Multiple earthquakes and layers of succeeding populations mean the architectural legacy of those great ancients isn't as widespread as you'd think. Most of what you can see from Greco-Roman times is concentrated in an archeological park just northwest of the current city centre. The star sight here is the theatre, one of the largest in the Greek world.
Size doesn't make up for preservation, however, and if you've seen examples at places like Epidaurus or Dougga, this will be somewhat of a disappointment. There's little left of the orchestra or the architectural backdrop that would have been behind the stage, and in summer season it's covered with a modern infrastructure to allow use for the public to see the Greek classics here. More interesting to me were little surrounding points our guide called to our attention. Indentations in walls where commemorative plaques once rested. A natural spring cascading out of the rock at the theatre's top, said to then return underground and flow to the Fountain of Arethusa on the edge of Ortigia. Christian tombs hollowed out of the walls behind the top rows. Caper plants growing from cracks in the stone.
A dark ear and a crying virgin
Lower on the site you'll see the romantically overgrown remains of a Roman amphitheatre. Again, not particularly impressive if you've seen more complete examples in Rome, Verona or El Jem (Tunisia), but interesting as a reminder of how much bigger ancient Siricusa was than its modern counterpart. The most unique part of the site are the quarries, at the back of what's now a lovely tropical garden, But would have been a hellish stone valley filled with slaves. Workers started high and cut down, creating deep, towering gothic arch-shaped chambers into the rock. The Orecchio di Dionisio (Ear of Dionysus) is the largest, and a required stop on the tour of the ruins. Plunge into the darkness, gawp at the ancient chisel marks, marvel at the cacophonous echoes.Also impressive … but you might not notice without a guide to show you … is a giant altar to Zeus. Basically a long platform with steps on three sides on which they could sacrifice 50 or more cattle at a time. I've wandered a lot of ruins and this is the first of this size and presentation that I've seen.
Nearby, and unmissable by the way its modern, Space Mountain-style architecture looms over the rest of town, is the shrine of the Madonna delle Lacrime (Our Lady of Tears). The small plaster figure of the Virgin Mary that's said to weep and grant miracles may not do much for you, but it's worth a quick visit to note that Italians can do bold, modern architecture as well as restore old stuff. The tent-like cone above the main sanctuary is remarkable.
A five-minute drive through an unremarkable modern town, mostly new since heavy WW2 damage, and you arrive at the real glory of Siricusa: the island of Ortigia. Although you could easily miss the fact it's an island if you're not paying attention while walking. Without a very narrow bit of water, Ortigia would simply be a peninsula jutting out from the main part of town. Whatever you call the land mass, this is where you want to go.
Most of the architecture here is baroque, due to a major reconstruction effort after a 17th century earthquake. But architectural roots run deep. Head to the duomo and you'll find the ancient Greek temple of Athena hiding behind the curlicues, saints and swirling angels of the baroque facade. Look at the side of the building and, especially if you've just come from Agrigento, it will be obvious how those engaged Doric columns were once the exterior colonnade. Inside, it's even more clear as more modern artists didn't embellish that much. Remove a few walls and decorative bits, swap the crucifix for Pallas Athena, and you could jump back 2000 years.
Caravaggio, as intended
The piazza outside is beautiful, with an odd lozenge shape and several magnificent palace facades. The "must see" here for art lovers is the basilica of Saint Lucia at the end of the piazza, just 100 yards from the other church. Here, where legend says St. Lucy was martyred after refusing to worship pagan gods and to wed her pagan suitor, hangs one of the few Caravaggio altar pieces still placed as originally intended. It lacks the spotlit clarity of his best … though that may simply be the need for cleaning … but even an average Caravaggio is a breathtaking thing. And this has the added poignance of an emotional self portrait. Legend says he painted this soon after hearing of his mother's death. He was unable to return to mainland Italy due to a crime he'd committed, so couldn't attend the funeral. That's him just over the shoulder of the gravedigger in the forefront, unable to gaze at Lucy's body while everyone else looks on in reverence.
From there, you need a minimum of a couple of hours to wander about Ortigia, but you could easily spend a full day. Once you leave a handful of main roads and squares, tourists fall away and you're wandering peaceful, winding lanes overhung with intricate wrought iron balconies. Head to the edge of the island and walk along the coastal path for grand views of both architecture and the sea. Here, the whole place feels a lot like the coast in Malta … which is no surprise, given that island is just a quick hydrofoil ride away.
One of the most picturesque sights along the coast is the fountain of Arethusa, supposedly the outlet of that spring from the theatre, and the legendary place of refuge of the eponymous nymph who took shelter here when fleeing a suitor. Today it's a striking water feature filled with towering papyrus plants, overlooked by gelaterias. Elsewhere along the coast, if you have a guide to show you the spot, you can observe three holes drilled into the shallows where Archimedes supposedly anchored the claw machine that plucked Athens' attacking ships out of the harbour.
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