Italia Liguria Finalborgo Attrazioni Basilica di San Biagio, Finalborgo

Basilica di San Biagio, Finalborgo

Ultimo aggiornamento il 3 novembre 2026

7 /10

Valutazione complessiva

Valuta

Cosa rende speciale Basilica di San Biagio, Finalborgo

San Biagio è la basilica di Finalborgo, e registra la propria sostituzione. La chiesa gotica del 1372-1375 fu danneggiata, divenne troppo piccola e fu quasi interamente demolita a metà del XVII secolo ; quella costruita al suo posto da Andrea Storace fra il 1633 e il 1650 ha la pianta ruotata di novanta gradi , conserva il campanile ottagonale originario con le sue sottili bifore e lascia l’ abside e le cappelle absidali gotiche in parte in piedi nel breve spazio fra essa e le mura del Borgo . Hanno demolito la chiesa, lasciato il campanile e costruito attorno quella nuova di traverso. L’attrito è che nessuno pubblica quando apre. È una parrocchia in attività del vicariato di Finale Ligure- Noli , e nessun orario di messa, di apertura o biglietto compare in qualcosa di leggibile. Il modo intelligente è entrarci sapendo che gran parte è refurtiva. Buona parte degli arredi viene dal convento di Santa Caterina , qualche strada più in là, quando fu confiscato: da Napoleone e poi dal governo italiano nel 1864 . Cercate l’ altare maggiore del 1799 , il cui drappo di marmo è scolpito per sembrare stoffa ricamata, e il santo che è stato ridipinto in un altro santo .

Consigli e strategia di visita

Quando andare

Attorno a una funzione, perché è allora che una parrocchia è aperta con certezza. Non si è potuto verificare alcun orario, quindi passate e provate: è in mezzo a un paese che state già percorrendo.

Il 3 febbraio è il giorno del patrono. San Biagio è il patrono di Finalborgo e la basilica ne conserva il busto reliquiario. Cade nel periodo più tranquillo dell’anno.

Da aprile a giugno e da settembre a ottobre per il paese intorno. Agosto è quando il borgo è più carico, e i due eventi che Finale Ligure gli attribuisce — La Notte dei Tarocchi per due serate e Viaggio nel Medioevo per una settimana — passano per le vie fuori da questa chiesa.

È l’opzione al coperto, insieme al museo. Un grande interno barocco in piano, a pochi minuti da Santa Caterina, che ha orari pubblicati. Insieme fanno funzionare una giornata di pioggia nel Finalese.

Verificato su Museo Archeologico del Finale (MAF) / Museo Diffuso del Finale (MUDIF), ottobre 2026.

Come arrivare ed entrare

Nessun orario di apertura, di messa o biglietto è pubblicato da qualcosa di leggibile, e lo si dichiara invece di nasconderlo. È una parrocchia in attività del vicariato di Finale Ligure-Noli nella diocesi di Savona-Noli; l’autorità sarebbe una pagina diocesana o parrocchiale e non è stato possibile raggiungerne alcuna mentre questa scheda veniva scritta.

Il comune non pubblica nulla e il museo locale non la gestisce. Il Comune di Finale Ligure (via Pertica 29, centralino 019 689011) non pubblica orari né biglietti per nessun edificio del comune. Il Museo Archeologico del Finale guida quattro siti col programma MUDIF e questa basilica non è fra essi.

Trattatela come una parrocchia. Mettete in conto che apra attorno alle funzioni e che sia chiusa altrimenti, che non ci sia biglietto, e comportatevi come in qualsiasi chiesa in uso. Il 3 febbraio è il giorno di san Biagio, patrono del borgo.

Sta in mezzo a un paese murato ed è facile da raggiungere. Piazza San Biagio, dentro Finalborgo, in piano. Gli autobus TPL Linea 40 e 40/ fermano a Finalborgo Centro; la stazione di Finale Ligure Marina è a 1,6 km; l’uscita dell’A10 è Finale Ligure. L’accesso in auto dentro le mura è limitato, con parcheggi a pagamento e a disco fuori e un parcheggio comunale gratuito.

Verificato su Comune di Finale Ligure, ottobre 2026.

Informazioni rapide

Tipo: Chiesa, Luogo sacro, Luogo storico
Costruito: Documentata per la prima volta nel 1261 fuori dalle mura; ricostruita entro le mura nel 1372-1375 in gotico; la chiesa attuale del 1633-1650 di Andrea Storace, che conserva il campanile ottagonale e parte dell'abside gotica; basilica minore dall'aprile 1949
Progettato da: Andrea Storace (1633-1650); Pasquale Bocciardo (pulpito 1764-65, balaustra del presbiterio e altare maggiore 1799); Girolamo Bocciardo (fonte battesimale 1798)
Stile architettonico: Barocco a croce latina, tre navate con cupola centrale, impostato a novanta gradi rispetto alla chiesa gotica che sostituisce e che ne conserva il campanile ottagonale con sottili bifore

Dove si trova

Indicazioni stradali Apri in Apple Maps

Visita responsabile

È in uso, quindi la prima cortesia è quella ovvia. State fuori dalle funzioni se non vi partecipate, state in silenzio e chiedete prima di fotografare. Niente flash vicino agli affreschi o alle superfici dipinte.

Molto di quello che state guardando è proprietà spostata. Buona parte degli arredi viene dal convento confiscato di Santa Caterina. Vedere entrambi gli edifici in una visita è il modo onesto di leggere l’uno e l’altro, e il biglietto del museo sostiene quello che ha perso i propri contenuti.

Il resto gotico dietro è fragile e facile da non vedere. L’abside e le cappelle absidali antiche sopravvivono solo in parte, nel breve spazio fra la chiesa e le mura del Borgo. È un interstizio, non un passaggio.

Il borgo è residenziale. Finalborgo è piccolo, chiuso e abitato; lasciate l’auto nei parcheggi a pagamento o a disco orario fuori dalle porte o in quello gratuito del Municipio, e attraversate a piedi.

Fonti e verifica Riguarda le affermazioni documentate di questa pagina.

Verificato su Wikipedia — The basilica collegiata di San Biagio is a Catholic place of worship situated in the historic urban nucleus of Finalborgo, in piazza San Biagio, at Finale Ligure in the province of Savona; it is the seat of the parish community of the same name of the vicariate of Finale Ligure-Noli of the diocese of Savona-Noli. In April 1949 Pope Pius XII elevated it to the dignity of minor basilica. The cult of san Biagio, protector among others of wool carders, is probably one of the most ancient of the Finale; the production and trade of wool bales is a traditional activity of the Finalese, documented for the first time in 1128 by the customs regulation of Genoa, in which the inhabitants of Finale appear as exporters of wool and hemp. The church, however, appears for the first time in a written document only in 1261; a shelter for the sick was annexed to it but no ruin of it remains. The ancient church, whose origin is unknown, was placed on the other side of the Aquila torrent, but was rebuilt within the perimeter of the walls of Finalborgo in 1372-1375, in Gothic style. Damaged in the late sixteenth century following the second invasion of the marquisate of Finale by the Republic of Genoa, and by then inadequate in size, the Gothic church was almost entirely demolished in the middle of the seventeenth century to make space for a new building then under construction, but with its plan rotated by 90 degrees. The apse and the apsidal chapels of the fourteenth-century church have been partially conserved in the short space between the seventeenth-century building and the walls of the Borgo. The new church, built between 1633 and 1650 to a design by the Finale architect Andrea Storace, has a Latin-cross plan divided into three naves with a central dome, and it conserves the original and characteristic octagonal bell tower with slender bifore., Among the religious architecture of Finalborgo: the basilica collegiata di San Biagio -- the present parish building, the third, built in the seventeenth century to a design by the Finale architect Andrea Storace, containing important sculptures by Pasquale Bocciardo and his brother Domenico, and interesting pictorial works among them the Martirio di Santa Caterina by Oddone Pascale and the Madonna delle rose by Vincenzo Tamagni, and in which is kept the mausoleum of the last descendant of the Carretto family, Giovanni Andrea Sforza Del Carretto; the conventual complex of Santa Caterina, founded in 1359 and subsequently completed with the addition of two fine Renaissance cloisters, today the seat of the civic museum, in whose adjacent conventual church, now transformed into an auditorium, are fifteenth-century frescoes; and the chiesa di San Giuseppe Calasanzio, outside the walls of the borgo. Among the civil architecture: the Palazzo del Tribunale, formerly the seat of the Del Carretto government and later the judicial and administrative centre of the Marquisate of Finale, existing at least from the early years of the fourteenth century, restructured by the marquis Giovanni I Del Carretto in 1462 who entrusted the recovery project to Giorgio Molinari, the latter modifying both interiors and exteriors with the construction of a new staircase and the opening of intermediated bifore, the palace being revisited again internally in 1781 with the interest of governor Giovanni Benedetto Centurione of the Republic of Genoa, its facade of great interest for the presence both of typical fifteenth-century pictorial decorations and of traces of all the subsequent interventions; Palazzo Ricci, a Renaissance building in front of the former church of the Santa Caterina complex, which is said to have been the palace of the powerful cardinal Carlo Domenico Del Carretto, acquired and restructured in 1528 by the noble Ricci family and subsequently, from about 1863 to 1927, the seat of the comune of Finalborgo; Palazzo Cavasola, an ancient Carretto palace, the "casa della Camera", which at the end of the sixteenth century was donated to Erasmo Cavasola by the marquis Alessandro Del Carretto, notably restructured in the eighteenth century, with a facade with rococo decorations and a majestic slate portal; and Palazzo Brunenghi, a medieval building in whose portico the pillory was placed., The basilica collegiata di San Biagio is a Catholic place of worship situated in the historic urban nucleus of Finalborgo, in piazza San Biagio, at Finale Ligure in the province of Savona; it is the seat of the parish community of the same name of the vicariate of Finale Ligure-Noli of the diocese of Savona-Noli. In April 1949 Pope Pius XII elevated it to the dignity of minor basilica. The cult of san Biagio, protector among others of wool carders, is probably one of the most ancient of the Finale; the production and trade of wool bales is a traditional activity of the Finalese, documented for the first time in 1128 by the customs regulation of Genoa, in which the inhabitants of Finale appear as exporters of wool and hemp. The church, however, appears for the first time in a written document only in 1261; a shelter for the sick was annexed to it but no ruin of it remains. The ancient church, whose origin is unknown, was placed on the other side of the Aquila torrent, but was rebuilt within the perimeter of the walls of Finalborgo in 1372-1375, in Gothic style. Damaged in the late sixteenth century following the second invasion of the marquisate of Finale by the Republic of Genoa, and by then inadequate in size, the Gothic church was almost entirely demolished in the middle of the seventeenth century to make space for a new building then under construction, but with its plan rotated by 90 degrees. The apse and the apsidal chapels of the fourteenth-century church have been partially conserved in the short space between the seventeenth-century building and the walls of the Borgo. The new church, built between 1633 and 1650 to a design by the Finale architect Andrea Storace, has a Latin-cross plan divided into three naves with a central dome, and it conserves the original and characteristic octagonal bell tower with slender bifore., The new church of San Biagio was enriched with paintings and statues and decorated from the Baroque-Rococo period onward. A good part of its present furnishings, however, comes from the conventual complex of Santa Caterina, the "superga" of the Del Carretto, which was confiscated first by Napoleon Bonaparte during the Ligurian Republic and then by the Italian government in 1864 for civil uses. The walls were subsequently frescoed and stuccoed thanks to the work, in 1878, of the painters Francesco Semino and Domenico Buscaglia -- frescoes of the dome and of the presbytery vault -- resumed in 1911 by Luigi Gainotti and Antonio Bertolotto in the vault. Above the middle portal can be admired the funerary monument of Sforza Andrea Del Carretto, last marquis of the Carretto family, a work commissioned by his heir Giovan Andrea Doria and transported into San Biagio only in 1805, when the church of Santa Caterina was confiscated by Napoleon Bonaparte and used to billet troops; the statue is the work of Battista Orsolino, of the sculptural school of Taddeo Carlone. To the left of the portal is the baptismal font; the basin and the balustrades were made by Girolamo Bocciardo in 1798, while the statues of Gesu Cristo and San Giovanni Battista are a neoclassical work of 1811, the first and only work in marble by a sculptor in wood, the Genoese Angelo Olivari. To Girolamo's father, Pasquale Bocciardo, is attributed the curious and fanciful marble pulpit of 1764-1765, in which he carved the Vision of Ezekiel with the divine chariot and the tetramorphs. In the presbytery, the marble balustrade with angels is the work of Pasquale Bocciardo, in which four figures of angels support the cloth decorated with fine burin work; Pasquale Bocciardo is also the author of the high altar of 1799, during whose making he was helped by his uncle Andrea Casareggio, with whom he shared the workshop in via Giulia in Genoa. The famous peculiarity of this altar is the drape of the table, which seems to be of embroidered cloth but is in reality pure marble., In the first altar of the right nave of San Biagio is the triptych of the Mystic Marriage of saint Catherine of Alexandria, among her witnesses san Gottardo and san Sebastiano, ascribable to the school of Bernardino Fasolo and made for the Confraternita dei Disciplinanti of the convent of Santa Caterina, transported into San Biagio on the occasion of the unification of the conventual confraternity with that of San Biagio, which took place in 1626; a rich frame decorated at the base was then added, and san Gottardo was modified into san Biagio by the addition of a carder's comb in his hand. In the second altar is the monumental altarpiece representing the Martyrdom of saint Catherine with san Domenico, san Pietro, san Paolo, the Annunciation and the Pieta, by the Piedmontese painter Pascale Oddone (1533), a work coming from the high altar of Santa Caterina; the episcopal arms at the top and the Carretto arms indicate the donor, whom G. Castelnovi identified as Luigi Del Carretto, count and bishop of Cahors, who however died in 1524, so that it would be his nephew Paolo Del Carretto, who held the same offices from 1525. At the third altar is a wooden crucifix by Francesco Agnesi called il Corsetto (1693), previously placed behind the high altar and moved here without its decorations in 1949. At the fourth altar, seat of the old eighteenth-century organ, is a canvas dedicated to san Giovanni Nepomuceno, patron of Bohemia, between the saints Francesco da Paola and Lucia among angels, the work of Giuseppe Paganelli da Bergamo of 1798; this saint, protector against floods, is also represented on the internal surface of Porta Testa, from which the waters of a sudden flooding would potentially burst in. At the fifth and last right altar is the canvas of the Madonna delle Grazie among the souls in purgatory, the work of Pier Lorenzo Spoleti of 1723, positioned on a support perhaps made by Pietro Ripa between 1718 and 1728, with columns faced in marble, comprising material reused from the nearby site of Castel Gavone. On the walls of the presbytery are copies of Raphael's Transfiguration and of the Assumption of the Virgin by the Fleming Peter Paul Rubens, made by the Finale painter Pier Lorenzo Spoleti in 1722; under the latter picture is conserved a marble ciborium of 1521 by the sculptor Giovanni Lorenzo Sormano. The wooden walnut choir was completed in 1721 by the master Gio Benedetto Mora. Of particular interest is the pipe organ, built by Gioacchino Concone in 1784 and reformed by the Savonese Giovanni Battista Dessiglioli in 1894. In the left nave, the panel of the Madonna delle Rose, already from the convent of Santa Caterina, in which the saint, a king's daughter, presents the marquis of Finale Alfonso I del Carretto while san Domenico presents his brother, the cardinal Carlo Domenico; the work, later than the disappearance of the two figures (1517), has been attributed to Vincenzo Tamagni, a painter originally from San Gimignano who, after moving to Rome in the middle of the sixteenth century, worked on the papal commissions of the Vatican Loggias beside Raphael., The former convent of Santa Caterina is a religious building in the piazza of the same name in the historic centre of Finalborgo at Finale Ligure, in the province of Savona. Since 1931 the ancient convent has housed the archaeological museum of the Finale, a congress hall and a venue for shows and exhibitions at the adjoining oratory of the Disciplinanti. The foundation of the conventual building can be dated to 1359, by the work of the Del Carretto family, feudatories of the Marquisate of Finale, who used the complex as a prestigious and monumental burial area. Inhabited from 1381 by Dominican friars, as though it were a "free and inviolable" zone, the convent was spared from the sack carried out in the lands of the marquisate in 1648 by the Republic of Genoa. The religious order occupied the complex until 1802, that is until the suppression of the ecclesiastical orders willed by the Napoleonic laws of the Ligurian Republic and of the French Empire., The basilica collegiata di San Biagio is a Catholic place of worship situated in the historic urban nucleus of Finalborgo, in piazza San Biagio, at Finale Ligure in the province of Savona; it is the seat of the parish community of the same name of the vicariate of Finale Ligure-Noli of the diocese of Savona-Noli. In April 1949 Pope Pius XII elevated it to the dignity of minor basilica. The cult of san Biagio, protector among others of wool carders, is probably one of the most ancient of the Finale; the production and trade of wool bales is a traditional activity of the Finalese, documented for the first time in 1128 by the customs regulation of Genoa, in which the inhabitants of Finale appear as exporters of wool and hemp. The church, however, appears for the first time in a written document only in 1261; a shelter for the sick was annexed to it but no ruin of it remains. The ancient church, whose origin is unknown, was placed on the other side of the Aquila torrent, but was rebuilt within the perimeter of the walls of Finalborgo in 1372-1375, in Gothic style. Damaged in the late sixteenth century following the second invasion of the marquisate of Finale by the Republic of Genoa, and by then inadequate in size, the Gothic church was almost entirely demolished in the middle of the seventeenth century to make space for a new building then under construction, but with its plan rotated by 90 degrees. The apse and the apsidal chapels of the fourteenth-century church have been partially conserved in the short space between the seventeenth-century building and the walls of the Borgo. The new church, built between 1633 and 1650 to a design by the Finale architect Andrea Storace, has a Latin-cross plan divided into three naves with a central dome, and it conserves the original and characteristic octagonal bell tower with slender bifore., The events of Finalborgo include La Notte dei Tarocchi, two evenings dedicated to tarology, esoteric practices and messages for the soul, which since 2018 takes place every year among the ancient streets; and Viaggio nel Medioevo, in the last week of August, with a re-enactment of the times of the Marquisate of Giovanni I del Carretto, to celebrate the reconquest of his walls while under the siege of the Republic of Genoa., Among the events of Finale Ligure are La Notte dei Tarocchi on 12 and 13 August, two evenings dedicated to tarology and esoteric practices, held since 2018 each year through the streets of Finalborgo; Viaggio nel Medioevo in the third week of August, a costume event in the setting of the medieval borgo of Finalborgo, awarded by the Presidency of the Republic, with four evenings of games, shows, ancient trades and cultural activities; and the Percorsi Sonori concert season in the cloisters of the Santa Caterina convent complex at Finalborgo., The new church of San Biagio was enriched with paintings and statues and decorated from the Baroque-Rococo period onward. A good part of its present furnishings, however, comes from the conventual complex of Santa Caterina, the "superga" of the Del Carretto, which was confiscated first by Napoleon Bonaparte during the Ligurian Republic and then by the Italian government in 1864 for civil uses. The walls were subsequently frescoed and stuccoed thanks to the work, in 1878, of the painters Francesco Semino and Domenico Buscaglia -- frescoes of the dome and of the presbytery vault -- resumed in 1911 by Luigi Gainotti and Antonio Bertolotto in the vault. Above the middle portal can be admired the funerary monument of Sforza Andrea Del Carretto, last marquis of the Carretto family, a work commissioned by his heir Giovan Andrea Doria and transported into San Biagio only in 1805, when the church of Santa Caterina was confiscated by Napoleon Bonaparte and used to billet troops; the statue is the work of Battista Orsolino, of the sculptural school of Taddeo Carlone. To the left of the portal is the baptismal font; the basin and the balustrades were made by Girolamo Bocciardo in 1798, while the statues of Gesu Cristo and San Giovanni Battista are a neoclassical work of 1811, the first and only work in marble by a sculptor in wood, the Genoese Angelo Olivari. To Girolamo's father, Pasquale Bocciardo, is attributed the curious and fanciful marble pulpit of 1764-1765, in which he carved the Vision of Ezekiel with the divine chariot and the tetramorphs. In the presbytery, the marble balustrade with angels is the work of Pasquale Bocciardo, in which four figures of angels support the cloth decorated with fine burin work; Pasquale Bocciardo is also the author of the high altar of 1799, during whose making he was helped by his uncle Andrea Casareggio, with whom he shared the workshop in via Giulia in Genoa. The famous peculiarity of this altar is the drape of the table, which seems to be of embroidered cloth but is in reality pure marble., The basilica collegiata di San Biagio is a Catholic place of worship situated in the historic urban nucleus of Finalborgo, in piazza San Biagio, at Finale Ligure in the province of Savona; it is the seat of the parish community of the same name of the vicariate of Finale Ligure-Noli of the diocese of Savona-Noli. In April 1949 Pope Pius XII elevated it to the dignity of minor basilica. The cult of san Biagio, protector among others of wool carders, is probably one of the most ancient of the Finale; the production and trade of wool bales is a traditional activity of the Finalese, documented for the first time in 1128 by the customs regulation of Genoa, in which the inhabitants of Finale appear as exporters of wool and hemp. The church, however, appears for the first time in a written document only in 1261; a shelter for the sick was annexed to it but no ruin of it remains. The ancient church, whose origin is unknown, was placed on the other side of the Aquila torrent, but was rebuilt within the perimeter of the walls of Finalborgo in 1372-1375, in Gothic style. Damaged in the late sixteenth century following the second invasion of the marquisate of Finale by the Republic of Genoa, and by then inadequate in size, the Gothic church was almost entirely demolished in the middle of the seventeenth century to make space for a new building then under construction, but with its plan rotated by 90 degrees. The apse and the apsidal chapels of the fourteenth-century church have been partially conserved in the short space between the seventeenth-century building and the walls of the Borgo. The new church, built between 1633 and 1650 to a design by the Finale architect Andrea Storace, has a Latin-cross plan divided into three naves with a central dome, and it conserves the original and characteristic octagonal bell tower with slender bifore., The former convent of Santa Caterina is a religious building in the piazza of the same name in the historic centre of Finalborgo at Finale Ligure, in the province of Savona. Since 1931 the ancient convent has housed the archaeological museum of the Finale, a congress hall and a venue for shows and exhibitions at the adjoining oratory of the Disciplinanti. The foundation of the conventual building can be dated to 1359, by the work of the Del Carretto family, feudatories of the Marquisate of Finale, who used the complex as a prestigious and monumental burial area. Inhabited from 1381 by Dominican friars, as though it were a "free and inviolable" zone, the convent was spared from the sack carried out in the lands of the marquisate in 1648 by the Republic of Genoa. The religious order occupied the complex until 1802, that is until the suppression of the ecclesiastical orders willed by the Napoleonic laws of the Ligurian Republic and of the French Empire. (ottobre 2026).
Verificato su Museo Archeologico del Finale (MAF) / Museo Diffuso del Finale (MUDIF) — The Museo Archeologico del Finale publishes winter opening hours from 15 September to 14 June, Tuesday to Sunday, 9:00-12:00 in the morning and 14:30-17:00 in the afternoon, closed Monday; and summer hours from 15 June to 14 September, Tuesday to Sunday, 10:00-13:00 and 16:00-19:00, closed Monday. The entrance ticket includes access to all sections of the museum. The full ticket is EUR 5.00; the reduced ticket, EUR 3.00, is for over 65s, adolescents up to 16, groups of a minimum of 10 people, university students, holders of agreements with the Grotte di Toirano and the Grotte di Borgio Verezzi, and holders of a full-price Caverna delle Arene Candide ticket; entry is free for children under 6, holders of the Carta Europea della Disabilita plus one companion, tourist guides and ICOM members; the family ticket, valid for two adults and at least one child under 12, is EUR 10.00; and a visit to the Campanile di Santa Caterina, only on Sunday mornings and by prior telephone booking, is EUR 2.00. Cash, credit cards and bancomat are accepted. Guided visits are booked by telephone only., The MUDIF -- Museo Diffuso del Finale -- is a project that networks the diffused historical and landscape patrimony of the Finale territory, and lists the cultural sites it guides. Of the Caverna delle Arene Candide it says that it is one of the most important caves in Europe for the famous finds made inside it, and that through a route guided by archaeologists one makes a journey back in time, from today to about thirty thousand years ago, retracing the research conducted over more than 150 years of archaeological studies and excavations; "Accessibile esclusivamente con visita guidata. Prenotazione obbligatoria al numero 019 690 020". Of Castel Gavone it says that, placed on a height behind Finalborgo, it constitutes the symbol monument of the Finale; that the castle, arisen in the twelfth century, was the residential dwelling of the Del Carretto marquises; and that the visit, under the guidance of an archaeologist, allows one to discover the various phases of development of the monument between the Middle Ages and the Modern age, including the splendid Torre dei Diamanti, one of the most important examples of Renaissance fortified architecture in Italy; "Accessibile esclusivamente con visita guidata. Prenotazione obbligatoria al numero 019 690 020". The other two sites it lists are the promontory of Varigotti and the Teatro Aycardi at Finalborgo, built between 1804 and 1806 in the spaces of the pre-existing collegio founded by Giovanni Andrea Aycardi in 1759 and the oldest nineteenth-century theatre with stalls and boxes conserved in Liguria, entry to which is by free offering during calendared openings., The Museo Archeologico del Finale publishes how to reach it. By car, from the A10 Genoa-Ventimiglia motorway, take the "Finale Ligure" exit and follow the signs for "Finalborgo" and "Centro Storico"; Finalborgo is a historic borgo and access by car is therefore limited, with paid and disc-timed car parks in the immediate vicinity of the entrance to the walls, and a car park at the Municipio a few steps from the museum, free and with spaces for disabled drivers. By train, the station is Finale Ligure Marina on the Genoa-Ventimiglia line, about 1.6 km from the museum. By bus, Finalborgo can be reached from the station or from the seafront of Finale Ligure Marina using the TPL Linea bus 40/ (Savona - Finalborgo) and 40; the journey is short and the stop, "Finalborgo Centro", is 200 metres from the museum. The museum advises consulting the updated public transport timetables on the official Trenitalia and TPL Linea sites before departure., The Museo Archeologico del Finale publishes how to reach it. By car, from the A10 Genoa-Ventimiglia motorway, take the "Finale Ligure" exit and follow the signs for "Finalborgo" and "Centro Storico"; Finalborgo is a historic borgo and access by car is therefore limited, with paid and disc-timed car parks in the immediate vicinity of the entrance to the walls, and a car park at the Municipio a few steps from the museum, free and with spaces for disabled drivers. By train, the station is Finale Ligure Marina on the Genoa-Ventimiglia line, about 1.6 km from the museum. By bus, Finalborgo can be reached from the station or from the seafront of Finale Ligure Marina using the TPL Linea bus 40/ (Savona - Finalborgo) and 40; the journey is short and the stop, "Finalborgo Centro", is 200 metres from the museum. The museum advises consulting the updated public transport timetables on the official Trenitalia and TPL Linea sites before departure. (ottobre 2026).
Verificato su Comune di Finale Ligure — The Comune di Finale Ligure has its seat at Via Pertica 29, 17024 Finale Ligure, with the switchboard 019 689011 and the certified address comunefinaleligure@legalmail.it. It publishes no direct telephone number and no opening hours for any individual office; no tourist office or IAT; no ZTL, parking scheme or transport timetable; and no opening hour or admission price for Castel Gavone, Castel San Giovanni, the Arene Candide cave, the basilica of San Giovanni Battista or any other building in the comune. (ottobre 2026).

Basilica di San Biagio, Finalborgo

Cosa rende speciale Basilica di San Biagio, Finalborgo

La difficoltà per chi visita

Consigli e strategia di visita

Quando andare

Come viverlo al meglio

Quanto costa

Come arrivare ed entrare

Accessibilità del luogo

Informazioni rapide

Dove si trova

Visita responsabile

Basilica di San Biagio, Finalborgo

Cosa rende speciale Basilica di San Biagio, Finalborgo

La difficoltà per chi visita

Consigli e strategia di visita

Quando andare

Come viverlo al meglio

Quanto costa

Come arrivare ed entrare

Accessibilità del luogo

Informazioni rapide

Dove si trova

Visita responsabile

Articoli consigliati