Discover the most significant tourist, cultural, historical, and artistic sites in the center of Vico Equense.
An itinerary of the major tourist, artistic, cultural, and historical points of interest in the center of Vico Equense to discover the magic of this splendid city on a stroll that will leave you breathless. For those who wish to explore Vico Equense and its hamlets in a more suggestive and authentic way, we recommend venturing along the secondary roads that offer unique panoramic views and a more intimate contact with nature and the local landscape.
Regardless of the path you choose, the experience of discovering Vico Equense and its hidden beauties will be unforgettable, promising cultural, historical, and natural adventures that will leave you enchanted. Welcome to Vico Equense.
The monument to the fallen soldiers from Vico Equense in the Great War consists of a large stone obelisk resting on a polygonal base. The obelisk, divided into four sections, has a fluted shaft and is surmounted by a sphere adorned with laurel wreaths, upon which a star rises. On the band of the second section, coats of arms and laurel festoons alternate. On the base, bearing the commemorative inscription at the center, and decorated on the left with a bronze relief featuring the municipal coat of arms and on the right with an anchor, there is a sculptural group consisting of two soldiers supporting a winged Victory. The monument is located within a small park overlooking the Gulf of Naples and Mount Vesuvius.
Madonna della Neve in the Rione Pozzillo also witnessed the erection of the Chapel of Madonna della Neve, by the ice workers who preserved the ice in the snow pits of Mount Faito and transported it towards Marina di Mergellina in Naples, where a chapel of the same name would be built. The endpoint of the walk of the 13 doors, known as the “Snow Road,” is a small gem nestled among the buildings, offering a breathtaking view of Marina di Vico and Mount Vesuvius.
The Antonio Asturi Open Museum is a permanent exhibition dedicated to the painter Antonio Asturi, located inside the new municipal building in Piazzale Giancarlo Siani.
Antonio Asturi (1904-1986), a self-taught painter, drew inspiration from both ancient and contemporary art, both Neapolitan and foreign.
In 1800, Piazza Umberto I played a significant role in the urban and cultural history of Vico Equense. It was constructed between 1832 and 1840 by Cavalier Giordano, the director of works for the road to Sorrento, who oversaw its layout. Urbanistically, the site was conceived and organized as a square plaza with a fountain placed at its center of gravity. Later, with the construction of two additional roads, the plaza transformed into a crossroads.
In 1854, Canon Gaetano Parancandolo described Piazza Umberto I and its fountain in his contemporary “Monograph of the Municipality of Vico Equense” as follows: “…its form is square, and to ensure it had no irregularities, Cavalier Giordano, who directed the Sorrento road, positioned it so that the four rays of the roads, two completed and two projected, had equal distances, forming a perfect cross. In its center rises a magnificent fountain directed by the valorous young Spasiano: the three marble dolphins, which naturally support a large marble basin on their backs, were executed in the workshop of Naples, and the cost of its construction amounted to 1,700 ducats…”.
Unique in its kind throughout the territory of the Sorrentine Peninsula, the fountain was built in the 19th century by architect Raffele Spasiano, who wrote in 1841: “…the construction of the fountain will undergo some modifications… for its decoration… the three dolphins and the basin, which instead of piperno will be executed in cut stone from Caserta, called white which is better suited for work, has greater durability, and is of more beautiful appearance and the basin, instead of being only piperno, will have its parapet made of such stone, and a step of pietrarsa will be made…”.
Piazzetta Croce owes its name to the bloody years of the Revolution of 1799. At that time, the Republicans, with the Bishop of Vico, Monsignor Michele Natale, erected the “Tree of Liberty” in the historic square. With the final victory of the Sanfedist forces, a precious shrine was built with a cross in the center, in memory of the bloody events.
It is the gateway to the historic quarter, and today, several activities make the square welcoming and lively in the evenings.
The museum, located in three rooms on the ground floor of the historic Town Hall, houses approximately 200 artifacts from various civilizations (Greek, Etruscan, Italic), evidence of the ancient urban settlement existing between the 7th and 3rd centuries BC. The artifacts have been discovered since the 1960s in the Necropolis of Via Nicotera and adjacent streets.
Located in Via Vescovado, the Church of the Annunciation, former cathedral of the Equense diocese until the early 19th century, overlooks the crystalline sea of Marina d’Equa and was founded by Bishop Giovanni Cimino between 1320-1330. The appearance of the church has been altered over time, but traces of the original Gothic structure still remain, such as the windows on the sides of the apse of the main altar and the lateral ones. The church, with a basilica plan of three naves, features an 18th-century façade commissioned by Bishop Paolino Pace (1773-1792) and an extraordinary 16th-century bell tower with three orders ending in a battlemented loggia. Diocesan Museum: the walls display coats of arms and tombstones belonging to important Vican families. Of exquisite workmanship is the ostensorium adorned with insignia of the Ravaschieri and Filangieri families; sacred vestments and remains of the canons’ choir are also included. Among the furnishings of the former cathedral, beneath the main nave of the church, there are fragments of frescoes, mitres, and sacred subject paintings.
In the space beneath the main nave of the Church of the Holy Annunciation, a display of furnishings from the ancient cathedral, partly subjected, along with the wooden furnishings of the sacristy, to a conservation and restoration intervention in 2018, has been arranged. The intervention aimed at a historical and artistic investigation was carried out by the tourism section of the “Vitruvio” State Institute of Castellammare di Stabia, coordinated by Professor Ciro Coppola. The environment, not present in the ancient medieval layout, was created during the restoration works of the church, which were carried out in the early 1970s to address structural issues. To ensure the stability of the pillars, it was necessary to dig deep below the main nave, creating a crypt intended as a space for a permanent exhibition, pending its final destination as the Sorrentine-Stabiese Diocesan Museum. The collection ranges from remnants of the 14th-century frescoes that adorned the apse to the most recent work, the painting depicting Republican San Gennaro, donated by the master Armando De Stefano to commemorate the bicentenary of the Neapolitan Republic, which involved Bishop Michele Natale; two silk mitres with silver lame and a leather case engraved with his coat of arms belonging to Msgr. Natale are also displayed. There are also four sacred subject paintings donated by the children of the renowned Vican painter Antonio Asturi. Along the museum walls are sepulchral plaques and coats of arms of bishops and prominent families of Vico Equense; display cases exhibit sacred furnishings in gilded and silvered wood, silver, metal, and vestments made of precious silk fabrics. Noteworthy is the silver ostensorium from a Neapolitan workshop bearing the coats of arms of the Ravaschieri and Filangieri families, donated by the feudal lord of Vico, Filippo Ravaschieri, Prince of Satriano, and his wife Teresa Filangieri, sister of the more famous Gaetano. In the central showcase are displayed sacred vestments belonging to Msgr. Sozi Carafa, builder of the homonymous palace, and to the canons Don Mario Buonocore, the last capitular vicar, and Msgr. Giuseppe De Simone, known as Don Pinuzzo, journalist, poet, and writer. At the ends of the hall are the remains of the wooden choir of the canons, from the early 17th century, which was once located in the presbytery of the Church.
Existing in the 15th century under the name of S. Maria della Pace, the chapel was purchased in 1742 by the Archconfraternity of the Assumption, a society founded in 1615. Since 1987, a striking penitential procession takes place there on the evening of Good Friday, involving hundreds of confreres wearing purple robes and hoods. Among the preserved artworks, there is an eighteenth-century wooden altar, entirely decorated with panels of fabric and filaments with floral motifs made of glass beads, corals, and mother-of-pearl.
The “Villetta” was built between 1936 and 1938 on land donated to the Municipality of Vico Equense by the Institute of the Holy Trinity and Paradise, part of the Terranova estate. Affected by the construction of the new road (now Corso Filangieri), a perimeter wall was built on the outer edge of this very steep olive grove, cultivated on agricultural land. Once that area was leveled, it was transformed into a adorned terrace, after World War II, with pavements, holm oak trees, and flower beds still present. Today, the “Villetta Paradiso” is one of the symbols of the city, also inspiring the song “La loggiata d’o Paraviso” by Clementina and Stanislao De Gennaro (a plaque is also placed there).
The church of Santa Maria delle Grazie at Punta Mare is located in what is commonly referred to as the “Punta Mare” area.
Around 1660, Monsignor Repucci, the bishop of Vico, spoke of some chapels at Punta Mare, saying that they had fallen into ruins in very ancient times and were covered by bushes and brambles, which had completely obscured their memory. They were rediscovered thanks to a light that shone at night in the place where they were. The inhabitants of Vico, attracted by this light, searched in the overgrowth and found, painted on an ancient wall, the image of the Blessed Virgin Mary. News of this miraculous discovery spread, and Monsignor Repucci recounted that many faithful came, and with the offerings collected, a chapel was rebuilt.
On April 7, 1942, the passage of some large caliber cannons (305/50 mod. 1912 for coastal defense still in operation during World War II) on the Sorrentine Highway caused the collapse of the tiled dome of the church, which in turn caused the floor to collapse. Due to the danger of the side walls collapsing, on October 7, 1949, Mrs. Visco, owner of the nearby building, ordered the Chapter to take action to eliminate it.
After several years of abandonment, thanks to the efforts of Don Mario Buonocore (then Perpetual Vicar of the former cathedral) and with the authorization of the Archbishopric of Sorrento, the Chapter obtained recognition of war damage and funding to repair the church. The work began in the 1960s. It was returned to worship on January 7, 1967, by the late Archbishop Monsignor Raffaele Pellecchia who blessed it. The chapel is adorned with pilasters with capitals and a stucco altar canopy, framing the Madonna delle Grazie.
The two statues in the niches to the left and right of the entrance depict Saint Cyrus and Saint John, the two patron saints of Vico Equense, whose winter feast is celebrated on January 31 and the summer one in August.
Currently, Masses are not celebrated in the church, except for weddings of couples who often choose this particular location overlooking the sea to celebrate their weddings.
Additionally, every Friday, a moment of prayer takes place here, as the church is the Territorial Seat of APS (Social Promotion Activities) for Radio Maria.
The complex known as the Conservatory of the Holy Trinity and Paradise was founded in 1676. The structure, located in the city center, is cloistered and initially housed nuns, evolving its layout over the years. The Institute has also been involved in the construction of a library, particularly attractive to young people and children, as well as a place of socializing and culture. A meeting point for all ages is the garden in the setting of its historic orange grove.
A unique place in the center of the city encloses an ancient orange grove. It represents a point of interest for the youngest but also for those who want to spend some time outdoors. The mixture of colors and scents is a unique spectacle that one can witness, just a step away from the city center.
The cultural structure was inaugurated on October 22, 1992, and is one of the most important scientific museums in the Campania region due to the number, variety, and rarity of the exhibited specimens, including minerals, gems, fossils, and shells.
The church, characterized by the lively 18th-century tiled dome, is dedicated to the patron saints Cyrus and John and stands in a crucial place for the historical memory of the city. Once here stood one of the oldest sacred buildings of Vico, dating back to the 12th century and restored under King Alfonso of Aragon: the small church served as the seat until 1608 of the ‘Tocco’ or ‘Seggio’ of the Universitas, the place where citizens gathered to discuss and deliberate on political or administrative issues. In 1696, following the damage caused by a violent earthquake, the church was demolished and rebuilt; the works ended in 1715, as evidenced by the inscription on the entrance. The refined and elegant façade, preceded by a short staircase, is decorated with elements in tuff, the gray volcanic stone widely used in Neapolitan architecture. The bell tower, built in 1873, ends with a characteristic pinnacle of oriental style. The interior of the church has a Latin cross plan, with a central nave and side chapels.
From tombs found in Via Nicotera, as well as in Via Cortile, there are traces of the ancient settlement from the 7th century BC. In them, valuable artifacts have been found, such as bronze vessels and Attic ceramics. Some of the artifacts from the archaic necropolis are preserved at the Antiquarium Silio Italico (Corso Filangieri, 98).
The Marina di Vico has been the safe harbor of the city for centuries since the pre-Roman era. The marina of Vico Equense is easily accessible within a few minutes from the city center on foot through the ancient panoramic road Via Castello Marina indicated on the map with the letter “I”. The beach is sandy and features natural springs. There are restaurants and beach resorts from which to admire the rocks of Tartaruga and Margherita.
The Marina di Seiano, or Marina D’Aequa, is a small fishing village rich in historical evidence dating back to the Roman and pre-Roman periods. The beaches, mostly made up of sand and pebbles, are located on the right and left sides of the tourist harbor, respectively. The Marina di Seiano can be reached on foot through via Pezzolo, indicated by the letter “L” on the map. From April to October, thanks to maritime connections, it is possible to reach the beautiful island of Capri from the port of Seiano.
Less than a kilometer from the city center is the church and adjoining convent of San Vito, built in the 17th century, and for over a hundred years entrusted to the Minim Friars. On the first floor are preserved interesting works of art including splendid altar frontals of Sicilian manufacture from the 18th century depicting famous episodes from the life of Saint Francis of Paola, founder of the Order of Minims.
- Places accessible to people with disabilities.
Secondary roads:
Via Pozzillo derives its name from the presence of a natural spring that fed a well; already in Roman times, the inhabitants drew water from it. Via Pozzillo leads to the historic chapel of the “Madonna della Neve”.
Via Scrajo is an ancient road that leads from the bell tower of the convent of Santa Maria del Toro to Scrajo Grande (now Bikini). The road was already passable in ancient times up to the place called “Pagliarella”, from where it continued along a narrow and irregular path boundless in the forest of the nuns, where about 200 cholera victims were buried. The toponym is of Greek origin and recalls the steepness of the coast at that point; in the Scrajo area, moreover, there was a watchtower (“Cocchiano tower”) which collapsed in the second half of the 20th century. From the deep underground erosions located in the caves beneath the Scrajo point, a natural spring makes the seawater opalescent. Known since Roman times and characterized by twenty thousand cubic meters of sulfuric water with precious therapeutic qualities, it has made famous the thermal treatments practiced for more than a century in this stretch of coastline.
Via Macello is an ancient street that takes its name from the place used for the slaughter of animals; it starts from the crossroads Via G. Nicotera-Via Santa Maria del Toro and reaches Via R.Bosco in the “fosso” area. It has two driveways separated by a staircase.
Via dei Mulini is an ancient road that connects S. Maria del Toro to S. Francesco (Via Sperlonga) along the route of the ancient Via Minerva; the name derives from the presence of a mill built towards the end of the 15th century to facilitate the milling process for the citizens of Vico Equense. Additionally, tower mills with horizontal wheel were built near the Castle and near the Marina of Vico Equense. They were powered through the aqueduct of Sperlonga.
Beyond the walls of the Castle, outside the Historic Center, starting from 1500, the neighborhood developed around the Sanctuary of S. Maria del Toro. Originally, it was the venerable Church of S. Maria del Toro of the Reverend Teatini Fathers of this city. The ancient extra-moenia village called Casale di S. Maria del Toro was born along the so-called Via dei Mulini built by Alfonso D’Aragona to connect Vico to Castellammare and Sorrento. According to legend, in 1452, the farmer Nicola Villauto had a fresco painted in the stable representing the Madonna with Child, which, in ruins, would have been “discovered” by a bull that knelt here. Rebuilt in 1600, it was embellished with a wooden coffered ceiling frescoed with the Triumph of the Cross and the glorification of St. Gaetano. However, it is recognizable especially from the eighteenth-century painting of the Madonna del Toro frescoed behind the altar. Near the church, in 1478, the aqueduct was built to supply water to the Mill Tower.
Via Canale is an ancient alley in the suburb of Vico Equense, whose name derives from the canal that carried water from the source of Sperlonga to the castle, the episcopal residence, and later to the Fountain of the Dolphins (located in Piazza Umberto I). Today, as then, the road is about 2-3 meters wide and starts from the crossroads formed by Via Nicotera, Via Roma, Via R. Bosco, and Via S. Sofia (formerly a section of Via Canale), then diverging after 200 meters and joining northward to Via L. De Feo (formerly Via Cavone), westward at the crossroads of Corso Filangieri-Piazzetta Croce.
Vico Lungo starts at the intersection between Via S. Sofia, named after an ancient chapel existing there since the 15th century, and Via Cavottole. After a scenic route, it connects to Via R. Bosco.
Via Bonea is an ancient road that connects the center of Vico to the village of Bonea, from which it takes its name. It starts from Via Nicotera and, crossing Via R. Bosco for some stretches, reaches Bonea, where it branches into Via S. Andrea and Via Avigliano, which reaches the said location during its course. Beyond R. Bosco, it intersects with Via Nardiello, Via Madonnelle, Via Laudano, Via Satrulo, and Vico Buono.
Ancient panoramic pedestrian path to reach the Marina of Vico Equense.
Pedestrian path to reach the Marina of Aequa – Seiano.
