14 Best Sights in Bologna, Emilia–Romagna

The museum—the name stands for Museo d'Arte Moderna di Bologna, or Bologna's Museum of Modern Art—houses a permanent collection of modern art. All of this is set within the sleek minimalist structure built in 1915 as the Forno del Pane, a large bakery. Seek out the powerful Arte e Ideologia section for Guttuso's Funerali di Togliatti (1972), a charged symbol of pride and pain for many Bolognesi and Italiani. The work of Bologna's celebrated abstract painter Giorgio Morandi (1890–64), known for his muted still life paintings of domestic objects and landscapes, can be viewed at the Museo Morandi here. The fab bookshop and MAMbo Cafè complete the complex.

This splendid and unusual basilica contains between four and seven connected churches (authorities differ). A 4th-century temple dedicated to Isis originally occupied this site, but much of what you see was erected between the 10th and 12th centuries. Just outside the church, which probably dates from the 5th century (with later alterations), is the Cortile di Pilato (Pilate's Courtyard), named for the basin in the center. Despite the fact that the basin was probably crafted around the 8th century, legend has it that Pontius Pilate washed his hands in it after condemning Christ. 

With panoramic views and grandiose Baroque architecture atop the forested Colle della Guardia hill some 5 km (3 miles) southwest of Piazza Maggiore, the 1765-consecrated Sanctuary of San Luca church is a symbol of Bologna. For a bona fide Bolognese pilgrimage, climb the 950-foot hill on foot from Porta Saragozza protected by the 666 arches (alluding to the Madonna-crushed devil) and 15 chapels of the world's longest portico (3.9 km/2.4 miles). The final ceremonial section (completed in 1721) begins at the monumental Arco del Meloncello, which echoes the orange-hued architecture of the basilica itself. Visitors can ascend a further 110 steps into the cupola for 180-degree views as part of the new San Luca Sky Experience. For a less strenuous route to the sanctuary hop on the No. 20 bus then the 58 minibus (from Villa Spada), or the San Luca Express trenino (mini tourist train; €13 return) from the city center. To avoid the crowds, set out early morning.

Take a stroll through the streets of the university area: a jumble of buildings, some dating as far back as the 15th century and most to the 17th and 18th. The neighborhood, as befits a college town, is full of bookshops, coffee bars, and inexpensive restaurants. Political slogans and sentiments are scrawled on walls all around the university and tend to be ferociously leftist, sometimes juvenile, and often entertaining. Among the 15 university museums, the most interesting is the Museo di Palazzo Poggi, which displays scientific instruments plus paleontological and botanical artifacts.

Construction on this vast cathedral began in 1390, and the work still isn't finished more than 600 years later. Above the center of the door is a Madonna and Child flanked by Saints Ambrose and Petronius, the city's patrons. Michelangelo, Giulio Romano, and Andrea Palladio (among others), submitted designs for the facade, which were all eventually rejected. The Bolognesi had planned an even bigger church but had to tone down construction when the university seat was established next door in 1561. The most important art in the church is in the fourth chapel on the left: these frescoes by Giovanni di Modena date to 1410–15.

Sculptor Giambologna's elaborate 1563–66 Baroque fountain and monument to Neptune occupying Piazza Nettuno has been aptly nicknamed "Il Gigante" (The Giant). Its exuberantly sensual mermaids and undraped god of the sea drew fire when it was constructed—but not enough, apparently, to dissuade the populace from using the fountain as a public washing stall for centuries.

Two landmark medieval towers, mentioned by Dante in The Inferno, stand side by side in the compact Piazza di Porta Ravegnana. Once, every family of importance had a tower as a symbol of prestige and power (and as a potential fortress). Now only 24 remain out of nearly 100 that once presided over the city. Torre Garisenda (late 11th century), which tilts 4 degrees (Pisa's leans 3.9), was shortened to 157 feet in the 1300s. Torre degli Asinelli (1119) is 318 feet tall and leans 7½ feet; both towers and the piazza are currently closed to visitors while the tottering Torre Garisenda is being carefully monitored.

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.

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). You can also explore two panoramic terraces of the Torre dell’Orologio, its clock mechanism and the grand Sala Farnese. The cavernous, light-filled iron-roofed Sala Borsa (1884) now houses the wonderful civic library Salaborsa Biblioteca Multimediale.

This classic Renaissance palace facing the Basilica di San Petronio was erected from 1484 to 1494, 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.

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.

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.