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Sentiero della Grotta Azzurra, Via Panoramica, Ancona, AN

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Sentiero della Grotta Azzurra, Via Panoramica, Ancona, AN

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Sentiero della Grotta Azzurra, Via Panoramica, Ancona, AN

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The Grotta Azzurra area in Ancona is characterised by the classic fishermen's caves, which can also be found on the nearby Passetto beach.

It is located at the foot of the Cardeto Park and is accessible by sea or on foot by taking the path from Via Panoramica (at about house number 15).

Formerly caves carved into the rock by the city's fishermen, they are now true “summer residences” of the “veraci” Ancona inhabitants, a place where they can relax, shelter from the sun between one swim and the next and perhaps cook a nice plate of freshly caught “moscioli” (a kind of mussels).

Characteristic of the caves are the brightly coloured access doors, each one different from the next: a unique sight for those arriving in Ancona from the sea.

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Mole Vanvitelliana, Banchina Giovanni da Chio, Ancona, AN

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Mole Vanvitelliana, Banchina Giovanni da Chio, Ancona, AN

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Mole Vanvitelliana, Banchina Giovanni da Chio, Ancona, AN

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The Lazzaretto di Ancona, also known as the Mole Vanvitelliana, is a building in Ancona designed by architect Luigi Vanvitelli. It stands on a pentagonal artificial island within the port. It is connected to the mainland by three bridges and occupies an area of 20,000 m². The channel dividing it from the mainland is called mandracchio.

Originally, the Lazzaretto was a building with different functions: a public health hospital, a fortification to defend the port, a warehouse for goods, and protection of the port from wave action. Its charm is also due to its geometric shape, rich in symbolic values: in numerology, the number five, recalling the hand, indicates man's power to modify the surrounding reality.

The place played an important role during the Austrian siege of the French-occupied city in 1799 and during the First World War.

In the course of time it was also used as a military hospital; in 1884 it changed its use and became a sugar refinery.

During the two world wars it again became a military citadel; later, in 1947, it became a tobacco warehouse.

In 1997, the municipality of Ancona acquired the property and began a restoration project that is restoring the Lazzaretto to its original harmonious appearance, without, however, completely erasing the most significant changes it had undergone over the centuries.

Now the monument is used to host temporary exhibitions and other cultural events; part of it houses the Omero Tactile Museum.

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The Passetto district was born in the 1960s.

The main characteristic of the district is that it overlooks a stretch of high coastline; from the main public places and most of the private homes there is a wide view of the sea and cliffs.

The district has its centre in Piazza IV Novembre, the square that houses the Monumento ai Caduti, a monument to the victims of the First World War, built in white Istrian stone and surrounded by the scenic Pineta del Passetto. It is the main summer meeting place, much frequented not only by the inhabitants of the district.

From the monument, a grand staircase leads down to the sea. Both are the work of Ancona architect Guido Cirilli. A panoramic lift also leads down to the beach, from which there is a beautiful view of the sea, the promontory of Mount Conero and part of its riviera.

The Viale della Vittoria leads to Piazza IV Novembre, the final section of which is inside the district and houses its shopping area. The avenue is a long tree-lined path, a habitual promenade for many Ancona residents.

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Ancona is an Italian municipality of about 100,000 inhabitants and the provincial capital of the Marche region; it is one of the main economic centres of the region, as well as its main urban centre in terms of size and population.

Overlooking the Adriatic Sea, it stands on a promontory in the shape of a bent elbow, which gives rise to a gulf and protects the large natural harbour, among the largest in Italy in terms of international passenger traffic. The city's name derives from the Greek 'ankon' meaning elbow.

The city's history is linked to port and shipping activities since 387 B.C. when it became a Greek colony of Syracuse, in contact with the main centres of the eastern Mediterranean.

In Roman times, under Emperor Trajan, it played the role of the gateway to Italy from the ports of the East, as stated in the inscription on the Arch of Trajan.

In the Middle Ages it experienced its golden age, both artistically and economically, when it was a flourishing maritime republic and earned the nickname 'Gateway to the East'.

From 1532 until the Unification of Italy, it was part of the Church State. In the Risorgimento it actively participated in the struggles for the Unification of Italy, particularly during the First War of Independence.

During the Second World War, the town was liberated from Nazi occupation by troops of the II Polish Corps.

The city stretches over numerous hills, overlooking the sea in the eastern sector of the promontory. The town's high coastline is part of the Conero Riviera and falls within the Conero Park.

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Teatro delle Muse / Marche Teatro, Piazza della Repubblica, Ancona, AN

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1.Teatro delle Muse / Marche Teatro, Piazza della Repubblica, Ancona, AN

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1.Teatro delle Muse / Marche Teatro, Piazza della Repubblica, Ancona, AN

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Ancona's Teatro delle Muse is the largest in the Marche region and the 13th largest in Italy in terms of capacity. It is located in the city centre, near one of the main entrances to the port.

The building, in neoclassical style, was inaugurated in 1827 and is the work of architect Pietro Ghinelli. On the tympanum, the work of neoclassical sculptor Giacomo De Maria, is a bas-relief representing the nine Muses after whom the theatre is named, Apollo, god of the arts, and Palemon, god of ports. The scene allegorically illustrates the birth of Ancona's theatre: the Muses occasionally leave their abode on Parnassus (glimpsed in the background) to inspire the artists of Ancona's theatre, located on the shores of the port (symbolised by Palemon leaning against the stern of a classical ship).

In 1943, bombing during the Second World War damaged the roof, resulting in the theatre's interruption of operations, which then lasted 59 years. In the 1970s, the building underwent the demolition of the auditorium and the construction of reinforced concrete structures. After extensive work, the theatre was opened again, with a modern hall, in 2002.

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Loggia Dei Mercanti, Via della Loggia, Ancona, AN

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2. Loggia Dei Mercanti, Via della Loggia, Ancona, AN

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2. Loggia Dei Mercanti, Via della Loggia, Ancona, AN

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The construction of this palace began in 1442 by the architect Giovanni Pace known as Sodo, during a very prosperous period, economically speaking, for the city; it is located very close to the port, which has always been the hub of the intense mercantile exchanges essential to Ancona's economy. The intention was to create a place for merchants to meet and where they could freely discuss their trades.

The façade, in Venetian Gothic style, is by the architect Giorgio da Sebenico, who worked on it from 1451 to 1459. It is divided into three parts by four columns in relief, each ending in a pinnacle; each contains a statue representing four cardinal virtues: from left to right they are: Hope, Fortitude, Justice and Charity. The two side parts have large stained glass windows in the lower part in the shape of a concave ogival arch, closed since 1758 for static reasons. In the upper part are blind mullioned windows and, in the central part, there is a statue of the heraldic knight from the coat of arms of Ancona.

Severely damaged in the bombing that hit the city in World War II, at the beginning of the 21st century (2000-2002) the monument underwent extensive and careful restoration. Today, conventions and conferences of particular importance are held there.

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Chiesa di Santa Maria della Piazza, Piazza Santa Maria, Ancona, AN

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3.Chiesa di Santa Maria della Piazza, Piazza Santa Maria, Ancona, AN

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3.Chiesa di Santa Maria della Piazza, Piazza Santa Maria, Ancona, AN

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The church of Santa Maria della Piazza is located in Ancona's Piazza Santa Maria, in the old Porto district.

Erected between the 11th and 12th centuries, it is a remarkable example of the Romanesque style. It was built on an early Christian church from the 4th century that was restored in the 6th century; part of the floor of the present church is made of glass to allow the early Christian mosaics underneath to be seen.

The church of Santa Maria della Piazza was originally called Santa Maria del Canneto, as it was located very close to the port, in an area that was marshy at the time; it later took the name Santa Maria del Mercato because the market was held in the square in front of it. In the churchyard, the investiture ceremony of the podestà of the free municipality of Ancona took place for centuries.

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Chiesa di San Francesco delle Scale, Piazza San Francesco, Ancona, AN

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4.Chiesa di San Francesco delle Scale, Piazza San Francesco, Ancona, AN

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4.Chiesa di San Francesco delle Scale, Piazza San Francesco, Ancona, AN

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This church is located in one of the city's most atmospheric squares, nestled between the alleys of historic Ancona that lead up to the cathedral.

The foundation stone was laid by Bishop Nicola degli Ungari on 15 August 1323.

Originally, the church was dedicated to the Assumption with the name Santa Maria Maggiore because it was the largest in the city among those dedicated to the Virgin Mary. At the beginning of the 15th century, the convent was enlarged and at the same time a monumental staircase was built that allowed direct access to the church from the lower street.

In 1790, architect Francesco Maria Ciaraffoni renovated the church, modifying it internally and raising the façade.

During the Napoleonic period, however, the church changed its nature, serving as a barracks for military purposes. It was then closed for worship in 1852 and used as a hospital.

Once its function as a sanitary facility ceased, in the early 20th century, it became the seat of the Museum, Library and Civic Art Gallery until its rededication in 1953.

Today, there are valuable works inside the one-nave church. The 'Baptism of Christ' by Pellegrino Tibaldi and in the apse, the 'Assumption' by Lorenzo Lotto. In the painting, the Virgin is presented according to a typological scheme that will be repeated in Counter-Reformation art.

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Palazzo degli Anziani, Piazza Benvenuto Stracca, Ancona, AN

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5.Palazzo degli Anziani, Piazza Benvenuto Stracca, Ancona, AN

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5.Palazzo degli Anziani, Piazza Benvenuto Stracca, Ancona, AN

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Ancona's Palazzo degli Anziani has been the city's ancient municipal seat since the 13th century. It is located in Piazza Stracca, known until a few decades ago as 'Piazza del Comune', opposite the Gesù Church.

In 2011 it once again became the seat of the city council, after a break that lasted from 1945 to 2010, when the council met in Palazzo del Popolo.

Together with the latter, in which the council still meets and the mayor has his cabinet, the Palazzo degli Anziani is once again the seat of the municipality, returning to the role for which it was built in the Middle Ages.

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Cattedrale di San Ciriaco, Piazzale del Duomo, Ancona, AN

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6.Cattedrale di San Ciriaco, Piazzale del Duomo, Ancona, AN

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6.Cattedrale di San Ciriaco, Piazzale del Duomo, Ancona, AN

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The cathedral of Ancona is dedicated to Saint Ciriaco and is the metropolitan cathedral of the archdiocese of Ancona-Osimo.

It is a medieval church in which the Romanesque style blends with Byzantine, evident in the plan and many decorations.

It stands in a scenic position at the top of the Guasco hill, formerly occupied by the acropolis of the Greek-Doric city, from where it dominates the entire city of Ancona and its gulf.

In May 1926 Pope Pius XI elevated it to the dignity of a pontifical basilica.

On 30 May 1999, the millennium of the dedication of the cathedral was celebrated with a visit to the Doric capital by Pope John Paul II.

The cathedral building has a history of more than 2000 years, in which four main phases can be distinguished, listed below.

- 4th-2nd century B.C. - Temple of Aphrodite (known as 'of Venus' in Roman times), on whose remains stands the cross and left arm of the present-day church.

- 5th century AD - Basilica of St Lawrence, built on the remains of the ancient temple, on the same perimeter.

- 11th century AD - The basilica of St Lawrence becomes a cathedral and is enlarged; it forms the transept of the present church. With the translation of the body of St Ciriaco, the church changes name and takes its current title.

- 12th-13th century AD - Transformation of the ground plan into a Greek cross with central dome. With minor changes made in the following centuries (mainly the construction of the choir and two adjacent chapels), basically this phase gave us the building we see today.

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Discovered in the early 19th century, excavations were carried out only 100 years later and brought to light the first sections of the amphitheatre.

The amphitheatre is located between two hills (Guasco and Cappuccini), a few metres from the sea, and dates back to the period of Octavian Augustus (late 1st century BC). According to studies, it probably saw its final transformation during the empire of Trajan in the following century.

It had 20 tiers of seats in three tiers that could accommodate up to 10,000 spectators.

Today, the wall perimeter and the first tier of tiers are still preserved, and two entrances are visible: the main Porta Pompae and the secondary one that was probably the Porta Libitinensis.

Due to the recent discovery of the amphitheatre, separate elements of it have been brought to light; however, they are all in the open and therefore visible, even if fenced off for restoration.

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8.Faro di Ancona, Via Ospizio, Ancona, AN

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8.Faro di Ancona, Via Ospizio, Ancona, AN

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The Ancona lighthouse is located on the Capuchin Hill, from which it takes its name, within the Cardeto Park. Not far away is the old lighthouse, which was in operation from 1860 until 1965, when the construction of a new lighthouse was authorised, which went into operation in 1972 and is still in use today. It too uses Fresnel lenses, but its signal has been changed: in a thirty-second cycle it emits four flashes followed by a fourteen-second period of darkness.

The old lighthouse, approximately 20 m high, is in the form of a cylindrical brick tower, with a corbelled crown and rectangular base. A spiral staircase made of Istrian stone leads to the top, winding around the cylindrical weight shaft. From the terrace, which is annular in shape, there is a spectacular view of the city, the Gulf of Ancona, the port and the open sea. One can also observe the two lanterns that mark the entrance to the port: the green one on the south pier and the red one on the north pier. Next to the lighthouse were the steward's quarters, recently demolished.

The new lighthouse is 15 metres high and stands 104 metres above sea level. It is in the shape of a square tower with the vertices pointing towards the four cardinal points.

A plaque has been placed near the lighthouse to commemorate the experiment that Guglielmo Marconi carried out here in 1904. The account of the experience given by Quintino Bonomo, the commander of the ship on which Marconi arrived in the city, is reported:

"...On the night from the 7th to the 8th of August, at about midnight, Marconi, the Commander of the ship Sardinia Cav. Nícastro Enrico, the Commander Quintino Bonomo, Lieutenant Caprioli, Marconi's assistant Mr. Kemp, his secretary Kershaw, went to Monte Cappuccini - Ancona - to receive the signals that the station of Poldhu, about 1750 km away, had to transmit. (...) At minus a few minutes Marconi, after having properly tuned the equipment to the Poldhu station, started listening. (...) Everyone was amazed at the clarity and strength of the signals, especially in view of the limited capacity of the station's aircraft and the large mountainous terrain between Monte Cappuccini and Poldhu. (...) He also wanted to show those present the effects of sunlight on long-distance communication. It is well known that the influence of light tends to reduce the strength of signals, and therefore the range of transmission; and this observation is due to Marconi, who mentioned it in a letter of 13 June 1902 to the "Royal Institution" in London, following his experiments in February 1902 on the liner Philadelphia... Needless to say, these results were also checked with amazement by all present..."

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Piazza del Plebiscito, commonly called Piazza del Papa, is one of Ancona's four main squares (the others being Piazza della Repubblica, or Piazza del Teatro, Piazza Roma and Piazza Cavour). Of these, it is the oldest: it was opened in the 15th century; until the city's expansion following Italian unification, it was the city's central square, the 'piazza grande' in which the boundaries of the three terzieri: Porto, Capodimonte and San Pietro met. Today it is the centre of the latter district.

Its shape is singular: it is rectangular and very elongated; also peculiar is the fact that it comprises several levels, connected by two ramps and stairways. It is overlooked by some of the city's most important monuments: the Palazzo del Governo, with its tower, the church of San Domenico and, towering on the shelf in the centre of the square, the statue of Clement XII, the pope who, a new Trajan, was responsible for the rebirth of the port in the 18th century.

Over the centuries, the square changed several names. At first it was called Piazza Nuova, then Piazza Grande and later Piazza Napoleon with the conquest of the French at the end of the 18th century.

During the restoration of the Papal State it took the name Piazza San Domenico, after the church that overlooks it.

In 1870 it took its current name in honour of the plebiscite, held on 4 and 5 November 1860, which confirmed the annexation of the Marche region into the Kingdom of Italy.

However, since the end of the 18th century, it has been called 'Piazza del Papa' (Pope's Square) by the people of Ancona, because of the imposing marble statue of Pope Clement XII in the upper part of the square.