’s reception was mixed. During the 18th and 19th centuries, its abundance of nude figures clashed with local sensibilities. Popular tradition claims that nearby nuns damaged some statues by breaking off anatomically explicit details. A more convincing explanation links the nickname to the Praetorian Palace itself, which by that time had become a symbol of municipal corruption and misrule. The naked statues were seen as a satirical mirror of shameless civic life.
In the end, both interpretations stuck. The square became known as Pretoria Square, while the fountain earned its enduring nickname: the Fountain of Shame.
10) Quattro Canti (Four Corners Square) (must see)
Although it is commonly called Four Corners, the square’s formal name is Vigliena Square. It is named after the Spanish viceroy Juan Fernández Pacheco, Duke of Escalona, who governed Sicily at the time of its construction. Four Corners Square was laid out between 1608 and 1620 by order of the Spanish viceroys as part of Palermo’s urban renewal. The project was overseen by architects Giulio Lasso and Mariano Smiriglio, who conceived the ensemble as a carefully staged urban crossroads.
While usually described as a square, it was historically known as the “Octagon of the Sun”, since its plan is in fact eight-sided. This octagonal form is created by four streets intersecting at right angles and four concave Baroque facades closing off the corners. All four facades are uniform in height, deliberately symmetrical, and treated as a single architectural composition. Each one incorporates a fountain at ground level, above which a tiered sculptural program unfolds.
At the lowest level, the fountains are animated by allegorical figures of the Four Seasons, grounding the square in the rhythms of nature. Above them stand statues of the four Spanish kings of Sicily: Charles V, Philip II, Philip III, and Philip IV. The highest tier is reserved for Palermo’s four female patron saints: Saint Christina, Saint Ninfa, Saint Olivia, and Saint Agatha.
This sculptural hierarchy is also carefully oriented. On the south-facing facade, Spring, Charles V, and Saint Christina are aligned one above the other. Turning west, the facade presents Summer, Philip II, and Saint Ninfa. The north-facing facade carries Autumn, Philip III, and Saint Olivia, while the east-facing facade completes the cycle with Winter, Philip IV, and Saint Agatha.
While usually described as a square, it was historically known as the “Octagon of the Sun”, since its plan is in fact eight-sided. This octagonal form is created by four streets intersecting at right angles and four concave Baroque facades closing off the corners. All four facades are uniform in height, deliberately symmetrical, and treated as a single architectural composition. Each one incorporates a fountain at ground level, above which a tiered sculptural program unfolds.
At the lowest level, the fountains are animated by allegorical figures of the Four Seasons, grounding the square in the rhythms of nature. Above them stand statues of the four Spanish kings of Sicily: Charles V, Philip II, Philip III, and Philip IV. The highest tier is reserved for Palermo’s four female patron saints: Saint Christina, Saint Ninfa, Saint Olivia, and Saint Agatha.
This sculptural hierarchy is also carefully oriented. On the south-facing facade, Spring, Charles V, and Saint Christina are aligned one above the other. Turning west, the facade presents Summer, Philip II, and Saint Ninfa. The north-facing facade carries Autumn, Philip III, and Saint Olivia, while the east-facing facade completes the cycle with Winter, Philip IV, and Saint Agatha.
11) Mercato della Vucciria (Vucciria Market)
What does “Vucciria” mean? There are several theories. A widely accepted explanation comes from the Palermo dialect, where “vucciria” means noise, confusion, or uproar. In the crowded open-air market, the shouts of vendors blend into a constant din, recalling the atmosphere of an Arab souk.
The Vucciria market has existed in various forms since at least the 12th century, developing near the port and the old commercial center of Palermo. In 1783, the reform-minded viceroy Domenico Caracciolo undertook a reorganization of the area. He renamed the central space Caracciolo Square, ordered the construction of arcades to formalize market stalls, and added a fountain at the center, giving the square a more regulated urban layout.
A dense network of streets and alleys weaves around the Vucciria. Market stalls overflow with lemons, olives, tomatoes, fish, and other staples of Sicilian cuisine. In recent decades, some surrounding buildings have been restored, parts of the square repaved, and many traditional stalls have closed or relocated to other markets. Yet fish vendors still operate here, and their catch must be kept constantly wet. This everyday detail gave rise to a local saying: when someone refers to something that will never happen, they say, “When the floor of the Vucciria dries up.”
The Vucciria market has existed in various forms since at least the 12th century, developing near the port and the old commercial center of Palermo. In 1783, the reform-minded viceroy Domenico Caracciolo undertook a reorganization of the area. He renamed the central space Caracciolo Square, ordered the construction of arcades to formalize market stalls, and added a fountain at the center, giving the square a more regulated urban layout.
A dense network of streets and alleys weaves around the Vucciria. Market stalls overflow with lemons, olives, tomatoes, fish, and other staples of Sicilian cuisine. In recent decades, some surrounding buildings have been restored, parts of the square repaved, and many traditional stalls have closed or relocated to other markets. Yet fish vendors still operate here, and their catch must be kept constantly wet. This everyday detail gave rise to a local saying: when someone refers to something that will never happen, they say, “When the floor of the Vucciria dries up.”
12) Chiesa San Domenico (San Domenico Church)
The Church of San Domenico is known locally as the “Pantheon of Illustrious Sicilians”, a nickname earned through the burial and commemoration of many of the island’s most prominent figures, including politicians, intellectuals, and artists. The first Dominican church on this site was founded in the late 13th century and built in a Gothic style. Though relatively modest in size, it included a convent and cloister.
By the 15th century, the original church had become inadequate for the growing Dominican community and the expanding city. With the support of Pope Martin V, a larger church was begun in a Renaissance style, incorporating broader spatial proportions. Over time, however, this structure also proved insufficient.
In the 17th century, the Dominicans decided on a complete rebuilding, commissioning the architect Andrea Cirrincione to design a new church. The church’s appearance today is firmly Baroque. The facade is articulated by twelve columns arranged in pairs: eight framing the central entrance and four incorporated into the twin bell towers.
Statues of saints and popes occupy niches and upper levels. The convent cloister, dating largely from the 13th century, features arcades supported by columns. The surrounding walls are decorated with cycles depicting Dominican saints, scenes from the Apocalypse, and the Last Judgement. The complex also includes a refectory and a historic library.
By the 15th century, the original church had become inadequate for the growing Dominican community and the expanding city. With the support of Pope Martin V, a larger church was begun in a Renaissance style, incorporating broader spatial proportions. Over time, however, this structure also proved insufficient.
In the 17th century, the Dominicans decided on a complete rebuilding, commissioning the architect Andrea Cirrincione to design a new church. The church’s appearance today is firmly Baroque. The facade is articulated by twelve columns arranged in pairs: eight framing the central entrance and four incorporated into the twin bell towers.
Statues of saints and popes occupy niches and upper levels. The convent cloister, dating largely from the 13th century, features arcades supported by columns. The surrounding walls are decorated with cycles depicting Dominican saints, scenes from the Apocalypse, and the Last Judgement. The complex also includes a refectory and a historic library.
13) Teatro Massimo (Massimo Theater) (must see)
The Massimo Theater is the largest opera house in Italy, often cited as the third largest after the Paris Opera and Vienna State Opera. In 1864, the Palermo City Council launched an international competition to design a new opera house, intended to express the cultural ambitions of newly unified Italy. The winning design was by architect Giovanni Battista Filippo Basile, a leading figure in Sicilian historicist architecture. After his death in 1891, construction was continued and completed by his son, Ernesto Basile. The theater officially opened in 1897.
Basile drew inspiration from classical Sicilian architecture, particularly the monumental forms of the ancient Greek temples of Agrigento, combined with elements of Neoclassicism and late Renaissance revival. The massive portico, broad steps, and temple-like massing give the building a solemn, ceremonial presence.
Inside, the auditorium seats approximately 1,300 spectators and is arranged in the traditional horseshoe shape, designed for optimal acoustics. It features seven levels, including stalls, boxes, and galleries. The stage is slightly inclined, while the seating rises steadily away from it, enhancing sightlines and sound projection.
In 1974, the theater closed for restoration and modernization. What was initially planned as a relatively short renovation became a 23-year closure. It finally reopened in 1997, regaining its role as Palermo’s principal cultural venue. Since reopening, the theater has resumed an active international program of opera, ballet, and concerts. While administrative and financial challenges have periodically affected its management, the Massimo remains a central symbol of Palermo’s cultural life and ambitions.
Basile drew inspiration from classical Sicilian architecture, particularly the monumental forms of the ancient Greek temples of Agrigento, combined with elements of Neoclassicism and late Renaissance revival. The massive portico, broad steps, and temple-like massing give the building a solemn, ceremonial presence.
Inside, the auditorium seats approximately 1,300 spectators and is arranged in the traditional horseshoe shape, designed for optimal acoustics. It features seven levels, including stalls, boxes, and galleries. The stage is slightly inclined, while the seating rises steadily away from it, enhancing sightlines and sound projection.
In 1974, the theater closed for restoration and modernization. What was initially planned as a relatively short renovation became a 23-year closure. It finally reopened in 1997, regaining its role as Palermo’s principal cultural venue. Since reopening, the theater has resumed an active international program of opera, ballet, and concerts. While administrative and financial challenges have periodically affected its management, the Massimo remains a central symbol of Palermo’s cultural life and ambitions.
Walking Tours in Palermo, Italy
Create Your Own Walk in Palermo
Creating your own self-guided walk in Palermo is easy and fun. Choose the city attractions that you want to see and a walk route map will be created just for you. You can even set your hotel as the start point of the walk.
Historical Religious Buildings
Religion has always played an important role in the lives of the Italians – and the Sicilians are no exception. Thus, it is little wonder that the main city of the island, Palermo, boasts a plethora of religious buildings. The collection of historical churches found here ranges from the Arab-Norman-Byzantine to the Medieval, Gothic, Baroque and the Renaissance.
In the course of history, many... view more
Tour Duration: 2 Hour(s)
Travel Distance: 3.2 Km or 2 Miles
In the course of history, many... view more
Tour Duration: 2 Hour(s)
Travel Distance: 3.2 Km or 2 Miles
Palaces of Palermo
For centuries, Sicilian capital Palermo has been a focal point for the construction of noble dwellings and palaces. The latter were and still are a fine manifestation of the historical life in the region. They are a few hundred of them still in place, ranging chronologically from the medieval period to the first decades of the 20th century, and comprising an impressive collection of architectural... view more
Tour Duration: 1 Hour(s)
Travel Distance: 2.6 Km or 1.6 Miles
Tour Duration: 1 Hour(s)
Travel Distance: 2.6 Km or 1.6 Miles
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