10 things to visit in Salerno

Situated between the Amalfi and Cilento coasts, the city of Salerno represents an excellent base for exploring the beauties and treasures that the southern part of Campania offers. During the summer it is frequented by many tourists, in constant increase thanks also to the presence of numerous cruise ships, which insert the Salerno port of call as an alternative to the more crowded ports of Naples and Sorrento. In just one day it is possible to choose a large range of excursions, towards Amalfi, Positano, Paestum, Pompeii and, of course, in the historic center of Salerno. The old town still retains the medieval structure of the narrow streets, dominated by many buildings, palaces and churches. Do not miss the stupendous Cathedral of San Matteo and the church of San Pietro a Corte,
The visit itineraries do not stop only at the discovery of the sites of greatest cultural interest; they range between excursion routes, tastings and seaside tourism, linked above all to the recent beach nourishment project towards the eastern part of the city.
In winter, starting from the month of November, Salerno lights up for a party, thanks to the highly anticipated event of artist lights, which for almost fifteen years has enlivened the main squares and streets with many colored lights, each representing a different theme.
To discover this city and to be pleasantly surprised, all you have to do is drop by... in any season of the year!

The construction of the Cathedral is linked to two fundamental events in the history of Salerno: the translation of the relics of San Matteo and the conquest of the city by the Norman duke Robert Guiscard, which took place in 1077.

These events, distant from each other in time, mark two fundamental moments in the religious and civil history of the medieval city, contributing to the formation of an ecclesiastical complex of extremely high artistic and cultural value.

The Basilica, financed by the victorious Roberto and promoted by the influential archbishop Alfano, takes up the ancient Cassinese model, acquiring an external environment (a large atrium) and an enormous internal space, divided by three spacious and large naves. In the quadriportico, which almost completely preserves the original Romanesque layout, numerous reused elements can be seen; Roman columns, sarcophagi and fragments that come from the nearby Roman Forum and from the ancient Paestum and Pozzuoli. The bell tower, which stands out on the right side of the portico, is in Arab-Norman style, made up of masonry sections, bricks and a terminal part decorated with a very refined star band and intertwined arches.

The interior of the Church, mainly in Baroque style, was remodeled following a terrible earthquake in 1688. The contrast with the external square is mainly given by the large white stucco covering, which covers the ancient Romanesque decorations of which only remain only a few fragments. In the center of the nave stand two monumental Byzantine pulpits, financed and donated by Archbishop Ajello and Romualdo Guarna in the 12th century.

In the transept area there is the famous chapel of the Crusaders, covered with an elegant marble floor in the Cosmatesque style. It houses the tomb of Pope Gregory VII, the pope who made himself famous during the Investiture Controversy, clashing several times against the Emperor Henry IV. In 1085, shortly after the inauguration of the Cathedral, he died in exile in Salerno, hosted and welcomed by the Norman prince Robert Guiscard.

Going down to the crypt, one certainly cannot remain indifferent to the splendor of its superb decoration. Completely renovated at the beginning of the 1600s, it is covered with polychrome marble and a frescoed ceiling, the work of the architect Domenico Fontana and the painter Belisario Corenzio, who painted here scenes from the New Testament and stories of the protomari of Salerno.
The two-faced altar dominates the center of the crypt, with two twin statues of San Matteo, weighing over 800 kg, the result of the mastery of the sculptor Michelangelo Naccherino, particularly active in the Kingdom of Naples and Sicily. In an underground trapdoor of one of the two altars the very important relics of San Matteo are kept, transferred to Salerno by the Lombard Gisulfo I in 954. Even today they are the object of a profound devotion by the people of Salerno, who celebrate their memory on the 21st September, patronal feast of the city.

The San Pietro a Corte complex is located in the heart of the historic center of the city, precisely in the characteristic “Barbuti” district. The area is of utmost importance since it is here that the ancient palatial structure of the Longobard era stood, commissioned by Prince Arechi II. This is also attested by the imposing marble dedicate titulus , made with bronze letters covered in gold, which originally covered the entire internal wall of the church. From this point of view, the complex was proposed as an essential sign of the power and magnificence exercised by Arechi and of the rebirth that the city managed to obtain in that period, to the point of being known with the nickname of " opulent”. The palace, organized on two levels and oriented towards the sea, was the center of Lombard power in the city. Attached to the imposing residence (now lost) still remains the private palatine chapel dedicated, in fact, to Saints Peter and Paul. The building was founded on the remains of what were the ancient Roman public baths (I-II century AD). Following the fall of the Roman Empire, during the late ancient period, the thermal structure was reused as a cemeterium, i.e. as a cemetery area and burial place for the nobles and most prominent figures of the city. This is testified by some early Christian tombs that can still be seen today in a section of the hypogeum. On some of the epigraphs the name of a certain Socrates stands out, who lived up to 48 years and was a very influential figure in the society of that time, since the inscription " vir spectabilis" is shown next to his name . The analysis of the names that appear on the various sepulchres precisely indicate the multi-ethnicity of the population at that time, since most of the burials bear names of Gothic, Byzantine and Roman origin.

With the arrival of the Longobard presence in Salerno, the structure was reused as a church, using the Roman structures as foundations for the building above. The walls were thus strengthened, building two large central pillars capable of supporting the floor of the upper room.

The old cemetery became an oratory and, starting from the 12th century, a place used for meetings of the city parliament or one of the headquarters of the famous Medical School of Salerno. This hypothesis is confirmed by the presence of a Byzantine fresco showing the figure of Saint Catherine of Alexandria, protector of doctors. On the dividing wall there is another fresco, dating back to the XIII century, with a theory of saints. It is possible to recognize St. Nicholas, St. Peter, St. James and a beautiful Virgin with child. The remains of a knight's head are still traced on the right wall, interpreted as Saint George in the act of slaying the dragon in the presence of Saint Nicholas.

The presence of all these so disparate elements, dating back to various different eras, attests to an ever-living desire on the part of rulers, institutions and clergy to renew, modify and adapt the original contexts according to the practical needs of the time, albeit retaining traces that modern archaeological research has allowed us to highlight and bring to light.

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The medieval castle of Arechi dominates the city of Salerno and its gulf from the highest point of the city, a hill 300 meters from the sea which takes the name of Bonadies.

The first certain news about its foundation dates back to the 6th century, during the battles between the Goths and the Byzantines for control of the peninsula. The territory of Salerno was presided over by the Byzantine militias, who deemed it necessary to build walls and fortifications close to the Tyrrhenian coast.

However, it was in the Lombard period that the castle reached its full potential, especially under the reign of Prince Arechi II, when he moved his court to the city, building a sumptuous palace close to the sea and renovating the pre-existing fortress. Salerno, in fact, was the only outlet to the sea of ​​the principality of Benevento, originally the capital of the "Langobardia minor" . The city, through its strategic location, was a solid opportunity to manage the surrounding territories, develop maritime trade and intensify contacts with other Mediterranean ports.

From this point of view, it was very useful to have a defensive structure capable of defending the territory from probable external attacks, in particular those from the Saracens, who had been harassing the coast for many years with their raids and raids. It was for this reason that solid walls started from the base of the castle and reached as far as the port, protecting the town around its entire perimeter. Only a few fragments of the pre-existing wall layout remain today, visible right near the ancient moat. The Arechi castle was so solid and resistant that it was practically considered impregnable. Even the Norman invaders, before conquering the city, had to persist for about eight months, until Gisulfo II, the last Lombard prince, had to surrender and open the castle doors due to lack of food. It was then that the principality fell under the hands of the Normans who, during their reign, made numerous changes to the castle, just like the subsequent rulers, the Swabians, the Angevins and the Aragonese. Over time the fortification lost its purely military function, to be transformed into a sumptuous residence, complete withbalneum, halls and sumptuous environments. Even the clay finds and the precious glazed ceramics denote a different use of the structure, unlike in previous centuries, which attest to a attendance of the site for purely military purposes. This is confirmed by the various finds of crockery, spears, armor and iron objects still visible today in the small museum housed in one of the rooms of the complex.

A visit to the Castle of Arechi is an excellent opportunity to get to know the history of the city of Salerno in depth but, above all, it allows you to reconcile history and the scenic beauty that can be admired from one of the many terraces of the complex. Not surprisingly, it is often chosen as a location to celebrate weddings, events and shows from the most panoramic point of the city. Its belvedere ranges from the Picentini mountains to the marvelous gulf dominated by the imposing Lattari Mountains, which surround the enchanting Amalfi peninsula.

In the heart of the old historic centre, in what was once known as the "plaium montis", you come across an enchanting terraced garden, known as the "Giardino della Minerva". Belonging to the noble Silvatico family, it was transformed at the beginning of the 1300s into a viridarium, the first botanical garden in Europe. The intent was to disseminate knowledge of the "simple", the medical herbs from which the principles used in the therapeutic field were obtained, according to the precepts imparted by the famous Salerno medical school. The promoter of the project was Matteo Silvatico, doctor and scientist, author of the Opus pandectarum medicae. It was an encyclopaedia of simple products which also included indications on administration methods aimed at preventing and alleviating the symptoms associated with pathologies. The current garden, located a few meters above the ancient complex, is divided into various terraces, following the typical concept of a Mediterranean garden. Its main feature is undoubtedly linked to the channeling of water, a fundamental technique to allow the right irrigation for the various species arranged along the different levels. Through a system of canals, fishponds, basins and fountains, plants enjoy the periodic and correct supply of water which, as we all know, is essential for their survival. The territory of Salerno, as well as that of the Amalfi Coast, it is already characterized by a natural apparatus that allows a constant availability of water supply. The particular orography of the area, in fact, has allowed since the dawn of time to take advantage of numerous springs and water sources, which favored the concentration of numerous vegetable gardens and green spaces, including this very famous medieval garden. A visit to this complex allows you to get to know the precepts imparted by the medical school, linked to the therapeutic theories already conceived at the time of Pythagoras of Samos (6th century BC). The main doctrine on which Salerno was also based was that linked to the "four humours", natural fluids of the human body which had to be completely in balance to guarantee the psycho-physical health of the human being. It is a very profound concept that is completely in line with the universal harmony that holds and dominates matter. It is just the plants, with their composition and their characteristics, that give the correct balance to the body afflicted by the disease. This is how, through the exhibition itinerary, we enter a vegetable world where each vegetable takes on a very specific characteristic, already outlined centuries ago in the aforementioned "Pandettes". At the end of the route, an enchanting panoramic terrace houses a beautiful herbal tea room, for a pleasant, refreshing break with a "zero km" infusion made with herbs from the garden. through the exhibition itinerary, one enters a vegetable world where each vegetable takes on a very specific characteristic, already outlined centuries ago in the aforementioned "Pandettes". At the end of the route, an enchanting panoramic terrace houses a beautiful herbal tea room, for a pleasant, refreshing break with a "zero km" infusion made with herbs from the garden. through the exhibition itinerary, one enters a vegetable world where each vegetable takes on a very specific characteristic, already outlined centuries ago in the aforementioned "Pandettes". At the end of the route, an enchanting panoramic terrace houses a beautiful herbal tea room, for a pleasant, refreshing break with a "zero km" infusion made with herbs from the garden.

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For all Salernitans it is known as the "Devils' bridge", although it is not a real bridge, but a majestic medieval aqueduct from the 9th century. A popular legend hovers around its construction, centered on the figure of Pietro Barliario, a doctor and scientist who lived at the time of the Lombards. Pietro had agreed on a pact with the devil to build, in the course of a single night, an enormous aqueduct capable of supplying water to the population and obtaining acclaim and fame for his entire life. Unfortunately, as always happens, the devil requested in exchange the sudden death of his two nephews, Fortunato and Secondino, poisoned after having ingested toxic substances in his uncle's laboratory.

So it was that poor Peter knelt for three days and three nights in front of a wooden crucifix to ask forgiveness for his ignoble crime.

On the fourth day, the crucifix became animated, granting him the much-needed forgiveness. From that moment on, at least once a year, all the pilgrims went to Salerno to visit and pay homage to the famous Christ, starting a traditional and famous "fair of the crucifix".

Going beyond legend to reality, we know that the aqueduct was built to supply water to the monastery of San Benedetto, one of the many monastic complexes located in the highest part of the city. Unfortunately a large part of the structure was demolished to make way for more modern constructions, in view of the urban development that the city had over the centuries, even outside the ancient city walls. A small part, close to the famous via Arce, shows the point of junction between the two arches, where you can see the typical shape of the acute ogival arch, which runs through the times and anticipates by far what will be the typical element of Gothic architecture.

Scopri la nostra visita guidata a Salerno

This splendid church is located a few steps from the Cathedral, on Via Duomo. It can undoubtedly be considered as the best example of Baroque art in Salerno. Its origin is to be connected with the first formation of the homonymous monastery, today occupied by the barracks of the Carabinieri and the Guardia di Finanza.

The 8th century medieval church (whose original traces remain in the basement of the building) has been transformed several times over the centuries, until it assumed its current appearance following the demolition of the previous church in 1674.

Promoters of this artistic renewal were Angelo Solimena and his young son Francesco, who from there took his first steps towards the beginning of a flourishing career, mainly linked to the Neapolitan area.

The interior of the church, with a single nave, has an extraordinary wealth of gilded stuccos, polychrome marbles and frescoes that occupy a large part of the vault and walls of the building. The works narrate some stories centered on the martyrs of the territory: Thecla, Archelaa and Susanna, whose bones are visible in the large atrium of the church. Along the vault, in various sequences, the miracles of San Benedetto and a splendid canvas with San Michele Arcangelo are shown.

Behind the altar is the canvas depicting the beheading of St. George, the martyrdom scene of the saint to whom the church is dedicated.

Visiting this church is equivalent to immersing oneself in the profound Baroque reality and in the artistic renewal that spread like wildfire throughout the kingdom of Naples, thanks to prominent personalities such as the Solimenas, Giovanni Battista Lama and other important artists who transformed the churches of our territory are their jewels.

Discover our guided tour in Salerno

Not everyone knows that the city of Salerno boasts a real masterpiece of applied art, kept inside the diocesan museum: the cycle of ivories. The 70 tablets, depicting scenes from the Old and New Testaments, probably represent the largest and most complete collection of ivories from the Christian Middle Ages. It is an ivory cycle of great value, linked to the carving skill and refinement of the faces, scenes and settings narrated in the various sequences, arranged in chronological order, starting from the creation of the Old Testament. It is not possible to attribute their use with certainty, although many scholars have hypothesized that they cover a reliquary chest, cover an iconostasis or an altar reredos.

Another jewel in the museum is the famous Exultet cycle. In the room adjacent to the ivories there are eleven parchment sheets, all painted, which make up the Exultet, or the prayer that is still recited today during Holy Saturday. The images, at the time, served as a support for those who were unable to read or understand Latin. By unrolling the scroll and showing the scenes to the faithful, it was thus possible to understand their meaning in a simple and immediate way.

The visit to the diocesan museum does not end with these two masterpieces, but continues, in the other rooms, with an excursus on all sacred art ranging from the 12th to the early 20th century. Staying with the medieval period, a special mention goes to the famous wooden crucifix, known as Pietro Barliario, to which the ancient legend linked to the construction of the devils bridge by the hand of the aforementioned doctor is linked. This crucifix also inspired the birth of the famous "crucifix fair", which is still maintained today as a living tradition in Salerno, during the Lent period.

In the following rooms of the museum there are numerous altarpieces, objects, sacred vestments and paintings on wood, which amply describe a complete panorama of Campania's artistic culture over the various centuries. Among the various artists who created the works it is necessary to mention the famous Andrea Sabatini, Renaissance painter and pupil of Raphael active in Campania until 1530. Andrea distinguished himself in a particular way in the creation of numerous Virgins with child, tracing a deep groove in the culture local on a new way of painting, perfectly following the basic principles of the painting of the great Renaissance masters.