The Theatre in Taormina is the second-largest in Sicily after the one in Siracusa. All the Romans did later, in accordance with their well-known ostentatious nature, was enlarge the theatre as it was very small. And it apparently took decades to build. It is fifty metres wide, one hundred and twenty metres long and twenty metres high, which means that about 100,000 cubic metres of stone had to be removed.
Further evidence that the Theatre is of Greek origin is in the well-cut biocks of Taormina stone (similar to marble) below the scene of the Theatre; these are a typical example of the ancient Greek building technique.
The theatre is divided into three main sections: the scene, the orchestra and the cavea. The scene is opposite the cavea and is obviously where the actors used to perform.
There is now a large ten-metre long portion missing in the centre of the scene, supposedly caused by attacks during the wars. This serious damage to the theatre makes it nevertheless even more evocative due to the magnificent panorama (the bay of Naxos and Mount Etna) which can now be seen.
According to reconstructions by experts, the scene was decorated with two series of columns of the Corinthian order, recognizable due to the shape of the capitals and their acanthus leaf design; the acanthus is a wild Mediterranean plant. The orchestra of the theatre was the flat clearing in the centre which separated the scene from the cavea. This area was for the musicians, but the choruses and dancers also performed there. The word "orchestra", nowadays meaning a musical band, comes from this part of the Greek theatre. The cavea on the other hand is the series of steps, from the lowest to the highest ones at the top, where the spectators were seated. The first and last semicircular steps were 62 and 147.34 metres long respectively. The steps were carved out of the rock and, in places where there was none, they were built in masonry. The cavea was divided into five areas called "diazòmata" by the Greeks and "praecinctiones" by the Romans, both meaning enclosed zones. And these were where the audience used to sit. The theatre is thought to have been able to seat about 5,400 spectators.
No one is sure of when the Theatre was actually erected. Those who believe it was built by the Greeks say it must have been around the middle of the third century B.C., when Hiero was the tyrant of Siracusa. But due to the theatre's structural characteristics, some say it was erected by Roman engineers to be used exclusively by the Greeks. This wouid explain all the Greek inscriptions inside the theatre.
Nowadays the ancient Theatre is still one of Taormina's main attractions. As it is still practicable, the theatre seated the audiences of the most important Italian cinematographic event, the "David di Donatello" award, for many years; now an international festival entitled "Taormina Art", lasting the whole summer period, is held there with cinema, theatre, ballet and symphonic music reviews.

The Antiquarium is a small archeological museum on show in two rooms of the Antique Theatre guardian's house, once called the House of the Englishmen because it was supposedly inhabited by English families during the first days of tourism in Taormina. Few archeological specimens remain in this house-museum since most of them are now in Naples, Messina and Siracusa.
One of the most interesting things is a large square block of Taormina marble, formerly the base of a statue. On the front of this base an inscription reads "The Tauromenitani (the Taormina people) dedicate this statue to Olympio, winner of the horse race in the games at Olympia", evidence that Taormina had a winner at the Oiympic Games. This statue base was found in 1770 while extension work was being carried out in the "S.Maria del Valverde" monastery, which is now a Carabineri post.
Another statue base in Taormina marble, according to the inscription on it, was dedicated to Caius Claudius Marcellus, Propraetor of Sicily in the year 77 B.C. A 1.75 metre pillar in Taormina marble, discovered in 1864, is called the "Tavola degli Strateghi" (Table of the Strategists), a slab engraved with the names of the strategists, who were not soldiers but those in charge of administering justice in Taormina.
Another pillar is the "Tavola dei Ginnasiarchi" (Table of the Gymnasiarchs), magistrates in charge of the Gymnasium where the young men were educated psychologically and physically. There is also an interesting small oval sarcophagus in marble, probably made for a child. lt is sculpted externally in high-relief with Baccanal scenes involving children. The sarcophagus was discovered in 1839 in the gardens of what was then a Franciscan Friary, now a nursing home run by the Franciscan Missionaries of Mary.
Some stone biocks can also be seen, the top surfaces of which are lapped and engraved with financial statements of the Polis. These were found in 1833 at the base of the Greek-Roman Theatre. Therefore in Taormina, as in Rome and Athens, documents related to the political, civil and financial system of the city were conserved "for eternity" as they were engraved on stone.

There are no doubts as to the origins of the Odeon, or "small theatre". It was built directly by the Romans when Taormina became a military colony in the year 21 B.C. under Caesar Augustus Octavian, the first Roman emperor. Much smaller than the other theatre, it is evidence of how important culture was to Taormina in those days.The small theatre is just behind a hill named after St. Catherine of Alexandria in Egypt, near Palazzo Corvaja (Corvaja Mansion). lt was found accidentally on June 5th 1892 and until that moment no one had even suspected it existed.
The story of its discovery is an unusual one. A blacksmith named Antonio Bambara was digging in his land behind St. Catherine's Church when his pick uncovered a red brick construction. A year later the real excavations began and the Odeon appeared, badly damaged in various sections.
The architecture of the Roman Odeon is almost identical to that of the larger theatre. The monument is oriented differently. In fact the Greek-Roman Theatre faces the south while the small Odeon faces north-east. lt was built with lateritious material, in other words with large clay bricks joined together with lime.
The Odeon has the same construction plan as all other Roman theatres and is divided into three main sections: the scene, the orchestra and the cavea. The scene of the Odeon consisted of the stylobate (base) and the peristyle (colonnade) of a Greek temple, some say dedicated to Aphrodite, which was discovered during the excavations on the Odeon.
Apart from theatrical performances, this small Odeon, built right in the centre of the Polis, is thought to have been used for musical recitals and auditions reserved to magistrates, important civil, military and religious people and their families as well as to guests of consequence.

The palace's square structure, massiveness, position and battlemented walls make it look like a fortress, therefore making people think that the initial constructor was a Norman.
This 13th century palace, situated near Porta Catania (Catania Gate), has a beautiful garden in front of its main facades facing east and north and was the home of the De Spuches, a noble family of Spanish origin, who were Dukes of S. Stefano di Brifa and Princes of Galati, two towns on the Jonian coast in the Messina area.
Palazzo Duca di S. Stefano is surely one of the masterpieces of Sicilian Gothic art, in which the elements of Arabian and Norman art merge. Arabian reminiscences are aroused by the decoration on the top part of the palace: a wide frieze runs along the east and north facades formed by a wavy decoration in lavic stone alternated with rhombus-shaped inlays in white Siracusa stone, together forming a magnificent lace of marquetry. Norman art instead is recalled by its square tower-like plan and by what remains of the swallow-tailed merlons on the top of the building.
The Palace is made up of three square overlapping sections. The entrance to the ground floor is an ogival arch constructed with squared biocks of black basalt (lavic stone) and white granite (Taormina stone). The first floor was reached by means of drawbridges and moving staircases through the small door which can still today be seen between the two mullioned windows on the first floor. An internal staircase, made entirely of wood, was reproduced when the building was restored. On the second floor there are four beautiful windows indisputably in Gothic style, two facing east and two facing north, the noble prospects of the palace. The four mullioned windows have an elaborate structure with rosettes and small trilobe arches as well as triple cordons framing the ogival arches. A column of pink granite stands in the middle of the ground floor and is thought to have once been in the Greek Theatre. In the gardens overlooked by the noble facades there is a well for the collection of rain-water (a puteal) which was the water supply for the whole palace.
The municipality of Taormina only gained possession of Palazzo Duca di S. Stefano in 1964 when it was bought for 64 million lire from Vincenzo De Spuches, a young descendant of the De Spuches family, who lived in Palermo. Some say that before the year 1400 the Palace had been the city residence of the Prince of Castel Mola.
Palazzo Duca di S. Stefano today houses the Mazzullo Foundation, run by a clever sculptor who has succeeded in turning tradition into modernness. Many of his sculptures are on show in the palace.

The church consecrated to the Patron of Taormina, St. Pancras, Bishop and martyr, was built on the ruins of a Greek temple dedicated to Jupiter Serapis. Parts of the temple's cell can still be seen in the southern wall of the church. This church is in Barocco style and dates back to the second part of the 16th century.
Its main portal is very interesting with jambs and architraves in Taormina stone; two Ionian columns decorate each side of the portal. Inside the church the intermediate floor with the organ can be seen above this portal. Two interesting oil paintings on canvas hang above the two minor altars on the right of the church, one picturing the torture of St. Nicone and the other the consecration of Si. Maximus who was St. Pancras' successor. Between the other two minor altars on the left of the church there is a fresco picturing Teofano Cerameo, Taormina's last Bishop during the 11th century. A low railing in wrought iron separates the rest of the church from the main altar which is lavishly decorated with polichrome marble slabs and an Ionian column on each side, like those on the external portal. There are eight angels on the altar, four on each side, and a bust of God giving his blessing. A fresco picturing the torture of St. Pancras can be seen on the right of the main altar.

The clock-tower acts as an entrance gate to the part of the city that historians call "the 15th century area".
Dating back to the 12th century, the tower was razed to the ground during a French invasion under Louis XIV in 1676.
What can be admired today is a reconstruction by the people of Taormina in 1679, who added a large clock to the tower Studies carried out over the years, however, have shown that the foundations of the tower in large square biocks of Taormina stone date back further than the first construction date of the tower. It can therefore be supposed that the first tower was built on the ruins of an older defence wall which would have dated back to the origins of the city, in other words the 4th century B.C.

The fortress cathedral, which is what Taormina's main cathedral is considered, was built around the year 1400 on the ruins of a small mediaeval church.
The cathedral has a Latin-cross plan with three aisles; there are six minor altars in the two side aisles. The nave is held up by six monolithic columns, three on each side, in pink Taormina marble and their capitals have a foil and fish-scale decoration. The ceiling of the nave has wooden beams supported by carved corbels reproducing Arabian scenes with a Gothic air.
The very interesting main portal was rebuilt in 1636 and has a large Renaissance-inspired rosette sculpted on it.

This Barocco style fountain, built in 1635, is in Taormina marble with three concentric steps as its base. On each of the fountain's four sides there are some small columns supporting basins; mythological ponies overlook the basins and fountain water flows out of their mouths. The eastern base of this large fountain contains a fourth basin, larger than the others but no longer used since it was a watering-place for animals. There is a smaller octagonal basin in the middie of the fountain base with four putti resting on it; on the east side, two of these putti hold two smaller putti each, forming the base of an octagonal basin decorated with three seals showing their heads and tails.
Three mythological characters resembling Tritons stands in the middle of this latter basin with their arms crossed over their heads so as to support another basin decorated in low-relief; a round base inside this basin holds a basket of fruit on the top of which stands Taormina's coat-of-arms. The city's coat-of-arms normally pictures a male centaur but in this case it was turned into a female centaur and a two-footed one at that.

The Arabian dominion in Sicily lasted from the 9th to the 11th century and the Moslems remained in Taormina in particular from the year 902 to 1079. During the 1lth century the Arabs reinforced the city's defences by building, among other things, a tower which is really the main part of today's Palazzo Corvaja. The cubic tower reminded the Arabs of their sacred "Al Ka 'bah" which, according to Mahomet, was the first tempie erected to God by Abraham at the Mecca.
The lower was extended at the end of the 13th century with the addition of the area which is on the left of the entrance portal. Together with this new wing, a staircase was built leading from the courtyard to the first floor. And on the landing there are three magnificent panels in Siracusa stone scuplted in high-relief: the first one pictures the creation of Eve; the second panel, the originai sin; and the third is of the expulsion of Adam and Eve from Paradise.
The right wing of the building was constructed at the beginning of the 1400s in order to house the meetings of the Sicilian Parliament which were held, the first in 1411, in the large 15th century hall in the presence of Queen Bianca of Navarra, regent of the Kingdom of Sicily. And for this same reason Palazzo Corvaja is also called Parliament House or the Palace of Queen Bianca of Navarra.
In any case the mansion is named after the Corvaja family, one of the oldest and most noble families in Taormina. The men of the family have been renowned in the administration of the city as well as in arts and magistrature.
Palazzo Corvaja was in a pitiful state of total neglect with several families living there at the one time until the end of the Second World War in 1945. That same year the first mayor of Taormina had the building dispossessed and Armando Dillon, a Neopolitan architect, restored it all from 1945 until 1948. In 1960 Palazzo Corvaja was enlarged and the new wing now houses the offices of the "Azienda Autonoma Soggiorno e Turismo", an independant tourism firm.
Near the Odeon, just a few steps away from the Zecca, near the old entrance to the Naumachiae and not far from the Greek-Roman Theatre, Palazzo Corvaja is certainly one of Taormina's historical landmarks.
As regards the architectural style of the building, it is a mixture of styles due to the different eras during which il was built and extended. Its styles go from Arabian to Norman to Gothic. The battlements of the tower are Arabian and are formed by a double row of square holes surmounted by small merlons. The mullioned windows of the 14th century hall are Gothic. This type of window in Gothic architecture is divided by a small column so as to create two entrances for the light. The 15th century hall, where the Sicilian Parliament meetings were held, is all in Norman style.

This Dominican monastery, now the San Domenico Hotel, was the third monastery in Taormina. Its origins and history are related to Damiano Rosso, a Dominican friar who was a descendant of the Altavilla family and Prince of Cerami; after becoming a friar he donated all he owned to the Dominican order in 1430. His antique mansion was therefore turned into Taormina's Dominican monastery.
The "San Domenico" was the first or perhaps the only castle existing in Taormina during the middle ages. Some centuries later the estate was given back to Damiano Rosso's heirs who turned it into a hotel. The only part of the former monastery to remain open to worship was the chapel which, however, was destroyed by bombings on July 9, 1943.
The congress hall of the hotel was built on the ruins of the chapel, conserving the remains of the minor altars. The bombings did not damage the rest of the hotel nor the 50 cells which were later turned into luxurious hotel-rooms.
The beautiful cloister and magnificent park, which overlook the sea and have a view of Mount Etna, are the most charming parts of the hotel; a second wing, added to the hotel in the 193Os, harmoniously reflects the architectural style of the rest of the building with many authentic art treasures as well as sacred vestments and vessels and paintings by well-known artists.

Just a few hundred metres away from the city's northern gate, along the road that from Capo Taormina leads up to the centre of the city, the Arabian necropolis, even though it is defined as Byzantine by many, is rare evidence of the "daily" aspects of that period. It is thought to have been created during the 1Oth and 11th centuries and is defined as a columbary necropolis due to the fact that the cells are symmetrical and situated one on top of the other.
What can be seen today are the remains of a much larger construction which went on towards the north-eastern part of the city centre between the current necropolis site and the lower Church of St. Peter outside the city walls.

As in the case of Palazzo Duca di S. Stefano, Badia Vecchia was purchased by the Municipality of Taormina in 1960 for 12 million lire. It was at first restored but then abbandoned once again and left to the mercy of vandals.
Armando Dillon, a Neopolitan architect, is of the opinion that this building was called Badia Vecchia due to the fact that it was at one stage the home of Mother Abbess Euphemia, who was a regent of the Kingdom of Sicily from 1355 in the name of her younger brother Frederic IV, known as "the Simple". But this is only a theory, even though it is a suggestive one.
It does seem, however, that the mansion is called Badia Vecchia because it once was an abbey. This theory is based on the discovery of a sacred painting at the bottom of a rain-water well and it seems that the painting was hidden there so as to save it from one of the many invasions on Taormina. And all the niches inside were then thought to be niches for icons and not just simple storage spaces. The Gothic architecture of Badia Vecchia is very similar to that of Palazzo Duca di S. Stefano. It therefore follows that the two buildings are of the same period, in other words, the late 130Os.
The Gothic style of this building too is therefore influenced by Arabian and Norman art. Badia Vecchia is formed by three rooms having the same surface area. A frieze of inlaid lavic stone and white Siracusa stone decorates the building, marking the dividing line between the first and second floors. Three magnificent mullioned windows rest on the frieze one beside the other so that they resemble a single window with six openings. The ogival arches decorating the side windows have a single rosette while the ogival-arched central window has three. The top of all the facades of Badia Vecchia is decorated with swallow-tailed merlons, making it resemble a fortress-iike tower.
Badia Vecchia, like Palazzo Duca di S. Stefano, was built as a stronghold along the boundary walls, the former to protect the northern part of the city and the latter the southern part..