23 Best Sights in Emilia–Romagna, Italy

Locals and visitors flock to this fruit, vegetable, meat, and fish market with good reason. Ingredients are of the finest and of the freshest, and visually the place is a glorious sight to behold. A restaurant inside (outside seating when the weather agrees) serves much of what comes from the market. It's been around in this current incarnation since 1931, and it's pretty easy to see why.

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. 

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.

Rimini's oldest monument is the Arco d'Augusto, now stranded in the middle of a square just inside the city ramparts. It was erected in 27 BC, making it among the oldest surviving ancient Roman arches.

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.

The magnificent 12th-century cathedral has two vigilant stone lions standing guard beside the main door; inside is some notable art in styles from medieval to Mannerist. The arch of the entrance is decorated with a delicate frieze of figures representing the months of the year, a motif repeated inside the baptistery. Some of the church's original artwork still survives, notably the simple yet evocative Descent from the Cross, a carving in the right transept by Benedetto Antelami (active 1178–1230), whose masterwork is this cathedral's baptistery. It's an odd juxtaposition to turn from his austere work to the exuberant fresco in the dome, the Assumption of the Virgin by Antonio Allegri, better known to us as Correggio (1494–1534). The fresco was not well received when it was unveiled in 1530. "A mess of frogs' legs," the bishop of Parma is said to have called it. Today Correggio is acclaimed as one of the leading masters of Mannerist painting. The fresco is best viewed when the sun is strong, as this building is not particularly well lit.

The magnificent Gothic cathedral, a few steps from the Castello Estense, has a three-tier facade of slender arches and beautiful sculptures over the central door. Work began in 1135 and took more than 100 years to complete. The interior was completely remodeled in the 17th century. At the time of writing, the Duomo is undergoing major restoration after the 2012 earthquake: the interior is only partially open with a multimedia display outlining the works.

Begun by the architect Lanfredo in 1099 and consecrated in 1184, the 12th-century Romanesque cathedral has medieval sculptures depicting scenes from Genesis on the facade, but walk around to the Piazza Grande side as well to see the building's marvelous arcading. It's a rare example of a cathedral having more than one principal view. The interior, completely clad in brick, imparts a sober and beautiful feel. An elaborate gallery has scenes of the Passion of Christ carved by Anselmo da Campione and his assistants circa 1160–80. The tomb of San Geminiano is in the crypt. The white-marble bell tower is known as La Torre Ghirlandina (the Little Garland Tower) because of its distinctive weather vane.

Attached like a sinister balcony to the bell tower of Piacenza's 12th-century Duomo is a gabbia (iron cage), where miscreants were incarcerated naked and subjected to the scorn of the crowd in the marketplace below. Inside the cathedral, less evocative but equally impressive medieval stonework decorates the pillars and the crypt, and there are extravagant frescoes in the dome of the cupola begun by Morazzone (1573–1626). Guercino (1591–1666) completed them upon Morazzone's death. If you're feeling strong, you can climb the spiral staircase to the cupola for a closer view. The Duomo can be reached by following Via XX Settembre from Piazza dei Cavalli.

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.

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.

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.

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.

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.

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.