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Ragusa and the Iblei region

New Ragusa and Ibla

Set on a wide limestone spur between two deep valleys (Cava San Leonardo and Cava Santa Domenica), Ragusa is divided into Ibla and Ragusa separated by the so-called valle dei ponti (valley of the bridges), a deep valley crossed by four successive bridges. Surrounded by water the shape of the town has been associated with the image of a fish, ‘forma piscis’, and this singular aspect is still perfectly noticeable if you look from a high vantage point. The new Ragusa, created after the xvii century earthquake, was positioned on the slope of Mount Patro and laid out on a grid plan with the new canons of baroque urban planning. Ibla (the old centre), was reconstructed, again in baroque forms, over the existing medieval layout. The two cities, linked by ancient steps that climb from Ibla to Ragusa, grew one beside the other amid constant divisions until 1926, when they were “rejoined” with the single name of Ragusa. Despite the Baroque reconstruction, Ragusa Ibla still has fragments of late Gothic and Renaissance architecture, like the portal of the church of San Giorgio the Elder or the chapels of S. Maria delle Scale church.

Ragusa Ibla

Chiesa di Santa Maria dell’Idria

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Getting into town from the oldest bridge, called Ponte Vecchio or Ponte dei Cappuccini we soon reach the Chiesa di Santa Maria dell’Idria, dated 1639, built at the behest of the Knights of Malta order, the cross of the order is still visible in the doorway; a bell-tower ornamented with majolica stands left of the church. The Palazzo Cosentini and Palazzo della Vecchia Cancelleria sit nearby, with elegant balconies supported by sculptured animals and masks typical of the Baroque style of the town.

Palazzo Cosentini

The Barocco della Val di Noto is considered an original baroque now declared World Heritage by the UNESCO

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From here a fascinating system of little streets and flights of steps leads to Ragusa new town passing by the Chiesa di Santa Maria delle Scale, with its Gothic portal and the bell-tower. The Cattedrale di San Giovanni and its unusual square of the same name laid down on two levels, has a front elevation in Baroque style with an imposing doorway flanked by a belfry.

Ragusa Ibla

Ragusa Ibla seen from above

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Within Ibla medieval town we find the Basilica of San Giorgio, an impressive example of Sicilian baroque. The church has a nice stairway that is slightly asymmetric with respect to the large square where is placed. Its eye-catching façade, divided into three orders, is convex in the centre and marked by projecting cornices, the neo-classical dome rises to 43 m.
The Giardino Ibleo (garden) is situated at the far end of Ibla, it offers beautiful sights of the mountain ranges and down over the Irminio valley. Inside the garden there are three churches: San Giorgio il Vecchio, chiesa di San Giacomo or del Crocefisso (xiv century) and the Capuchins. From the old Chiesa di San Giorgio il Vecchio (Saint George the Elder) erected towards the mid-1300s only the Gothic-Catalan archway remains, and a lunette bearing a bas-relief of St George killing the dragon. Seven mullions sustain slightly acute arcs with refined carvings, at the sides are the eagle emblem of the city.

Ragusa Ibla

Within Ibla we find the Basilica of San Giorgio an impressive example of Sicilian baroque

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From this site you can reach the remains of the ancient Chiesa di Santa Maria Bambina o dei Miracoli, desecrated since a long time, set to the rocky slope of the Ibla hill, and to the Chiesa del Santissimo Trovato recently restored set to the only vestiges of the ancient Byzantine walls.
The Ibleo Archaeological Museum, under the Ponte Nuovo (the new bridge), displays the archaeological finds from excavations in the territory of Ragusa. The first section displays relics ranging from the Neolithic to the Bronze Age. The second is exclusively devoted to material recovered in Camarina. The third section displays relics from the most ancient Sikel settlements. The fourth displays documents referring to Greek sites, notably to excavations at Scornavacche, and a faithfully reconstructed workshop of a ceramist. The fifth section collects Roman and late Roman’s specimens, mainly from Kaukana and Santa Croce Camerina excavations, where floor mosaics belonging to an early-Christian church were discovered.

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