The Valley of the Temples of Agrigento And La Villa Romana del Casale di Piazza Armerina: A Day Trip Not to Miss

One of the most memorable things I did on my recent trip to Sicily was an extraordinary journey through the island’s rich history on an excursion to two of its most iconic treasures. In fact, a day trip to the Valley of the Temples in Agrigento and La Villa Romana del Casale in Piazza Armerina perfectly blends Greek grandeur and Roman elegance.

So, step back in time to ancient Greece as you wander through the valley that’s home to some of the most well-preserved Doric temples in the world. Set against a stunning backdrop of rolling hills and olive groves, it’s a feast for the eyes and the spirit. Eventually, immerse yourself in the luxurious world of Roman aristocracy by exploring the opulent Roman villa, famed for its astonishing mosaics. From the colorful Bikini Girls to the intricate Hunting Scenes, in this mansion, every room is a masterpiece brimming with vivid storytelling and unparalleled artistry.

Witnesses of the Past

Sicily is the largest island in the Mediterranean and its central location has shaped its eventful history. Various conquerors repeatedly took possession of the island and left their mark on its culture.

It was considered the main area of ​​Magna Graecia already from 241 BC. Then, from the 3rd century BC to the 5th century AD, it belonged to the Roman Empire.

Although in the Middle Ages, Arabs, Byzantines, and Normans added to the mix, in this post, I’m guiding you back into the two aforementioned cultural powerhouses of Antiquity. On a day trip to the Valley of the Temples and the Villa Romana, you’ll immerse yourself in the history, spirit, and beauty of the Greek and Roman eras.

The Valley of the Temples of Agrigento

My personal journey back in time began at Catania’s central station on a Sunday at 8 in the morning when I joined a small group to partake in an organized day trip. Maybe it was due to this early hour that our lot of four participants was almost disturbingly quiet as our driver chauffeured us across the island to the outskirts of Agrigento.

After he dropped us off at the eastern entrance to the archeological site, he handed us a badly copied explanation of what we were about to see and left us to our faith for about two hours.
Just a quick anticipation: If you are simply an interested visitor and not a passionate archeologist, around two hours has proven to be the perfect time frame for the visit.

Nevertheless, this area south of today’s city center of Agrigento is among the most impressive archaeological sites in Sicily. It was founded in the second wave of Greek colonization in the 1st century BC. It then developed into the second-most important Greek polis in Sicily after Syracuse. To this day, the magnificent Doric temples remain one of the most outstanding monuments of Greek art and culture. They bear witness to the size, power, and cultural heyday of the city at that time.

Rightfully, UNESCO declared the archaeological sites of Agrigento a World Heritage Site in 1997.

Tempio di Giunone – Temple of Juno

There are two entrance areas to the archeological site, and our driver dropped us off at the ticket booth next to the Tempio di Giunone. This way, we began our visit at the eastern end of the premises and headed west. Hence, I’m introducing the most significant remnants and excavations in that order. If you enter the park at the main gate, you have to read them in the opposite order.

Built around 450 BC, this temple, dedicated to Hera, sits on a high point with amazing panoramic views of the surrounding countryside. It consists of 30 standing columns, many of which retain their fluting. However, it clearly shows evidence of fire damage from the Carthaginian invasion in 406 BCE.

But wait a minute – the temple of Juno was dedicated to Hera? Yes, that’s correct since the ancient Roman goddess Juno, who was a protector and special counsellor of the state, was equated to the Greek goddess Hera. Hera was actually the queen of the gods in Greek mythology and a goddess of love and marriage.

Tempio della Concordia – Temple of Concordia

The Temple of Concordia from around 440 BC is the best-preserved Doric temple in the Valley and one of the finest in the Greek world. Its near-perfect condition is due to its conversion into a Christian church in the 6th century AD. This saved it from destruction.

In ancient Roman religion, Concordia, whose name obviously derives from the Latin term concord, is the goddess of unity in marriage and society. Its Greek equivalent is appropriately called Harmonia. Interestingly, it represents musical consonance as a metaphor for an ideal of social harmony or entente in political discourse.

Right behind the Temple of Concordia begins an area featuring early Christian and late Roman tombs carved into rocks. This necropolis was installed when the Valley was repurposed as a burial ground during the late Roman Empire.

Tempio di Ercole – Temple of Heracles

Constructed in the late 6th century BC, this temple was dedicated to Heracles. It is the oldest temple in the Valley. As earthquakes severely damaged the original temple, only eight columns remain standing. Actually, they were reconstructed in the 1920s.

Heracles, born as Alcaeus to  Zeus and Alcmene, was a divine hero in Greek mythology. He got his adopted, popular name in honor of the Greek goddess Hera. Heracles is the God of strength and heroes, the divine protector of mankind, and the patron of the gymnasium. In the Roman mythology, he is known as Hercules.

Tempio di Zeus Olimpio – Temple of Olympian Zeus

The construction of the Temple of Olympian Zeus began around 480 BC, but was never completed. Regardless, this colossal temple was one of the largest in the ancient Greek world. Its scale is evident from the ruins, including some massive stone atlantes. They are human-shaped columns, which once supported the structure. Therefore, make sure to see the reconstructed giant stone figure of Telamon as it gives you an idea of the temple’s immense size.

in ancient Greek religion and mythology, Zeus is the god of sky, thunder and lightning, but also of law and order. He rules as king of the gods on Mount Olympus. Obviously, he’s a member of the Twelve Olympians, and his equivalent in Roman mythology is Jupiter.

Tempio di Castore e Polluce – Temple of Castor and Pollux

The Tempio dei Dioscuri Castore e Polluce was constructed in the 5th century BC. Although only four columns of this temple remain standing, it is one of the most picturesque features at the archeological site. Those were reconstructed in the 19th century.

Castor and Pollux were twin half-brothers in Greek as well as in Roman mythology. Together, they are known as the Dioscuri. Their mother was Leda, however, they had different fathers. Castor was the mortal son of Tyndareus, the king of Sparta, while Pollux was the divine son of Zeus, who seduced Leda in the guise of a swan.

Santuario delle Divine Chtoniche – Sanctuary of the Chthonic Deities

Just behind the Tempio dei Dioscuri is a complex of altars and small buildings from the early 6th century BC. These are dedicated to the Chthonic deities. In Greek mythology, chthonic deities were gods or spirits who lived in the underworld or in or beneath the earth. The Chthonic deities stood in contrast to the so-called Olympian gods. The Olympian gods existed above the earth, particularly in the sky.

Typically they were associated with death, but also with fertility. After all, these gods also stood for agriculture, since planting and growing also takes place underground.

Therefore, this area is dedicated to deities associated with the underworld, like Demeter and Persephone. Demeter is the goddess of harvest and agriculture, presiding over crops, grains, food, and the earth’s fertility. Her daughter Persephone, also known as Kore, became the underworld queen after her abduction by her uncle Hades, the king of the underworld, who would later take her into marriage.
Man, those Greek gods tended to be a wild bunch!

However, the site contains altars and smaller ruins that illustrate the importance of fertility and agriculture in Greek religion.

There’s More

The Temple of Hephaestus is also worth mentioning. Although this temple from the 5th century B.C. is one of the least preserved temples in the valley, the structures offer insights into the original floor plan and architectural design of Greek temples.

In Greek mythology, Hephaestus is the god of fire, blacksmithing, and volcanoes. He is one of the twelve Olympian deities. Hephaestus stood for the entire spectrum of metal processing, including the production of jewelry, weapons, and sacred as well as profane everyday objects. He corresponds to Vulcanos in Roman mythology.

Outside the main ridge lies the Tempio di Esculapio in the old sacred area. This temple was dedicated to Asclepius, the god of medicine, and was a place of healing for pilgrims seeking divine help.

Last but not least, nestled in the Valley, you’ll also find the lush Kolymbethra garden. This fertile piece of land is a stunning contrast to the dusty trails and austere ruins as it features citrus groves, olive trees, and other Mediterranean flora, all nourished by ancient Greek irrigation systems.

Capra Girgentana – Girgentana Goat

I would definitely like to point out one notable feature creature of the area: the Girgentana goat. It is endemic to the area around Agrigento, but its original ancestry is unclear.

In contrast to most other domestic goat breeds, it has spiral-shaped horns that can reach a length of up to 80 centimeters!

After the number of animals declined sharply by the end of the 20th century, populations have recovered due to interest from zoos and agricultural biodiversity conservation organizations. Despite its beauty, the Girgentana goat is not just an adornment, but is used in environmental management to preserve the regional landscape.

Prepare’N’Plan Your Visit

The Valle dei Templi Agrigento is open to visitors every day from 9 a.m. to 7 p.m. for a general entrance fee of 17 €uros. Especially in summer, it is advisable to visit either in the early morning or late afternoon. This way, you avoid the largest crowds and you also get the best light for your pictures.

The entire trail is about two kilometers long. It can get extremely hot in summer and spots in the shade are very few. Therefore, make sure to put on sunscreen and wear a protective hat, preferably with a wide brim. Also, wear comfortable shoes as the site is large, and the terrain is uneven in some places. However, you don’t need hiking boots. Good sneakers or even hiking sandals will do. Also, make sure to bring plenty of water and possibly some light snacks like protein bars.

On the premises, you can either hire an official guide or rent an audio guide. This will improve your understanding of the temples’ history and significance. This being said, beware that you when picking up your audio guide, you need to leave an official document such as an ID or your driver’s license. This means that after crossing the site, you have to get back to where you started your tour. Commonly, drivers of organized tours drop visitors off at one entrance of the premises and meet them at the opposite one. Therefore, check with your driver if he can take you back to your starting point so you can pick up your document. Normally, those guys are pretty cool and do it without making a fuss. Yet, already out of respect, better ask beforehand.

La Villa Romana del Casale di Piazza Armerina

While the Valle dei Templi was pretty impressive, the Villa Romana that we visited in the afternoon definitely took the cake. I must say that I’m a huge admirer of mosaics from the Antiquity, hence, at this Roman villa, I found my Dorado.

The Villa Romana del Casale is located near the town of Piazza Armerina about halfway between Agrigento and Catania almost 100 kilometers from each of those cities. It is one of the most remarkable examples of a late Roman villa and a masterpiece of Roman architecture. With its intricate design featuring baths, private apartments, a basilica, and central courtyards, it also reflects the opulence and sophistication of Roman life.

The villa was built between the late 3rd and early 4th centuries AD, hence, during the height of the Roman Empire. It has probably been the luxurious country residence of a wealthy Roman aristocrat.

Yet, after the fall of the Roman Empire, also the villa fell into disuse. During the medieval era, soil and rubble from landslides covered the edifice. Ironically, this actually helped preserve its mosaics. After its rediscovery in the 19th century, systematic excavations began in the 20th century. In 1997, UNESCO designated the villa a World Heritage Site.

The Villa Romana del Casale is best known for its vast and intricate mosaic floors. Those are undoubtedly some of the finest surviving examples of Roman art. They are proof of exceptional craftsmanship and ingenious storytelling as they depict a wide range of themes, including mythological scenes, hunting expeditions, domestic life, and more. Therefore, at the Villa Romana del Casale, you are basically walking through an extraordinary storybook!

Entrance and Vestibule

Access to the property was via an arch of honor with three passages decorated with military paintings.

Marble columns with Ionic capitals surrounded the first, horseshoe-shaped courtyard. In the middle are still the remains of a square fountain. To the west of the courtyard, you can see the lower horse stable and a semicircular latrine.

Over a couple of steps, you reach the entrance to the vestibule. In the center of a geometrically patterned floor is a partially preserved arrival scene. Scientists have seen it as a celebratory greeting by the owner to those entering his home.
So, let’s go!

Thermal Baths

Directly from the entrance to the villa, you can reach a thermal bath complex. However, this part of the structure could also be visited by non-residents.

Another entrance was reserved for the residents of the villa from the western corner of the large peristyle.

This changing room is equipped with a bench built along the walls. The floor mosaic shows the mistress of the house with two children and two servants. Behind this lies the frigidarium. A frigidarium was one of the three main bath chambers of a Roman bath, literally the cold room.

Rectangular Peristyle

From the vestibule, you then enter the first peristyle surrounded by Corinthian columns that were characteristic of the 3rd century.

The floor mosaics show a plaited garland. In the centric fields, surrounded by circular laurel wreaths, are the heads of different animals such as wildcats, bulls, horses, deer, and wild asses.

Private Chambers in the Northern Wing

Along the northern side of that peristyle are rooms that used to serve various purposes. The first three rooms served as kitchens. Behind them, two more rooms belonged to the gentlemen’s adjacent apartment.

Interestingly, throughout the villa, the service rooms have floors with mosaics of geometric patterns. Obviously, in comparison to the complex and artful designs in the function rooms, those were deemed rather humble. Nevertheless, to me, they still look pretty amazing!

The following two rooms were probably bedrooms with corresponding anterooms. In one of the rooms, six pairs of people are depicted on the mosaic floor, facing each other. The second bedroom is decorated with a floor mosaic of fishing Erotes in richly decorated boats. In ancient Greek mythology, Erotes were winged gods associated with love and sexual intercourse, basically like cupids. 

The next room may have been a winter dining room. It is more spacious than the others and features the so-called Small Hunt floor mosaic.

Hunting, as depicted here, was clearly part of the householder’s daily life. The composition of the depiction is typical of late antiquity: the sacrificer and the helpers are depicted in frontal view, the branches of the trees are symmetrically located on both sides of the scene and a tent creates a space of honor for the main protagonist. Hunting scenes are typical of the entire western Mediterranean region, obviously.

Hallway of the Great Hunt

From the rear part of the peristyle, you reach the almost 66-meter-long Hallway of the Great Hunt. This corridor separated the public from the private part of the villa.

Contrary to its name, the floor mosaic does not show a hunting scene but a major animal capture for the games in Rome. In fact, none of the animals are killed, and the hunters only use their weapons for defense.

For the most part, the depiction of a hunt or an animal capture is an obvious theme for a lodge and part of the iconographic repertoire of aristocratic glorification. What makes the Piazza Armerina hunt unique, however, is the representation of real locations with people and animals typical of each region. This mosaic can therefore be almost read like a map.

While the first scene shows the capture of various animals in different provinces of Africa, the second one then depicts a harbor. Four men carry animals tied up or packed in crates on their shoulders. Research agrees that the harbor is Carthage.

In the third scene, you can see a piece of land between two seas. In the center, a group of people observe the unloading of animals. The country between the two seas is certainly Italy. The fourth scene shows animals being shipped to an eastern port since the hunters wear oriental-style trousers.

The fifth image depicts the capture of rhinos on the Nile while in the sixth part, wild animals fight in the upper part as below them, a person awaits the arrival of a box.

The seventh scene depicts the capture of a tiger in India and the final episode shows the capture of a griffin by using human bait.

The Basilica

At the rear of the Hallway of the Great Hunt is the entrance to a large hall with an apse, raised by four steps and flanked by two columns.

The public function of this auditorium, in which the owner probably held audiences and received visitors, is clearly demonstrated by the unique design of the floor with slabs of colored marble and porphyry.

Certain architectural attributes have led to hypothetical statements about the actual liturgical function of the so-called basilica and its associated rooms, similar to the audience ceremonies of the imperial court in late antiquity.

Private Chambers in the Eastern Wing

There are two stately suites along the Hallway of the Great Hunt on the side facing the basilica. One is smaller in size and also closer to the servants’ rooms. Hence, it probably belonged to the mistress of the house or the owner’s son. Since the other one is richly decorated, it probably belonged to the master himself.

The first room acts as an anteroom. The floor is decorated with the story of Odysseus outwitting Polyphemus when he hands him a goblet of wine. This is an indication of the owner’s cultural background and his ties to Rome.

A chamber adjoining the anteroom probably served as a dining room. On the walls are depictions of Erotes and on the floor is a geometric mosaic consisting of circles with allegories of the four seasons and fruit baskets.

Another room adjacent to the anteroom shows stylized stars and allegories of the seasons surrounding a medallion depicting a loving couple. The pretty daring lovers are Adonis and Aphrodite.

Private Chambers in the Southern Wing

These rooms lead back to the Hallway of the Great Hunt through a horseshoe-shaped peristyle. The floor mosaic shows a vivid harbor scene.

In the rear part of the peristyle is a large room with an apse. This was probably the owner’s library. The mosaic floor shows the poet Arion of Lesbos, who attracts sea creatures, tritons, and nereids with his singing. In the apse, you can see the head of Oceanus, surrounded by an amazing variety of fish. The helmet-like hair decoration of the Nereids indicates the time when the mosaic was created. It bears a strong resemblance to depictions of Empresses of the Constantinian dynasty seen on ancient coins.

On the left, northern side of the horseshoe-shaped peristyle is a bedroom with a rectangular alcove and its anteroom. In the anteroom is a mosaic depicting the fight between Eros and Pan. On a table in the background are crowns, the prizes for the winner.

In the bedroom is a darling mosaic with children hunting.

On the opposite side are two rooms with similar layouts, hence, an anteroom and a bedroom with an alcove closed off by an apse. The so-called children’s circus mosaic covers the floor of the anteroom. Children are driving four carts pulled by humongous birds, competing against each other. This might be a unique allegory of the course of the four seasons.

Mosaic of the Bikini Girls

Now, let’s get to the most famous’n’fun mosaic of the entire villa.

Located on the floor of a small room which actually could have been a service room of some kind, a mosaic features several girls dressed in what look like ancient analogues to the modern bikinis. However, the bottoms are rather loincloths while the top part is a breastband. While in the Roman era, men generally exercised naked in the traditional Greek fashion, female public nudity was frowned upon. Therefore, women who engaged in sports or otherwise had an active lifestyle wore this kind of cover-up. This ancient bikini allowed ladies to exercise in comfort without causing offense.

Contrary to popular opinion, women in the Roman Empire did engage in sports, though there were some restrictions. For example, they were not allowed to compete with men.

At the extreme left of the bottom register, a woman wrapped in a transparent yellow dress holds a rose crown and a palm frond. These were prizes for the winners of the athletic competitions, obviously.

The girl in the center has received a palm frond and is putting a victor’s crown on her head.

Hall of Arion

Two columns flanking the entrance as well as a fountain in the center of the room emphasize the significance of the Hall of Arion. It might have served as a music room or a library.

More than 50 different animals, including a mythological phoenix, surround the poet Orpheus at the center of the mosaic. In fact, there is a close conceptual connection between the scene of Arion and that of Orpheus as both show the mastery of the forces of nature through poetry and music. This theme is also addressed in the depiction of Odysseus’ victory over Polyphemus through cunning in the vestibule of the northern apartment.

Prepare’N’Plan Your Visit

The Villa Romana del Casale is open to visitors every day from 9 a.m. to 5 p.m. for a general entrance fee of 14 €uros.

The best time to visit the villa is in early spring and late autumn when Sicily’s tourist season is basically over. I was there in November, and in the entire complex was maybe a dozen visitors. During the high season, on the other hand, large crowds of people push along the barriers, which significantly reduces the enjoyment of the art.

Keep in mind that although the premises are far smaller than the archeological site of Agrigento, you’ll still have to walk quite a bit and also climb stairs. Therefore, wear comfortable shoes as the site is large, and the terrain is uneven in some places. However, comfortable sneakers or even hiking sandals will do.

On the premises, you can either hire an official guide or rent an audio guide. This will provide context and stories behind the mosaics, thus improve your understanding and appreciation.

Practical Information

How to Get There

As in Sicily trains connect only bigger cities, travelling by overland bus is far more popular. In contrast to trains, buses serve also smaller towns and villages and are said to be more reliable.

If you are going to Agrigento by bus from Palermo, Autoservizi Cuffaro is your best bet since they are going four times a day back and forth. The trip takes a bit over two hours as does the train ride. During the high season, there’s a shuttle bus taking you from downtown Agrigento to the archeological site. However, you can also get there by cab or even by walking in only a bit over 20 minutes.

The trip is a bit longer coming from Catania. Yet, the bus company SAIS has hourly connections that you can check out on their website where you can also buy the ticket.

Note that there is no direct connection from Agrigento to Piazza Armerina let alone the Villa Romana. You always have to leave either at Palermo or at Catania, hence, coming from Agrigento, you first have to go back to one of these places. Here, too, you can check SAIS’ website for schedules and tickets.

My Tip

Since the bus system in Sicily is quite good, it is heavily used by both locals and visitors. This can be a problem on popular routes, especially in high season. Because if all the seats on a bus are occupied, the driver will no longer take any other passengers. For safety reasons, you are not allowed to stand.

So I strongly advise you to buy your tickets online as soon as possible. At the bus station, those who already have a ticket will be allowed onto the bus first, obviously. Any possibly remaining seats will then be sold to the others waiting.

In extreme cases, I would be more inclined to buy a ticket as a precaution and let it expire if necessary, rather than being stuck somewhere because of a few €uros.

Vising Organized

Although the regional bus system in Sicily is not bad at all, it takes time to get to the Valley of the Temples of Agrigento as well as La Villa Romana del Casale di Piazza Armerina. If you are a slow traveler and can plan an additional overnight stay, it is obviously possible to explore those sites exclusively by public bus.

However, if you want to visit them in one single day just as I did, you might want to join an organized day trip for instance from Palermo or Catania*:

Where to Stay

If you can afford slow travel and want to immerse yourself more in the local culture and pace of life, spending the night in Agrigento as well as in Piazza Armerina is a great option.

Here are some suggestions on where to find suitable lodging options close to the archeological sites*:

The Valley of the Temples of Agrigento and La Villa Romana del Casale di Piazza Armerina were just two of many overwhelmingly beautiful places I visited during my trip to Sicily. To read about the others, go to this post and take your pick!

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