The first reliable mentions of Villa Cimbrone can be found around the 11th century, intermingling with those of Ravello’s golden era. The origins of its name come from the rocky outcrop on which it stands: this was part of a large estate with lush vegetation covering over eight hectares that was known as “Cimbronium”.

It initially belonged to the aristocratic Acconciajoco family. In the mid-1300s it passed into the hands of the powerful and wealthy Fuscos, a noble family from Ravello who were related to the Pitti family in Florence and the D’Angiò family from Naples.

Thanks to the enthusiasm and dedication of the Vuilleumier family, for a few decades now Villa Cimbrone has been restored to its former standing as a prestigious historical site and botanical garden, after a period of relative decline around the time of the Second World War.

To the south of Ravello’s cathedral, a 14th-century tower marks the entrance to this villa, famed for its beautiful cascading gardens. Created by a Scotsman, Scott Neville Reid, in 1853, they are truly magnificent, commanding divine panoramic views packed with exotic colors, artistically crumbling towers and luxurious blooms. Note that the gardens are at their best from May till October; they don’t merit the entrance fee outside those times.

The villa was built in the 13th century for the wealthy Rufolo dynasty and was home to several popes as well as king Robert of Anjou. Wagner was so inspired by the gardens when he visited in 1880 that he modeled the garden of Klingsor (the setting for the second act of the opera Parsifal ) on them.

Today the gardens are used to stage concerts during the town’s classical-music festival named

“ Ravello Festival “

an event started in 1953 in honor of Richard Wagner and continued as a celebration of local art and music.

Year in year out music lovers quarrel over the legitimacy of open air concerts, with their accompaniment of extraneous sounds and noises. Yet surely the ultimate effect of the spectacle of son et lumière is undeniable, for any imperfection for the ear is more than made up for by the spectacle that confronts the eye. As Gore Vidal put it so poetically, “often, when the orchestra plays Wagner, the full moon rises above the mountains in the east, their profile recalling a dragon’s head reclining gently on the beach, while the birds of Ravello, who after all these years are particularly musical birds, trill their counterpoint from high up in the dark pine trees”.

Forming the eastern flank of Piazza Duomo, the cathedral was built in 1086 but has since undergone various makeovers. The facade is 16th century, but the central bronze door, one of only about two dozen in the country, dates from 1179; the interior is a late-20th-century interpretation of what the original must once have looked like.

Of particular interest is the striking pulpit, supported by six twisting columns set on marble lions and decorated with flamboyant mosaics of peacocks and other birds.

Note also how the floor is tilted towards the square – a deliberate measure to enhance the perspective effect.

Entry is via the cathedral museum, displaying a modest collection of religious artifacts.