The town is renowned far the impressive Palazzo Farnese that dominates the his­toric centre. Construction of the palace started at the turn of the sixteenth century aver a pre-existing pentagonal fortress started by Sangallo, and it is considered one of the masterpieces of late Italian Mannerism. It was built by Cardinal Alexander Farnese, nephew of Paul III, who had the plans drawn up by a group of architects led by Jacopo Barozzi of Vignola. It was intended to consecrate the power and glory of the strong family of European rank. Inside the palace there is a superb cycle of frescoes and decorations done based on a study by Annibal Caro and entrusted to a group of artists, including the Zuccari brothers, Bertoja, Giovanni de' Vecchi Raffaellino da Reggio, Giovanni Antonio da Varese, Antonio Tempesti and others.

The result is a princely residence that interprets every detail of courtly life, crowded with artists, men of letters, men of art and culture, family members and servants - all of whom are included in a strict hierarchy that has masterfully been transferred to the constructional work that places the "gentleman" at the top of the social scale, in a world far tram human misery. The pi­ano nobile, accessed by a magnificent spi­ral staircase, is reserved for him.

A staircase with two converging sets of stairs leads to the entrance of honour. The walls of the entrance hall are frescoed with scenes showing the ports of Malta and Messina, while the vaults are decorated with the various coats of arms of the Farnese family and with two views of Caprarola, the work of Federico Zuccari and his school (1566-1569). On the left, the spiral staircase, a masterpiece by Vignola, was frescoed by Antonio Tempesti (1580­-1583) with landscapes, grotesqueries, mot­toes, emblems, undertakings and so on. The staircase leads to the piano nobile.

Sala dei Fatti d'Ercole (Federico Zuc­cari, 1566-1569). The hall is embellished with a large rustic fountain made of mosa­ic, stucco work and calcareous concretions, with marble putti that spew water into the antique yellow basin. The vault, decorated with stucco work, depicts the Labours of Hercules and the legend of the creation of the lake of Vico, while views of the Farnese estates are depicted on the walls.

Chapel (Federico Zuccari, 1566-1569). This harmonious setting with a circular lay­out has an elegant floor and two-tone terra­cotta and marble. There are lovely frescoes on the vault, embellished with excellent stucco work with biblical stories. The fig­ures of the apostles, the Three Marys at the sepulchre, the Pietà and St. John the Baptist are portrayed on the walls.

Sala dei Fasti Farnesiani (Taddeo Zuccari, 1560-1566). This is one of the palace's richest and most magnificent rooms, with large frames enclosing beauti­ful frescoes that celebrate the most impor­tant events in the life of Cardinal Ale­xander. Depicted on the vault, which is also distinguished by one of the Farnese coats of arms amidst detailed stucco work, are scenes with battles, investitures, treaties and other events involving the noble house.

Left wall: Departure of Cardinal Alexander, Octavius Farnese and Charles V against the Lutherans - Entry of Charles V, Francis I and Alexander Farnese to Paris. Back wall: Paul III names his son Pier Luigi emperor of the papal army - Portrait of Henry II of France - Paul III names his nephew Horace prefect of Rome.

Right wall: Card. Alexander and Charles V stipulate a pact in Worms for the war against the Lutherans - Julius III gives Alexander Farnese the duchy of Parma and he, in turn, grants it to his brother Octavius. Wall at the entrance: Paul III marries Octavius Farnese and Margaret of Austria - Portrait of Philip II of Spain - ­Wedding of Horace Farnese with Diana of Valois.

Sala del Concilio di Trento (Taddeo Zuccari, 1560-1566). The large frames, which seem to be inspired by Raphael's work in the Vatican rooms, illustrate the main events in the pontificate of Paul III, including the convocation of the famous Council of Trent. Depicted on the vault, which is embellished with stucco work with friezes and arabesques, is the Coronation of Paul III. Left wall: Convocation of the Council of Trent. Back wall: Charles V and Paul III after the capture of Tunisi. Right wall: Paul III names four cardinals as his successors. Wall at the entrance: Paul III promotes the truce of Nice between Charles V and Francis I. The four frescoed Co­rinthian columns in the corners are an orig­inal perspective device by Vignola.

Camera dell'Aurora (Taddeo Zuccari, 1560-1566). An allegory of the night is painted on the vault. Also noteworthy is the perspective of the columns, which give the ceiling greater depth.

Camera dei Lanefici (Taddeo Zuccari and school, 1560-1566). Subjects related to weaving are depicted on the vault.

Stanza della Solitudine (Taddeo Zuccari and school, 1560-1566). Sacred stories, his­toric figures and philosophers deep in med­itation are portrayed on the vault.

Gabinetto dell'Ermatena (Federico Zuccari and school, 1566-1569). Hermes and Atena are portrayed on the vault; in the corners science and art instruments.

Stanza del Torrione. This room was made in the thick walls of one of the corner keeps ofthe pentagon. The coffered ceiling, in Lebanese cedar decorated with the Farnese coat of arms, is notable.

Camera della Penitenza (Jacopo Ber­toja, 1569-1572). On the vault is the Exaltation of the Cross, while the lateral frames show figures and scenes of the her­mitic life.

Camera dei Giudizi (Jacopo Bertoja, 1569-1572). The Judgement of Solomon is portrayed on the vault.

Camera dei Sogni (attributed to Gio­vanni de' Vecchi, 1576). Jacob's dream is portrayed on the vault.

Sala degli Angeli (Giovanni de' Vecchi and Raffaellino da Reggio, 1575). On the vault is a scene showing Lucifer being dri­ven from Paradise. Left wall: The prophet Daniel in the lions' den. Back wall: Ap­parition of the angel in Gargano. Right wall: Annunciation of the angel to Gedeone. Wall at the entrance: Apparition of the angel at Castel Sant'Angelo.

Sala del Mappamondo (Giovanni An­tonio da Varese and Raffaellino da Reggio, 1574). The most important element is represented by the maps on the longer walls, painted and illuminated in gold, showing the four continents known at that time: Europe, Asia, Africa and the two Americas. At the head: Italy, Judea and the entire globe. The vault shows the majestic planetary system with the constellation of the zodiac; in false niches over the doors and windows are portraits of Magellan, Marco Polo, Christopher Columbus, Amerigo Vespucci and Hernando Cortez.

A magnificent park-garden opens out in a vast area behind the palace and, while repeating the motifs of the late Renaissance it is an anticipation of the architectural concepts of the Baroque. The garden is accessed through the Sala dei Giudizi that opens out onto the winter garden. At back of the garden is the Fontana del Ninfeo, filled with stalactites. The lower level has already been set up as a stage for theatre presentations. On the right, past a gate and across the park you come to first terrace of the garden looking out onto the Palazzina del Piacere. The entrance is guarded by two half-figures on a pedestal. The Fontana del Giglio is in the centre and on the sides there are two pavilions decorated in rustic mosaic, preparing the access to a staircase divided by a stream of water - known as Delfini - that ends in a large shell. On the second elliptical terrace is the Fontana dei Fiumi, with two giants symbolising the Tigris and Euphrates. Off to the sides, two symmetrical ramps lead to the level of the Caryatids, surrounded by 28 statues. The Palazzina del Piacere is in the background - an elegant structure with a courtyard and a loggia richly decorated with frescoes. Lastly, you ascend to the top terrace with a travertine fountain and a hemicycle of the nymphs.

The Saloni delle Scuderie, near the palace, are halls that have recently been restructured to host cultural activities.

However, it was not just the palace that marked the novelty of Vignola's work, but this was extended to include the layout of the city, conceived as a community at the service of nobility. The houses are laid out symmetrically to enhance the view of the palace, whose impressive facade can be seen from afar between two rows of houses dating to the fifteenth-sixteenth century.

The church of Santa Maria della Consolazione has a series of frescoes and stuc­coes dating to the sixteenth-seventeenth century, as well as a lovely ceiling in sculp­tured wood with scenes of the Coronation of the Virgin and figures of the saints.

On the first altar on the right in the cathedral is a fifteenth-century tavola of the Saviour Benedictory, while behind the main altar is a seventeenth-century canvas of Francesco Cozza (Our Lady in Glory with Child and Saints Peter, Paul, Anthony of Padua, Dominic and Blaise).

Not far from the city centre you can ad­mire the church of Santa Teresa with the annexed convent. Built based on a drawing by Rainaldi in the seventeenth century, there is an altarpiece by Turchi on the right altar (St. Anthony of Padua preach­es to the fish), a painting by Guido Reni on the main altar (Madonna del Carmine and the saints) and a canvas by Lanfranco over the left altar portraying St. Sylvester and the dragon.