The Clock of Santa Maria di Nazareth Church
The Tree-Lined Corso Torino in Genoa
The Tree-Lined Corso Torino in Genoa.
Walking near Piazza Savonarola, in the Foce district, I found myself following the long row of trees lining Corso Torino. This tree-lined avenue is one of those urban views I enjoy observing during my photographic walks around Genoa. I particularly like the way the greenery blends into the surrounding architecture, adding a distinctive character to an otherwise everyday city street.
Corso Torino runs through one of the best-known areas of eastern Genoa. This is the Foce district, in Genoa, Liguria, Italy, an urban neighbourhood characterised by relatively wide streets, residential buildings and spaces shaped around everyday city life. The atmosphere here is quite different from the narrow lanes of the historic centre. Instead of the dense network of alleys and old buildings, the streets open up, offering longer perspectives in which trees and buildings share the same urban landscape.
I enjoy photographing places like this during my walks around the city, even when there is no famous monument or particularly remarkable building to capture. Sometimes the most ordinary details provide the most interesting photographic opportunities. In this case, I wanted to focus on the sequence of trees along Corso Torino. Their presence creates a visual rhythm along the avenue and makes this stretch of Genoa recognisable in its own way.
The area around Piazza Savonarola is an interesting place to observe this part of the city. The square forms part of the urban fabric of Foce, a neighbourhood where residential architecture, everyday businesses and greenery coexist. It is not a natural landscape, of course, but an urban environment in which trees play an important role. They soften the appearance of the street and help make the surrounding buildings feel less imposing.
There are also two small details in this photograph that deserve a closer look: the green newsstands along the avenue. They are modest structures, easy to overlook when walking past without paying attention, but they add a familiar touch to this part of Corso Torino. What caught my eye was the fact that they are still there, surviving the changes that have gradually transformed the city and the way people use its streets.
Traditional newsstands once played an important role in Italian neighbourhood life. They were places where people stopped to buy newspapers, magazines and other publications, often becoming familiar meeting points for residents. Their number and function have changed over time, partly because of the shift towards digital news and online reading. Those that remain are still a visible reminder of an older form of everyday street commerce.
I took this photograph myself during one of my walks through Genoa. I was not looking for a particular landmark or a famous architectural feature. I simply wanted to capture a familiar urban scene, paying attention to the relationship between the trees, the buildings and the small structures along the pavement. This is one of the aspects I appreciate most about urban photography: it encourages me to look more carefully at places that might otherwise become part of the background of everyday life.
If you are exploring Genoa and wondering what to see beyond the historic centre, the Foce district offers a different perspective on the city. Walking along Corso Torino, especially around Piazza Savonarola, gives you an opportunity to observe a more residential and everyday side of Genoa. It may not be one of the city’s most famous attractions, but it is precisely this ordinary character that makes the area interesting to photograph.
On Lucadea.com, I have also shared other photographs of Genoa, featuring historic streets, squares and less familiar corners of the city. Together, these images create a personal collection of urban impressions, showing that Genoa is not only about its best-known monuments and picturesque old town. Its identity can also be found in the avenues, neighbourhoods and small details encountered during an ordinary walk.
When you explore a city, do you prefer its tree-lined avenues and open streets, or do you find yourself more attracted to the narrow alleys of the historic centre? Add a comment or go to the bottom of the site to read what other visitors have written.
Photo taken with Canon EOS M100 camera and Canon EF-S 10-18 lens.
Here’s the exact spot where I took the photo:
Add one comment to this article or read here what other visitors have written.
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The Saint Ambrose Bronze Door of Milan Cathedral
The Saint Ambrose Bronze Door of Milan Cathedral.
During my visit to Milan Cathedral, one of the details that caught my attention most was one of its five monumental bronze doors. As I was leaving the Cathedral after the visit, I stopped to admire this particular entrance, dedicated to Saint Ambrose, the patron saint of Milan. Its sculpted panels depict episodes connected with the life and works of this important religious figure.
The door was created by Giannino Castiglioni, a Milanese sculptor who made a significant contribution to Italian sculpture in the twentieth century. The bronze panels form a visual narrative, with figures and scenes arranged across the surface. What might otherwise be simply an entrance becomes a work of art in its own right, telling a story through sculpted images.
Saint Ambrose occupies a special place in Milan’s history. He was bishop of the city in the fourth century and became one of the most influential figures in its religious and civic life. His legacy has remained closely connected with Milan’s identity, and he is still celebrated as the city’s patron saint. His feast day, on December 7, is an important date in the local calendar and remains a much-loved Milanese tradition.
Looking closely at the bronze door, it is easy to appreciate how an architectural element designed for everyday use can also become a remarkable artistic surface. Bronze allows the sculptor to create raised figures and intricate details, while the changing light produces contrasts between highlights and shadows. The reliefs seem to emerge from the metal, encouraging visitors to pause and follow the scenes one by one.
Milan Cathedral is best known for its imposing Gothic architecture, its countless statues, its spires and its extraordinary scale. Yet a visit to such an important monument is also an opportunity to discover details that can be just as fascinating as the overall structure. The monumental doors are part of this artistic heritage, and each one deserves attention for its decoration and subject.
What particularly impressed me was the meeting of history and sculpture. The story of Saint Ambrose, a figure so deeply associated with Milan, is presented through the artistic work of Giannino Castiglioni. The result belongs naturally to the setting of the Cathedral while offering visitors another way to appreciate its cultural and artistic richness.
The photograph I took preserves the memory of this detail, which I noticed towards the end of my visit. It is easy to focus on the immense scale of the building and overlook its individual elements, but taking a closer look reveals stories that are an essential part of the monument. This bronze door is a fine example of how art, faith and the history of a city can come together in a single architectural feature.
And what about you? When visiting a great cathedral, do you also take time to admire its doors and smaller artistic details? Add a comment or go to the bottom of the site to read what other visitors have written.
Photo taken with a Canon EOS M100 camera and Canon EF-M 11-22 lens.
To see all the photos I took on the roof and inside the Duomo click here:
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The Piacentiniano Center in Bergamo
The Piacentiniano Center in Bergamo.
Walking through the heart of Bergamo’s lower town, I found one of the most elegant and balanced urban spaces in modern Italian architecture. The Piacentiniano Center stands out for its symmetry, the use of stone, and that sense of order that invites you to slow down and observe.
In this shot, I tried to capture one of the most representative arcades, with columns perfectly framing the view toward the building in the background. The central perspective naturally guides the eye, while the person walking through the scene adds a sense of everyday life.
Bergamo, in Lombardy, Italy, is well known for its dual identity: the historic upper town and the more modern lower city. The Piacentiniano Center belongs to this second part and was designed in the early 20th century by architect Marcello Piacentini, creating a spacious and well-organized urban area.
A notable detail visible in the photo is the Latin inscription above the arch: “CIVIVM COMMODITATI VRBIS ORNAMENTO,” emphasizing that this space was designed for the comfort of citizens and the beautification of the city.
Photographing a place like this means capturing not only architecture but also how it is lived. The arcades host cafés and shops, people pass through, stop, and meet. It is a space designed for everyday life.
On the blog, I have shared other Italian locations where architecture and daily life come together, because these are the places that best express the true identity of a city.
This image makes me reflect on how the balance between aesthetics and function can create truly enjoyable spaces. Do you prefer historic old towns or more modern and rational architecture? Add a comment or go to the bottom of the site to read what other visitors have written.
Photos taken with Canon EOS RP and Canon RF 24-50 lens.
To see all the photos I took in Bergamo, click here:
The Basilica of Carignano, a Genoa Landmark
The Basilica of Carignano, a Genoa Landmark.
The Basilica of Santa Maria Assunta in Carignano is one of the largest and most recognisable churches in Genoa. Standing on Carignano Hill, in a commanding position overlooking the harbour and much of the city, this magnificent building is one of the most important landmarks in Genoa’s historical and artistic heritage. Its impressive scale, distinctive architecture and prominent setting make it a familiar feature of the city’s skyline, visible from many different viewpoints.
The history of the basilica is closely connected with the Sauli family, one of the most influential aristocratic families in the Republic of Genoa. It was the Sauli who commissioned the church during the second half of the sixteenth century, choosing an ambitious project intended to demonstrate their wealth, influence and prestige. Some historical interpretations also suggest that the undertaking may have been motivated by a desire to compete with the powerful Fieschi family, which had already established an important presence in the religious and political life of Genoa.
Construction began in 1552, based on a design by the architect Galeazzo Alessi, one of the leading figures of the Italian Renaissance. The project adopted a centralised layout inspired by the great architectural tradition of Renaissance churches. Its Greek-cross plan, large central dome and four bell towers at the corners give the building a remarkably distinctive appearance. The result is a monumental structure that stands out from many other churches in the city.
The basilica’s location is just as impressive as its architecture. Carignano occupies one of the hills surrounding Genoa’s historic centre, and the church seems almost to watch over the city from above. From nearby viewpoints, it is possible to admire the harbour, the rooftops of the old town and the hills rising behind the urban landscape. It is a place where architecture and scenery come together, offering a different perspective on Genoa from the narrow streets and waterfront areas for which the city is so famous.
The interior is equally worth exploring. Its spacious layout, balanced proportions and the natural light entering through the dome create a solemn and impressive atmosphere. The basilica also houses important works of art, including sculptures by Pierre Puget and Filippo Parodi. These works reflect the artistic richness of Genoa during the seventeenth century and the Baroque period, when the city was one of the most important cultural and commercial centres in the Mediterranean.
One interesting feature is the centralised design itself. This was an ambitious architectural choice for a church in Genoa during the sixteenth century. Its unusual layout and monumental dimensions make the Basilica of Carignano quite different from many other religious buildings in the city and help explain why it has become such an important symbol of the neighbourhood.
Today, the Basilica of Carignano remains deeply appreciated by the people of Genoa. It is more than a place of worship: it is part of the city’s landscape, history and collective memory. I find it fascinating to think about how much Genoa has changed over the centuries, while this magnificent church has remained on its hill, overlooking the harbour and accompanying the transformation of the surrounding neighbourhoods.
And what about you? Have you ever visited the Basilica of Carignano and admired Genoa from the hill on which it stands? Add a comment or go to the bottom of the site to read what other visitors have written.
Photos taken with a Canon EOS M100 camera and Canon EF-S 10-18 lens.
Grimaldi Street Seen from Chiavari’s Arcades
Grimaldi Street Seen from Chiavari’s Arcades.
Grimaldi Street, in the historic centre of Chiavari, is one of those little urban scenes I enjoy discovering whenever I walk through the town. I took this photograph from beneath the arcades, while strolling along Vittorio Veneto Street and coming across the entrance to this characteristic street. I wanted to capture the view as nicely as possible, making use of the arches in the foreground and the light coming from the open street beyond.
Although I live in Sestri Levante, a nearby town, I always enjoy returning to Chiavari with my camera. Its historic centre offers countless photographic opportunities, and almost every walk reveals something worth stopping for. It is a wonderful place for urban photography, with arcades, historic buildings, narrow lanes, squares and views that change depending on the time of day and the light.
The arcades are probably among the most distinctive features of Chiavari’s old town. They run along many of its main streets, creating sheltered walkways that are pleasant to explore in every season. Walking beneath the arches, you come across shops, residential entrances, cafés and architectural details that can easily go unnoticed when you are in a hurry. Sometimes all it takes is a short pause and a glance down a side street to discover an interesting composition.
That is exactly what happened when I found this view of Grimaldi Street. I was standing beneath the arcades of Vittorio Veneto Street, looking towards the entrance to this street in the historic centre. The sequence of arches creates a natural frame, almost like a window through which to observe the town. I particularly enjoy this kind of photographic composition: the arcade in the foreground guides the eye towards the street and adds depth to the image, while the surrounding building façades complete the scene.
Chiavari’s historic centre is a lovely place to explore on foot. Its traditional urban layout has many of the features typical of Ligurian towns, with relatively narrow streets, closely spaced buildings and a network of arcades that gives the town centre its distinctive appearance. As you walk around, you move between open spaces and more intimate passages, from bright squares to shaded streets. This variety offers plenty of opportunities for anyone who enjoys looking carefully at the details of a place.
The arcades are not simply decorative. They also serve a practical purpose, offering shelter from rain and sunshine and making it easier to walk between the shops and businesses in the town centre. Over the centuries, they have become an essential part of Chiavari’s urban identity and one of the architectural features that distinguish it from many other towns along the Ligurian Riviera.
Whenever I photograph Chiavari, I like to think that there is at least one photograph waiting to be taken beneath every arch. Of course, I will probably never manage to photograph them all, but every visit brings a different detail, a particular quality of light or a composition I had not noticed before. Even an ordinary corner like this one can become a lovely photograph when you take the time to look at it properly.
And what about you? Do you know Chiavari’s historic centre? Do you enjoy photographing its arcades and the many little views hidden between one arch and the next? Add a comment or go to the bottom of the site to read what other visitors have written.
Photo taken with Canon EOS M100 camera and Canon EF-S 10-18 lens.
Here’s exactly where I took the photo:
Dante Avenue and Its Old Maritime Pines
Dante Avenue and Its Old Maritime Pines.
Dante Avenue is one of the streets in Sestri Levante, on the Ligurian Riviera, where a distinctive feature of the town’s past can still be seen: its old maritime pine trees. These trees line the avenue and give it a character that I particularly enjoy. They were originally planted alongside the former Fit factory buildings, and although the urban landscape has changed over time, the pines have remained an important part of this corner of the town.
Sestri Levante is well known for its beautiful coastal scenery. The Bay of Silence, the Bay of Fables and the seafront are among the places that visitors most often photograph. However, I have always felt that the less famous streets deserve attention too. They are part of everyday life in the town, and sometimes they preserve details that tell us just as much about its identity as its best-known landmarks.
What makes Dante Avenue special to me is the presence of these mature maritime pines. Their distinctive trunks, textured bark and broad crowns create a pleasant green setting along the street. They are not just decorative trees: they help define the appearance and atmosphere of the avenue. In an urban environment that is constantly changing, mature trees provide a sense of continuity and a visible connection with earlier times.
The pines were planted beside the buildings of the former Fit factory. Those industrial buildings belonged to a different period in Sestri Levante’s history, when manufacturing and local employment helped shape the town and its neighbourhoods. Over the years, industrial spaces can change their purpose, be redeveloped or disappear altogether. Trees, when they are preserved, can remain as living reminders of the landscape that once surrounded them.
This is one of the reasons why I enjoy photographing streets such as Dante Avenue. A photograph does not always need a famous monument, a dramatic view or a particularly unusual subject. Sometimes the most interesting image comes from an everyday scene: sunlight filtering through the branches, the repeated shapes of the trunks along the pavement, or the contrast between the greenery and the surrounding buildings.
I also like the idea that these pines are part of Sestri Levante’s collective memory. People who have lived here for many years may associate them with a familiar landscape and with memories of how this part of town used to look. Visitors discovering the area for the first time can appreciate them for a different reason: they bring shade, greenery and a pleasant sense of character to an ordinary urban street.
When I take photographs around my hometown, I often look for places that are not necessarily included in the usual lists of attractions. Streets, squares, buildings and small details can all become interesting subjects when we take the time to observe them. Dante Avenue is a good example. Its old maritime pines make it recognisable and give the avenue an atmosphere that I would not want to lose.
I like this street very much, especially because these trees have survived the changes around them. They are a simple but meaningful reminder that a town’s identity is made not only of famous views, but also of the everyday places that residents pass through and remember.
What about you? Do you enjoy walking beneath the old maritime pines along Dante Avenue in Sestri Levante? Add a comment or go to the bottom of the site to read what other visitors have written.
Photo taken with a Canon EOS M100 camera and Canon EF-S 10-18 lens.
Camogli Beach on the First Day of Summer
Camogli Beach on the First Day of Summer.
Camogli Beach is one of the most recognisable views along the Ligurian coast, an image that immediately captures the character and beauty of this part of Italy. Colourful buildings stand close together beside the sea, while the Basilica of Santa Maria Assunta provides a distinctive landmark in the background. This photograph was taken on the first Sunday of summer, during a relaxed afternoon walk in Camogli with a few friends.
Summer began quietly that year. The dreaded virus was still affecting everyday life, changing the habits of both tourists and local residents. Even a simple visit to a seaside town felt different from what we had been used to. There was still uncertainty, people were being careful, and many familiar activities required a little more thought than before. After such a difficult period, however, being able to enjoy the sea and spend a few hours outdoors with friends already felt like something special.
That Sunday afternoon, we decided to visit Camogli, one of the loveliest and most distinctive towns on the Ligurian Riviera, in the Gulf of Paradise near Genoa. We had no particular plan. We simply wanted to enjoy a stroll, take in the views and spend some time together. Camogli is perfect for this kind of visit: even without an itinerary, there is always something interesting to discover around its harbour, streets and waterfront.
The beach is one of the town’s most famous landmarks. Unlike many seaside destinations, it is not made up of a wide stretch of golden sand. Instead, smooth pebbles form a long shoreline beneath the colourful buildings that make Camogli so distinctive. From the beach, the view moves naturally between the open sea and the town itself. The houses create a beautiful backdrop, with their varied colours and traditional Ligurian architecture, while the historic buildings add another layer to the scene.
At the far end of the beach, the Basilica of Santa Maria Assunta can be seen overlooking the waterfront. Its origins date back to the twelfth century, although the building has been altered and enlarged over the centuries. Its position so close to the sea is part of what makes the view so special. In Camogli, the town’s history, religious heritage and maritime identity seem to meet in a very small space.
For me, this is one of the classic views of my Liguria. Some places remain beautiful no matter how many times we see them, and Camogli’s beach is certainly one of them. I would put it alongside the little harbour of Vernazza in the Cinque Terre and the Bay of Fables in Sestri Levante. They are very different locations, but each has become an unmistakable image of the Ligurian coast.
I enjoy photographing these familiar places because they are more than attractive views. They are part of the identity of the region, landscapes that many people immediately associate with Liguria. In this picture, the sea, the pebble beach, the colourful houses and the basilica come together to tell the story of Camogli. There is no need for an elaborate composition when the place itself offers such a wonderful setting.
That first day of summer may have felt quieter and more uncertain than usual, but the beauty of the landscape had not changed. The beach was still there, the sea stretched out in front of us, and Camogli offered another one of those views that make me happy to live and take photographs in Liguria.
And what about you? Have you ever walked along Camogli Beach and taken a photograph of this classic Ligurian view? Add a comment or go to the bottom of the site to read what other visitors have written.
Photo taken with a Canon EOS M100 camera and Canon EF-S 10-18 lens.
If you want to see all the photos taken in the beautiful Riviera town, click here:
Here I’m also leaving you a video, which I made on another occasion, always in the little harbor of Camogli:
Video recorded with Gopro Hero5.
And these too:
Videos recorded with Gopro Hero 10 Black.
The Borzoli district plaque in Rapallo
The Borzoli district plaque in Rapallo.
While walking through the streets of Rapallo’s historic center, I came across this small but meaningful detail: a plaque that reflects part of the city’s historical organization. It is often through these subtle elements that we can better understand the identity of a place.
The photo shows the plaque of the Borzoli district placed on the wall of a building in the heart of the town. Around it, the warm tones of Ligurian houses and traditional shutters create a familiar and welcoming atmosphere typical of the Riviera. These everyday architectural details give each corner its own character.
Rapallo, in Liguria, Italy, still preserves traces of its historical division into districts, known as “sestieri.” Borzoli is one of them, and these plaques serve as reminders of how the city was once organized.
Taking photos of details like this allows me to tell a different kind of story, moving beyond the most famous views and focusing instead on the small elements that define a place. A simple plaque can reveal history, tradition, and a sense of belonging.
An interesting curiosity is that these districts were not only administrative divisions, but also played a role in social life and local traditions.
On the blog, I have shared other views and details from Rapallo and the Ligurian coast, because I believe that these small discoveries make every walk more meaningful.
This image reminds me that cities are full of hidden stories, often written on their walls. Have you ever noticed a small detail that changed the way you see a place? Add a comment or go to the bottom of the site to read what other visitors have written.
Photo taken with Canon EOS R50 V and lens Canon RF 24-50.
Biduino’s Medieval Carving at San Salvatore in Lucca
Biduino’s Medieval Carving at San Salvatore in Lucca.
Walking through the historic streets of Lucca, in Tuscany, it is almost impossible not to come across something beautiful or interesting at every turn. Sometimes it is a famous monument, while on other occasions it is a small architectural detail that could easily go unnoticed unless you stop and take a closer look. This carved stone lintel, set into the façade of the ancient church of San Salvatore, is one of those details. It is a reminder of the remarkable artistic heritage preserved throughout this historic city.
The church, also known as San Salvatore in Mustolio, is documented as early as 1009 and was rebuilt during the 12th century. It stands in Piazza San Salvatore, in an area of the old town where Lucca’s history can be discovered in its churches, palaces and medieval buildings. Compared with some of the city’s more elaborate religious façades, the exterior of San Salvatore may seem rather modest. However, a closer look at its doorways reveals some fascinating works of medieval sculpture.
The carved lintel in this photograph is one of them. Its surface is filled with figures and architectural details that illustrate a religious story. In medieval times, sculptures placed above church entrances were not simply decorative elements. They often had a narrative and symbolic purpose, presenting episodes from religious tradition to the people who visited or passed by the church. In a way, the façade became a page carved in stone, telling stories that could be understood even by those who could not read written texts.
These works are associated with the artistic circle of Biduino, a sculptor active during the second half of the 12th century in the areas of Lucca and Pisa. He is an important figure in the development of Romanesque sculpture in Tuscany. His name is particularly valuable to art historians because some of his works carry his signature, offering direct evidence of an individual artist at a time when many sculptural projects were produced by workshops and groups of craftsmen.
There is an interesting distinction between the two carved lintels at San Salvatore. The relief on the façade is generally associated with Biduino’s workshop or artistic circle, while the lintel on the side doorway is the one that bears his signature. Both works are connected with stories from the life of Saint Nicholas. The façade relief illustrates the legend of the golden bowl, involving a banquet held by a Saracen ruler and a young man named Adeodatus, who is eventually returned to his family through the saint’s intervention. The signed side lintel depicts the first washing of the newborn Saint Nicholas, who, according to tradition, stood upright in the bathing basin while being washed.
I find it fascinating to think about how many generations have passed in front of these sculptures. They have witnessed changes to the city, its streets and the everyday lives of its residents, yet they still attract the attention of visitors today. The stone has naturally been marked by the passage of time, but these signs of age also give the carvings a special character. Looking closely, it is possible to appreciate the figures and the craftsmanship that went into creating them.
Lucca is a city that rewards anyone who enjoys exploring on foot without necessarily following a strict itinerary. Beyond its famous walls, squares and major churches, it preserves countless smaller details waiting to be discovered: a medieval doorway, a carved capital, a relief or an ornament set into an old façade. San Salvatore is one of those places where it is worth stopping for a moment. Something that might initially seem like a minor architectural feature can reveal a story stretching back almost a thousand years.
With this photograph, I wanted to draw attention to one of these remarkable examples of medieval sculpture. It is a small piece of history carved in stone, right in the heart of a city that continues to surprise anyone willing to look beyond its most famous landmarks.
And what about you? When visiting Lucca, do you take time to look for details like these on the façades of its churches, or do you tend to focus on the city’s best-known monuments? Add a comment or go to the bottom of the site to read what other visitors have written.
Photo taken with a Canon EOS M100 camera and Canon EF-S 10-18 lens.
To see all the photos I took, over a couple of visits, to Lucca click here:
