The Basilica of Our Lady of Collemaggio, situated just outside the historic centre of L'Aquila, is one of the finest examples of medieval church architecture in Abruzzo, and is a symbolic landmark of the city. Construction began in 1288, by the Benedictine hermit Pietro da Morrone, who would later become Pope Celestine V. The papal coronation took place in this very church, on 29 August 1294. The location chosen to build the basilica was itself significant: the hillside was once home to an ancient fortified settlement and a small church dedicated to Our Lady of the Assumption. According to tradition, it was here that Pietro da Morrone had a vision of the Virgin Mary, who is said to have asked him to build a sanctuary in her name. Stylistically, the building is the result of a harmonious fusion of Romanesque, Gothic and Baroque elements, the product of centuries of alterations and restorations. The two-tone façade built from pink and white stone is one of the most characteristic aspects of the design, which is enhanced by three rose windows, with the central one particularly ornate. The interior is divided into two aisles and a nave, supported by octagonal pillars and pointed arches, and is decorated with frescoes narrating episodes from the life of Celestine V and depicting the Virgin and Saints. An element of great spiritual importance is the Holy Door on the left side of the basilica. The door is closely linked to the Celestinian Plenary Indulgence, the first Jubilee of Christianity, instituted by Celestine V with the Bull of Pardon. On 28th and 29th August each year, thousands of pilgrims pass through this door to obtain forgiveness, in a rite that UNESCO has recognised as Intangible Cultural Heritage of Humanity. Inside the basilica there is also the mausoleum of Celestine V, built in 1517 by Girolamo da Vicenza, an artist who worked with Andrea Palladio. The tomb, located in the right apse, is one of the most visited spots in the complex. Throughout its history, the basilica has suffered damage from earthquakes, particularly the one in 2009, which necessitated lengthy restoration and consolidation work, completed in 2017. In 2020 the restoration project was awarded the European Union Cultural Heritage Prize, in recognition of the building's historical and artistic value.

The MAXXI in L'Aquila: a crossroads of contemporary cultures Never call it a branch: inaugurated on 3 June 2021, MAXXI L'Aquila is indeed the second headquarters of the National Museum of 21st Century Arts in Rome, but it is much more than a branch. The idea for the museum is very recent: it was born in 2014, after the Minister of Culture Dario Franceschini visited Palazzo Ardinghelli, which had been severely damaged by the earthquake of 6 April 2009. Following restoration and a series of works, this 18th-century building was adapted to house the new museum dedicated to21st-century art, architecture and photography. A symbol of renewal The Maxxi L'Aquila is located in Piazza Santa Maria in Paganica, in the historical centre, and stands as an important sign for the entire city that still bears the scars of the earthquake of 6 April 2009. The ambitious project aims to turn this museum hub into a crossroads of communication, encounters and collaboration between several contemporary expressive languages, and also between all those working in the art world, from galleries to foundations, from research institutes to other museums, so that all the leading organisations, both national and international, may have a voice. A meeting place, in short, modelled on the MAXXI in Rome, where visual arts, photography, architecture and performance art dialogue with each other. Palazzo Ardinghelli: a National Monument The halls of MAXXI L'Aquila alone are worth a visit. Palazzo Ardinghelli, in fact, was among the first historical buildings in the city to be built after the 1703 earthquake, thanks to the family whose name it still bears today. Erected on a palace of Renaissance origin and completed in 1743, today it has a late Baroque facade due to later reconstructions: it was only finished in 1955 and makes the building one of the finest examples of L'Aquila Baroque. The element that characterises the architecture, together with the façade, is the courtyard, from which a monumental staircase of Borrominian derivation originates, frescoed by the Venetian Vincenzo Damini in 1749. The inner courtyard, which runs through the building between Piazza Santa Maria in Paganica and Via Giuseppe Garibaldi, makes the museum a public space available to the city. In 1902, the Palace was declared a National Monument. In front stands the church of Santa Maria Paganica, which gives its name to the square of the same name. A museum in flux MAXXI L'Aquila, at least for the moment, does not have a permanent collection, but is often the venue for workshops, talks, in-depth activities and educational projects that allow for a continuous and lively exchange with the local area, but also with anyone who happens to visit it. A real museum in the making, where nothing is static but the result of constant, ongoing interactions between artists and visitors. If you are passing through L'Aquila, make sure to drop in: at any time of year you will find something worth seeing. MAXXI L'Aquila is open on Thursdays from 16:00 to 20:00 and from Friday to Sunday from 11:00 to 19:00. Keep an eye on the official website to check out special openings and events not to be missed. Find out more https://maxxilaquila.art

MuNDA - Museo Nazionale d'Abruzzo dell'Aquila, originally located in the evocative Forte Spagnolo, is an unmissable destination for art and history enthusiasts. Opened in 1951, the museum houses a rich and varied collection spanning from the medieval era to the 18th century. Due to the 2009 earthquake, the museum has temporarily moved to the city's former slaughterhouse, just a stone's throw from the cathedral. The archaeological section, rich in Roman, Etruscan and medieval finds, offers a fascinating overview of the ancient history of Abruzzo. Among the works on display are masterpieces of wooden sculpture, frescoes and fine paintings that testify to the cultural and artistic vitality of Abruzzo. Of particular importance is the Beffi Triptych, a Gothic work from the Abruzzo school, and the wooden St Sebastian by Silvestro dell'Aquila, which highlight the importance of the region's artistic output. The last exhibition hall was refurbished in 2022 after new acquisitions, and is dedicated to the 19th century. Here you will find paintings, drawings and sculptures, including works by Pasquale Celommi, Teofilo Patini and Francesco Paolo Michetti . MUNDA is not only an exhibition venue, but also a centre for cultural research and promotion, committed to the conservation and recognition of Abruzzo's artistic heritage. Visiting MUNDA means immersing yourself in the rich and varied history that lives on, here in the heart of L'Aquila.

The Roman amphitheatre of Amiternum is one of the most significant archaeological complexes in inland Abruzzo. The monument is located near the town of San Vittorino in the municipality of L'Aquila, in an area that preserves important evidence of the Romanisation of ancient Sabina. Built in the 1st century AD, the amphitheatre was one of the main gathering places in the city of Amiternum. It was used for public spectacles, such as gladiator fights and battles with wild animals, or venationes. The location, peripheral to the Forum, is typical of Roman urban planning, which allowed wide open spaces for this type of structure, and easy access from outside the city. The structure had an elliptical plan with diameters of approximately 68 and 53 metres. The cavea, supported by 48 stone arches and originally arranged in two brick-clad tiers, could accommodate up to 6,000 spectators. The building's continuous outer corridor, part of the cavea and the monumental entrance to the arena, known as Porta Triumphalis and located on the main east–west axis, are still visible. It is likely that the amphitheatre was renovated in the century after it was built, but it gradually fell into disuse following the decline of Amiternum. Although some of the structures have remained visible over time, the whole complex was only brought to light with the archaeological excavations of 1880. Further consolidation and restoration works in 1996 have preserved this ancient structure, which is now an essential destination for anyone curious about the Roman history of the L'Aquila area.

Located in the historic part of the city of L'Aquila, about 600 metres from the Spanish Fortress (Forte Spagnolo), the Basilica of San Bernardino is reached via an elegant flight of steps. It was commissioned by the friar Giovanni da Capestrano with the aim of preserving and honouring the relics of Bernardino of Siena, a member of the Order of Friars Minor, who was canonised in 1450. The friars of the convent initially opposed the construction of the basilica; the works were nevertheless completed between 1454 and 1472. The building was damaged during the earthquake of 1703, but in 1946, thanks to Pope Pius XII, the church was elevated to the rank of Minor Basilica. A further severe earthquake, on 6 April 2009, damaged the altar and partially destroyed the bell tower. Both were reopened on 2 May 2015, following restoration works. Particularly noteworthy on the exterior is the limestone façade of the church, which remained unfinished and was completely redesigned in 1525 by the artist Nicola Filotesio, also known as "Cola dell'Amatrice". The architectural style of the Minor Basilica of San Bernardino follows the typical model of Abruzzese churches, divided into three horizontal levels, each articulated into three vertical sections by means of columns. The first level features three entrances; the second has two circular openings and a three-light window (trifora); while the third level is dominated by a rose window, flanked by the "Bernardinian trigram JHS" (an abbreviation of Jesus) and a sun with twelve rays. The interior of the basilica, laid out on a Latin cross plan, comprises three naves and an octagonal space covered by a dome. The second chapel on the right-hand nave houses a splendid terracotta altarpiece by Andrea della Robbia, nephew of the more famous Luca della Robbia. In the last chapel, visitors can admire the imposing marble funerary monument of Saint Bernardino, created by Silvestro di Giacomo da Sulmona (also known as Silvestro dell'Aquila) on commission from the prominent local merchant Jacopo di Notar Nanni. Upon leaving the basilica, visitors can observe the precious wooden ceiling with gold inlays and the majestic eighteenth-century organ, located near the main entrance.

Un posto che, chi passa da queste parti, non può di certo farsi sfuggire: a quasi 1000 metri di altitudine, il Lago di Barrea è il principale specchio d’acqua del Parco d’Abruzzo. I suoi circa 300 ettari di superficie sono circondati da salici, aree aperte che prima della diga erano coltivate e un bosco misto di cerri e pini neri. Le acque offrono un ambiente ideale per pesci come carpe, tinche, trote e persici, e fanno da scalo a uccelli migratori fra cui svassi, alzavole e folaghe. Nidificano, inoltre, su queste sponde aironi, germani, gallinelle d’acqua e martin pescatori. Il territorio di Barrea conta anche specie faunistiche rare come il cervo, l’orso marsicano, il lupo appenninico, la lince e la lontra. Il lago è, del resto, una zona umida d'importanza internazionale in base ai criteri fissati nella Convenzione firmata a Ramsar, in Iran, nel 1971: l’accordo tutela aree umide ben individuate e delimitate, ne invita allo studio, e incoraggia a mettere in atto programmi che permettano di conservarne gli habitat, la flora e la fauna. Ed è questo che a Barrea si fa.

Il più grande bacino lacustre artificiale dell’Abruzzo Istituita nel 1984 in un’area di 1.600 ettari, la Riserva naturale del Lago di Campotosto è un’area protetta situata in provincia dell’Aquila. L’area comprende il più vasto bacino lacustre artificiale della regione e ricade nel Parco Nazionale del Gran Sasso e Monti della Laga. La riserva costituisce un importante sito migratorio per molte specie animali, alcune delle quali in via di estinzione. Sulle rive del lago si trovano per esempio l’airone cinerino, il frullino, il beccaccino, il croccolone, simbolo dell'area protetta, e le più grandi colonie abruzzesi di moriglioni e fischioni. Trote e tinche sono invece le specie ittiche più presenti. Il lago è molto frequentato nella stagione estiva dagli amanti del footing e del trekking, ma anche della pesca sportiva, della canoa e del windsurf, mentre in inverno non è raro trovarlo parzialmente o completamente ghiacciato. Il lungolago, essendo pressoché pianeggiante e lungo oltre 40 chilometri, è meta ambita per il cicloturismo e la mountain bike. I dintorni della riserva presentano altri luoghi ambiti dagli sportivi come il valico delle Capannelle, meta di motoraduni di motociclismo, e le stazioni sciistico-sportive di Campo Imperatore e Prati di Tivo. Il lago è inoltre connesso agli itinerari turistici dell'Ippovia del Gran Sasso e della strada maestra del Parco.

Sulmona sorge nella Valle Peligna, disegnata dalla confluenza del Vella nel Gizio, al cospetto della Maiella. Il segno forte del suo territorio è la strada dell’Appennino, che dall’Aquila scende verso Roccaraso ed Isernia. Per conoscerla il consiglio è una passeggiata su corso Ovidio, dedicato al poeta latino che è il più illustre dei sulmonesi. Sul corso s’affacciano le chiese e i palazzi che danno l’immagine di una città dal passato illustre, fin dal Medioevo. Il monumento più rappresentativo è il complesso dell’Annunziata: la chiesa, settecentesca, e il palazzo, gotico-rinascimentale, in cui si trovano il Museo civico e del Costume. Antica è la tradizione dell’arte orafa, in particolare la lavorazione della filigrana, e la confetteria, che si esprime in composizioni decorative uniche nel loro genere. Pochi chilometri a nord della città sorge la Badia Morronese, complesso monastico fondato nel XIII secolo dal futuro papa Celestino V.

La Chiesa dei Pastori La sua facciata è semplice e squadrata, ma la sua storia è ricca. La Chiesa della Madonna del Suffragio è tra i luoghi di culto più particolari non solo di Castel del Monte ma di tutto l’Abruzzo. All’interno si presenta con una grande sala rettangolare a navata unica, arricchita con decorazioni in stucco in stile barocco. Colonnine eleganti sorreggono le statue che raffigurano la Fede e la Speranza, accanto all’altare maggiore in legno scolpito. Dal 1685, la Chiesa è la sede della Compagnia delle Anime del Suffragio, ma la sua storia si intreccia anche con quella dei mandriani della zona, tanto che l’edificio è noto anche come Chiesa dei Pastori. Qui, infatti, si riunivano i pastori transumanti, quando tornavano in paese. Ogni 2 luglio, portavano in processione la statua della Madonna del Suffragio fino alla Chiesa di San Marco, per poi riportarla indietro l’8 settembre. Qui i pastori celebravano anche le Quarant’ore, l’atto di purificazione e di richiesta di protezione alla Vergine prima della partenza per la transumanza verso la Puglia.