An ideal tourist route should begin in the area of the primitive foundation, that in the surroundings of the so-called Castello (ex prison) that today houses the Polyvalent Civic Museum.

 

Its construction began on March 4, 1607; it underwent numerous remodellings towards 1640, at the end of the 18th century, and from 1816 on, when it was converted into a prison.

 

Next to the building stand the so-called "Magazzini del Conte", the old offices where the fees ("wheat" taxes) were paid.

 

 

Only a few metres away it is possible to visit what's left of the ancient Church of San Giovanni, whose construction began on March 6, 1607.

Damaged by the earthquake of 1693, it way afterwards abandoned. The ancient church covered the entire area of the square. The actual Chapel still conserves the ancient portal and a baptismal fountain that dates back to 1612.

 

La Chiesa Madre (the Mother Church) (Piazza Vescovo Ricca).

 

Immediately after it is possible to visit the New Church dedicated to San Giovanni (St. John) that was built between 1695-1706, thanks to the generous offerings of the community, and consecrated in 1734. Its interior, divided in two naves, is rich is marbles, gildings, stuccowork, statues and frescos.

A valuable monument is the "moresco" dome, constructed according to the plan of the Architect Giuseppe di Bartolo Morselli between 1850-1854.

 

The church is elevated by a flight of steps almost as wide as the whole façade; it has three portals, the central one has a central arch surmounted by an escutcheon.

In order to rapidly identify all of the preserved chapels and monuments, we think it's best to begin with the Baptismal Fountain, decorated with a huge portrait that represents the "Baptism of Christ" by an unknown artist. The portrait, in the style of Caravaggio, can be dated around 1700.

 

Next follow the Chapel of the Rosary (with a portrait of the Madonna of Pompei, by Giuseppe La Lota 1900); the Chapel of the Madonna of Mercede (with a 19th century painting by an unknown artist); the funerary monument of Francesco Leni (1759-1818); the Chapel of the Holy Family (first located at the Annunciation) with a beautiful marble bas-relief, a work by the sculptor Salvatore Sciacco (1898); the Chapel of the Christ at the Column; the funerary monument of Salvatore Ricca (1810); the Altar of the Lady of the Carmel.

 

 

In the same chapel there is another great painting (also in the style of the Caravaggio) that portrays the "Decapitation of the John the Baptist" under which lays a marble slab with wooden and silver inlays (a work by the arch. Giuseppe Areddia) which covers the remains of the founder, Vittoria Colonna, brought to the City in 1990 from the Church of St. Francis of Medina de Rioseco in Spain (where they first rested).

 

The presbytery with the high altar, elevated in comparison to the church floor, has a beautiful balustrade in polychromatic marble. At the end of the apsidal stands a monumental altar in read marble dedicated to Saint Agatha.

 

At the centre hangs a painting of a renaissance artist depicting the Madonna with the Infant. The niche over the alter shelters a wooden statue of the Saint (a work in vizzini style) with a golden cane, donated by Don Giovanni Ciani in 1777.

 

The vault of the high altar depicts a series of the moments of the life of the Baptist (the saint before Erode a work of Emanuele Catanese an artist from Gela - 1861; the "Decapitation of the Baptist, work of the priest Gaetano DiStefano 1859; and paintings of Mazzone and Provenzani ("The Four Evangilists") and of Mazzone ("The Last Supper").

 

The polychromatic pavement dates back to 1801 with its inlays, 2 vases, one containing withered vines and bunches of grapes, the other containing blooming vines and grape bunches, it wants to remember the Dry Plague of 1798.

The Choir, decorated on each side by 8 high stalls and 7 low anteriors, is a work of Emanuele Poidomani - 1890.

 

The Chapel of the Holy Cross contains a "Mourning of the Dead Christ" work attributed to the artistic workshop of Caravaggio; a "Deposition" by an unknown artist (1725); an "Immaculate" of Mazzone (1869).

 

Following are the Tomb of the Bishop Ferdinando Ricca; the Altar of the Cross;

 

The Chapel of the Immaculate; the Chapel of St. James and St. Lucia which shelters the funerary monument of Jacopo Giudice; the Chapel St. Rosalia (with a statue of the Saint); the Chapel of St. Barbara (with a huge oil painting of Stefano Ragazzi - Modica - 1759 and an altar in polychromatic marble with the Nativity); the Chapel of the Lady of Sorrows that creates an apside on the outside of the Church on Via Carlo Alberto.

 

This last chapel shelters a painting by Domenico Provenzani (1883) and numerous relics. Lastly there is the funerary monument of Mario Pancari Leni (a work of Benedetto Delisi 1875.

 

The Sacristy conserves portraits of parishes and archpriests of the Basilica. There are 21 portraits (almost all works by unknown artists) dating from 1640 - 1978.

 

Even though not exhibited, the huge canvas called "Taledda" of Giuseppe Mazzone (1861) belongs to the works of art stored in the Church; it originally hung over the high altar during the Passion period. This painting in monochromatic technique, measures 17 meters in height and 7,65 meters in width. It depicts 43 figures gathered around the scene of "The Martyrdom of Christ".

 

Finally, in the centre nave it is possible to admire a precious organ (work of the priest Donato del Piano - 1748) and a wooden pupil, a work of the Mastro Carmelo d'Asta.

 

 

The centre of the city is the Piazza del Popolo.

 

Here stand the beautiful Town Theatre of Neo-classical style (1871-1877) and the 18th century church of the "Lady of the Blessings" ("Madonna delle Grazie").

 

The theatre was designed in 1863 by the architect Giuseppe di Bartolo Morselli (1815-1865), a neoclassic exponent, but it was internally remodelled by the Engineer Giuseppe Mazzarella.

 

It's façade has two orders of columns that form the portico and the upper loggia; side niches; the upper part is crowned by statues of the Apollo and of the Diana.

 

Considered valuable are the statues (works of Corrado Leone), the gildings (of Cappellani) and overall the paintings of Giuseppe Mazzone (1838-1880), true glory of Vittoria, who decorated the medallions depicting the great musicians, the ceiling in the hall and the figures of the proscenium ("The Tradegy" and "The Commedy").

 

Giuseppe Mazzone decorated the vault of the theatre: an interlaced dance of Cupids and a fluttering of laces in loud greens and violent shades that give life to the composition.

 

The Church and the Convent of the Blessings (Piazza del Popolo)

 

Next to the Theatre stands the "Lady of the Blessings" ("Madonna delle Grazie"). On February 7, 1619 the "secreto" Paolo Custereri was buried here; therefore at that date the church must have been almost completed, while the annexed convent results to have been given to the church with a notary act dating January 5, 1638.

 

The façade is elevated by baseboard and a stairway that circumscribed to the central portal ends with a round arch, crowned by an escutcheon of angels.

 

The church contains numerous works of art, many or which are generous donations.

 

The interior has only one nave. Beginning at the left it is possible to admire a chapel dedicated to Saint Elisabeth of Hungary; following is the chapel dedicated to Saint Anthony of Padova; the third chapel is dedicated to the Blessed Heart of Jesus; next there is the pulpit, a work of Pietro Tagliazucchi of Carrara and finally there are the Chapels of Saint Anne and of the Immaculate.

 

The high altar holds at its centre a large oval painting depicting the Lady of the Blessings between Saint John and Saint Francis of Assisi (of caravaggio style).

 

In the Sacristy, the huge and precious walnut wardrobe is still preserved a work of Carmelo d'Asta (with the 4 Evanglists and St, Francis in relief).

 

At the right of the nave, in succession, are the chapels of: the Crucifix (with an oval of the Lady of Sorrows); St. Francis of Assisi; the Lady of the Light (school of the Borremans, a work of particular beauty and of special workmanship). The above works are datable around 1736. Then come the Chapel of the Souls of Purgatory with a big painting of the Almighty; St. Teresa; St. John and the souls of Purgatory.

 

 

Numerous other paintings ornate the church (some works of unknown artists); among these, one depicts St. Anthony (by Sebastiano Alotti, an artist of "refined formal and pictorial research"). The Chapel of St. Anne contains a canvas depicting Saint Anne and Saint Gioachino with the Immaculate, a work of the Modican artist Antonino Manoli (1717); a "Lady of Sorrows"; a "St. Lucia" and a "St. Agatha" in prison and in chains (of the school of Pietro Novelli)

 

 

A part of the square is occupied by a Peace Memorial dedicated to the fallen in all wars (work of the architect Giuseppe Areddita (1981). In 1997 the War Memorial was removed from the City Park and brought back to its original site where it had stood until 1964 (Turillo Sindoni - inaugurated in 1930).

 

 

7.1 St. Blaize (San Biagio - Piazza Giordano Bruno)

The Church is the heart of the homonymous neighbourhood. Important since the origins are the cult for the Lady of Loreto and for Saint Gaetano, portrayed on canvas by the artist Gaetano Di Stefano from Chiaramonte Gulfi (1809'1896). In the 20th century the cult for Saint Rita prevailed over that for St. Blaze.

 

This is represented by an oil painting by an unknown artist. Other paintings depict a "Lady of the Carmel"; a "Lady of Loreto"; a "Holy Family (originally belonging to the Mother Church and donated in 1877 by the notary Filippo Neri Maltese).

 

Next to the Church stands the ancient "College of Mary" founded in 1732 that housed the Gymnasium-Classical Lace for a century and now houses the "Don Milani Junior High-School".

 

St. Joseph (San Giuseppe - Via Gaeta)

 

The Church dates back to the decade 1681-1691. It is of great architectural simplicity, enriched by a multicoloured bell tower; its interior is entirely covered by stuccos of the school of Serpotta (precisely of "Gianforma").

 

Noteworthy is the canvas of Mazzone entitled "The Holy Family" 1871.

 

A large oil painting called "The Transit of St. Joseph" of Antonio Scologna - "Sicilian caravaggio" (Campo) dates back to 1677.

 

Another painting depicts the "Lady in Chains", a work of Giuseppe LaLota (late 19th century).

 

A wooden statue of an uncertain saint is preserved in the Sacristy.

 

Little jewels are:

 

The Church of St. Francis of Paola (Piazza Indipendenza).

 

Completed in 1727, it is frescoed with the stories of St. Francis of Paola (unknown artist of the 18th century).

 

The Church also shelters two wooden statues of the Saint that may belong to the 18th century; an oil painting depicting St. Michael the Archangel and other canvases of unknown artists of the 18th century.

 

The pulpit has been recently restored thanks to the City Administration.

 

St. Paul (San Paolo - Via Palestro, ang. La Marmora)

 

The Church seems to have been completed in 1727. It is possible to admire two canvases of unknown artists, one of which depicts the "Conversion of St. Paul", and the other that represents the "Crucifixion".

 

Both probably belong to the 18th century. Vito Melodia, in 1922, painted the medallions on the vault of the apsidal basin.

 

 

The Church dedicated since its origins to St. Mary Madeline, was built at the beginning of the 18th century.

 

The first chapel to the left is dedicated to St. Anthony; following is that of St. Francis of Assisi with a beautiful wooden statue. The Sacristy has a few painted medallions depicting the Madeline, St. John the Baptist, St. Anthony of Padova and St. Francis of Assisi.

 

Over the high altar (completely in wood and restored in the 1930's) hangs a large painting of the Assumption.

 

Beyond the small baptismal fountain that is in white marble, lay the remains of the priest Giudice Bennardo (1826-1861); next is the chapel of the Lady of Loreto with a wooden altar and a niche that shelters the legendary lauretian statue brought to Vittoria in 11740 by Fra' Fedele and that now is placed next to the altar of the Crucifix.

 

Among others, noteworthy are two canvases of unknown artists: an "Immaculate" and the portrait of Fra' Gaetano La China.

 

The reliquary is an 18th century work of Carmelo d'Asta.

Next to the Church stands the monastery, used as a hospital from the beginning of the 20th century until 1965.

 

 

Built in 1859 a few metres away from the previous one that was afterwards demolished, it is a small temple, of circular plan with 2 neoclassical lateral juxtaposed bodies that shelters at its base a chapel decorated with a few frescoes.

 

On its external walls there are 5 ceramic lunettes that illustrate scenes of the crucifixion.

 

This particular construction is used for the "Mysteries of Good Friday" called the "I Parti".

 

 

The Church of the Blessed Heart (Sacro Cuore - Piazza Daniele Manin) dates back to the years following 1880; it shelters among other things, a canvas of representing the "Lady of the Medallion" a work recognized as being of Giuseppe Mazzone for its date and signature (1857).

 

A ruined canvas, "St. Peter and Paul" needing to be restored… presents an interesting pictorial figurative composition that can be dated back to the 18th century.

 

 

Built in the 1970's it bears a large canvas of the "Lady of Pompei" of an unknown local artist.

 

Recent churches are:

 

St. John Bosco; the Holy Souls of Purgatory (which takes its name from the old annexed cemetery (now the area of the sports field); the Lady of Tears; St. Maria Goretti; the Assumption of Mary; the Holy Spirit and Saint Domenico Savio.

 

 

There are several beautiful buildings that have fantastic, neoclassical, liberty style decorations and sculptures, others are interesting for their magnificent façade.

 

Palazzo Iacono Rizza, which today belongs to the City, was completed in 1880; since December 15, 1984 it is the site of the Town Hall.

 

Its walls shelter paintings of Matteo and Giocchino Santocono of Gela (1895) and it can be found in Via Bixio. The building was designed by professor Falcini of Florence in 1878.

 

 

 

 

The Villa is a beautiful arboreal monument that anciently was the Cappuccini Vegetable Garden. It was aggregated to the Church in 1721 and given to the City after 1866 becoming the City Park in 1933 overlooking the entire Valley of the Ippari.

 

The Fountain of the Gari' or of the Lions (La Fontana del Gari' o dei Leoni)

 

At the end of the Via dei Mille stands a monumental fountain called "of the Gari'" in homage to the benefactor that donated the Garden to the Cappuccini along with the relative profits/supplies.

 

 

Monumental is the central part of the Cemetery whose construction began in 1890. It was opened in 1896 substituting the old cemetery that had risen in 1840 in the area that is now covered by the sports field.

 

The cemetery also houses a chapel (1927) dedicated to the Hungarian prisoners who died in Vittoria during the World War I.

 

The friendly relations between the City and the Hungarian government has also brought to the opening of an Italo-Hungarian Museum, that can be visited in the area of the ex-concentration camp inside the Emaia Fair Citadel.

 

 

The Emaia, an enormous trade fair with 4 distinct annual editions (two of which coincide with the ancient fairs held for the St. John's Feast and for the St. Martin's Feast), covers great part of the area surrounding the ex-concentration camp built after the War of Libya (1911).

 

 

The City also has numerous sports, school and social infrastructures, including 2 large economical infrastructures: the Fruit-Vegetable Market in Contrada Fanello and the Flower Market.

 

Archaeological Industry Buildings

 

An interesting example of an archaeological industry is the building that used to house the electrical power station whose construction began in 1890 and that furnished energy for lighting from 1900 on. Built on part of the area belonging to the St. Teresa's Monastery it is now abandoned.