17 Best Sights in Emilia–Romagna, Italy

The octagonal church of San Vitale was built in AD 547, after the Byzantines conquered the city, and its interior shows a strong Byzantine influence. The area behind the altar contains the most famous works, depicting Emperor Justinian and his retinue on one wall, and his wife, Empress Theodora, with her retinue, on the opposite one. Notice how the mosaics seamlessly wrap around the columns and curved arches on the upper sides of the altar area. School groups can sometimes swamp the site from March through mid-June.

Begun by the architect Lanfranco in 1099 and consecrated in 1184, the 12th-century Romanesque cathedral has sculptured facade reliefs by Wiligelmo depicting scenes from Genesis. Look over the main portal to enter a medieval world of intricately carved plant shoots teeming with human, heavenly and demonic life, flanked by two column-bearing Roman lions. Walk around to the Piazza Grande side to see graceful arcading and loggias, a rare example of a cathedral having various aspects and four grand entrances. The interior, completely clad in brick, creates a sober ambience and is filled with intricate stonework by generations of the Maestri Campionesi. The tomb of San Geminiano, Modena's patron saint  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.

The little tomb and the great church stand side by side, but the tomb predates the Basilica di San Vitale by at least 100 years: these two adjacent sights are decorated with the best-known, most elaborate mosaics in Ravenna. Galla Placidia was the sister of the Roman emperor Honorius, who moved the imperial capital to Ravenna in AD 402. This mid-5th-century mausoleum is her memorial.

The simple redbrick exterior only serves to enhance by contrast the richness of the interior mosaics, in deep midnight blue and glittering gold. The tiny central dome is decorated with symbols of Christ, the evangelists, and striking gold stars. Eight of the Apostles are represented in groups of two on the four inner walls of the dome; the other four appear singly on the walls of the two transepts. There are three sarcophagi in the tomb, none of which are believed to actually contain the remains of Galla Placidia.  Visit early or late in the day to avoid the school groups that can sometimes swamp the Mausoleo from March through mid-June.

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.

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.

Baptisms still happen in this octagonal baptistery designed by Benedetto Antelami between 1196 and 1216. It has a simple Pink Verona–marble Romanesque exterior and an uplifting Gothic interior. The doors are richly decorated with figures, animals, and flowers, and inside, the building has stucco figures (probably carved by Antelami) showing the months and seasons, and a vibrantly decorated cupola. Early-14th-century frescoes depicting scenes from the life of Christ grace the walls.

Next door to Ravenna's 18th-century cathedral, this baptistery has one of the town's most important mosaics. It dates from the beginning of the 5th century AD, with work continuing through the century. In keeping with the building's role, the great mosaic in the dome shows the baptism of Christ, and beneath are the Apostles. The lowest register of mosaics contains Christian symbols, the Throne of God, and the Cross. Note the naked figure kneeling next to Christ—he is the personification of the River Jordan.

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. On Palm Sunday 2024, the Duomo reopened having undergone major restoration after the 2012 earthquake; the extensive works uncovered ornately sculpted capitals hidden behind plaster for more than three centuries.

The magnificent 12th-century duomo 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.

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. Nearby at Via Prevostura 7, Kronos Museum displays the cathedral's collection of religious artworks, reliquaries, textiles and medieval manuscripts.  Take Bus No. 4/17 or walk 20 minutes to the Basilica di Santa Maria di Campagna for more captivating cupola frescos by Pordenone (combined cupola ticket €15), plus panoramic city views.

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. Two chapels have works displaying delicate perspective by a twentysomething 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.

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.