57 Best Sights in Emilia–Romagna, Italy

Some of the original decorations of the town's main church, the former church, and the cloister of San Romano reside in the Museo della Cattedrale, across the piazza from the Duomo. Inside you'll find 22 codices commissioned between 1477 and 1535; early-13th-century sculptures by the Maestro dei Mesi; a mammoth oil on canvas by Cosmè Tura from 1469; and an exquisite Jacopo della Quercia, the Madonna della Melagrana. Although this last work dates from 1403 to 1408, the playful expression on the Christ child seems very 21st century.

The home of the much revered founder of the Ferrari automobile marque, Enzo Ferrari, has been imaginatively enlarged and converted into a museum dedicated to his life and work. Besides the various trophies and engines on display, visitors can view an absorbing video that tells the Ferrari story and see the restored workshop belonging to Enzo's father, Alfredo, and, in a futuristic pavilion built alongside, a grand array of contemporary and vintage cars. A joint ticket is available with the Museo Ferrari in Maranello.

This museum has become a pilgrimage site for auto enthusiasts. It takes you through the illustrious history of Ferrari, from early 1951 models to the present—the legendary F50 and cars driven by Michael Schumacher in Formula One victories being highlights. You can also take a look at the glamorous life of founder Enzo Ferrari (a re-creation of his office is on-site) and get a glance at the production process.

One of the largest ceramics museums in the world has a well-labeled, well-lit collection, with objects from the Renaissance among its highlights. Although the emphasis is clearly on local work, the rest of Italy and the globe are also represented. Don't miss the 20th- and 21st-century galleries, which prove that decorative arts often surpass their practical limitations and become genuinely sculptural.

The music museum in the spectacular Palazzo Aldini-Sanguinetti, with its 17th- and 18th-century frescoes, offers among its exhibits a 1606 harpsichord and a collection of beautiful music manuscripts dating from the 1500s.

The collection of ornate religious objects and multimedia installations at this museum (commonly known as MEIS) bears witness to the long history of the city's Jewish community. This history had its high points—1492, for example, when Ercole I invited the Jews to come over from Spain—and its lows, notably 1627, when Jews were enclosed within the ghetto, where they were forced to live until the advent of a united Italy in 1860. The triangular warren of narrow cobbled streets that made up the ghetto originally extended as far as Corso Giovecca (originally Corso Giudecca, or Ghetto Street). When it was enclosed, the neighborhood was restricted to the area between Via Scienze, Via Contrari, and Via di San Romano. The museum is located about a 15-minute walk from the former Jewish ghetto. Guided tours may be booked in advance by emailing or calling the museum.

When Bologna was an independent city-state, this huge palace dating from the 13th to 15th century was the seat of government—a function it still serves today in a building that is a mélange of styles. Over the door is a statue of Bologna-born Pope Gregory XIII (reigned 1572–85), most famous for reorganizing the calendar. The Collezioni Comunali d'Arte museum exhibits medieval paintings as well as some Renaissance works by Luca Signorelli (circa 1445–1523) and Tintoretto (1518–94). 

Named for the 8,500 small pink-and-white marble pyramids (or "diamonds") that stud its facade, this building was designed to be viewed in perspective—both faces at once—from diagonally across the street. Work began in the 1490s and finished around 1504. Inside the palazzo is the Pinacoteca Nazionale which houses 13th- to 17th-century Ferrarese painting, plus temporary shows.

This classic Renaissance palace facing the Basilica di San Petronio was erected from 1484–94, and attached to it is the soaring Torre dell'Arengo. The bells in the tower have rung whenever the city has celebrated, mourned, or called its citizens to arms. It may not be open to the public, but head under the palazzo's atmospheric vaulted arches to experience the resonant magic of the Voltone del Podestà: whisper into the right-angled brick walls below a saintly statue to communicate with a pal opposite.

Built in 1244, this palace became home to King Enzo of Sardinia, who was imprisoned here in 1249 after he was captured during the fierce battle of Fossalta. He died here 23 years later. The palace has other macabre associations as well: common criminals received last rites in the tiny courtyard chapel before being executed in Piazza Maggiore. The colonnaded courtyard is worth a peek, and its two grand saloni (salons) are used for events including concerts.

The hub of the city is the Piazza dei Cavalli, with the flamboyant equestrian statues from which the piazza takes its name. These are depictions of Ranuccio Farnese (1569–1622) and, on the left, his father, Alessandro (1545–92). The latter was a beloved ruler, enlightened and fair; Ranuccio, his successor, less so. Both statues are the work of Francesco Mochi, a master Baroque sculptor. Dominating the square is the massive 13th-century Palazzo Pubblico, also known as Il Gotico. This two-tone, marble-and-brick, turreted and crenellated building was the seat of town government before Piacenza fell under the iron fists of the ruling Pallavicini and Farnese families.

The impressive cobblestone piazza scene contains the cathedral and the Battistero, plus the Palazzo del Vescovado (Bishop's Palace). Behind the Duomo is the Baroque church of San Giovanni Evangelista.

One must-see is the Piazza della Libertà, where the Palazzo Pubblico is guarded by soldiers in green uniforms. As you'll notice by peering into the shops along the old town's winding streets, the republic is famous for crossbows and other items (think fireworks or firearms) that are illegal almost everywhere else.

This piazza is the heart of Parma, where people gather to pass the time of day, start their passeggiata (constitutional), or simply hang out; the square and nearby Piazza del Duomo make up one of the loveliest historic centers in Italy. Strada Cavour, leading off the piazza, is Parma's prime shopping street. It's also crammed with wine bars teeming with locals, so it's a perfect place to stop for a snack or light lunch or a drink.

Bologna's principal art gallery contains many works by the immortals of Italian painting; its prize possession is the Ecstasy of St. Cecilia by Raphael (1483–1520). There's also a beautiful polyptych by Giotto (1267–1337), as well as Madonna with Child and Saints Margaret, Jerome, and Petronius (altarpiece of St. Margaret) by Parmigianino (1503–40); note the rapt eye contact between St. Margaret and the Christ child.

The tomb of St. Dominic, who died here in 1221, is called the Arca di San Domenico and is found in this church in the sixth chapel on the right. Many artists participated in its decoration, notably Niccolò di Bari, who was so proud of his 15th-century contribution that he changed his name to Niccolò dell'Arca to recall this famous work. The young Michelangelo (1475–1564) carved the angel on the right and the image of San Petronio. In the right transept of the church is a tablet marking the last resting place of hapless King Enzo, the Sardinian ruler imprisoned in the Palazzo Re Enzo. The attached museum contains religious relics.

Beyond the elaborate Baroque facade of San Giovanni Evangelista, the Renaissance interior reveals several works by Correggio: St. John the Evangelist (in the lunette above the door in the left transept) is considered among his finest. Also in this church are works by Parmigianino (1503–40), a contemporary of Correggio's.

This church about 5 km (3 miles) southeast of Ravenna is landlocked now, but when it was built, it stood in the center of the busy shipping port known to the ancient Romans as Classis. The arch above and the area around the high altar are rich with mosaics. Those on the arch, older than the ones behind it, are considered superior. They show Christ in Judgment and the 12 lambs of Christianity leaving the cities of Jerusalem and Bethlehem. In the apse is the figure of Sant'Apollinare himself, a bishop of Ravenna, and above him is a magnificent Transfiguration against blazing green grass, animals in odd perspective, and flowers.

The mosaics displayed in this church date from the early 6th century, making them slightly older than those in San Vitale. Since the left side of the church was reserved for women, it's only fitting that the mosaics on that wall depict 22 virgins offering crowns to the Virgin Mary. On the right wall, 26 men carry the crowns of martyrdom; they approach Christ, surrounded by angels.

Dating from the 16th century, this delightful church has one of Parma's most recognizable domes. In the dome's large arch there's a wonderful decorative fresco by Francesco Mazzola, better known as Parmigianino. He took so long to complete it that his patrons briefly imprisoned him for breach of contract.

In the center of Busseto is the lovely Teatro Verdi, dedicated, as you might expect, to the works of the hamlet's famous son. Guided tours (in both English and Italian) of the well-preserved, ornate, 19th-century-style theater are offered every half hour. Check with the Busseto tourist office for the performance schedule.

The Malatesta family constructed the Tempio Malatestiano, also called the Basilica Cattedrale, with a masterful facade by Leon Battista Alberti (1404–72). Inside, the chapel to the right of the high altar contains a wonderful (if faded) fresco by Piero della Francesca (1420–92) depicting Sigismondo Malatesta kneeling before a saint. The two greyhounds in the right corner are significantly less faded than the rest.

Exiled from his native Florence, the author of The Divine Comedy died here in 1321, and Dante's tomb is in a small neoclassical building next door to the large church of St. Francis. The Florentines have been trying to reclaim their famous son for hundreds of years, but the Ravennans refuse to give him up, arguing that since Florence did not welcome Dante in life, it does not deserve him in death. Perhaps as penance, every September the Florentine government sends olive oil that's used to fuel the light hanging in the chapel's center.

For a spectacular view of Piazza Maggiore and the Bolognesi hills from two terraces as well as a look at how Bologna's oldest clock keeps the city punctual, climb the Torre dell'Orologio, or d'Arccursio tower. Opened to the public in 2021, it was built in 1249 as University of Bologna law professor Accursio da Bagnolo's monumental timepiece for his home in the piazza. The clock mechanism you'll see dates from 1773, as found on the horologist's inscription "Rinaldo Gandofli Accademic Clementi Fece 1773," among the clock's movement, gears, and swinging pendulum.

San Marino's headline attractions are its Tre Castelli—medieval architectural wonders that appear on every coat of arms in the city—and some spectacular views. Starting in the center of town, walk a few hundred yards past the trinket shops, along a paved cliff-top ridge, from the 10th-century Rocca della Guaita to the 13th-century Rocca della Cesta (containing a museum of ancient weapons; worthwhile mostly for the views from its terraces and turrets) and finally to the 14th-century Rocca Montale (closed to the public), the most remote of the castles. Every step of the way affords spectacular views of Romagna and the Adriatic—it's said that on a clear day you can see Croatia. The walk makes for a good day's exercise, but is by no means arduous. Even if you arrive after visiting hours, it's supremely rewarding.

One of the best-preserved medieval streets in Europe, the Via delle Volte clearly evokes Ferrara's past. The series of ancient volte (arches) along the narrow cobblestone alley once joined the merchants' houses on the south side of the street to their warehouses on the north side. The street ran parallel to the banks of the Po River, which was home to Ferrara's busy port.

For Verdi lovers, Villa Verdi (also known as Villa Sant'Agata) is a veritable shrine. It's the grand country home Verdi built for himself in 1849—and the place where some of his greatest works were composed. Visits are by tour only.