60 Best Sights in Naples, Italy

Naples was originally named by the Greeks after the Mermaid Parthenope (who slew herself after being rejected by Odysseus, at least in the poet Virgil’s version), so it's only fitting that the city should have established one of Europe's first public aquariums in 1874. Founded by the German scientist Anton Dohrn and housed in a Stile Liberty building designed by Adolf von Hildebrandt, the aquarium quickly became the wonder of Naples for children and art-exhausted adults. At the time—when, not so incidentally, the public imagination was being stirred by Jules Verne’s Captain Nemo and Hans Christian Andersen’s Little Mermaid—technological innovations made it possible to funnel seawater directly from the bay into the aquarium.

Officially named the Stazione Zoologica, the aquarium reopened in 2021 after a major six-year overhaul. Tanks still showcase marine life from the Bay of Naples, as well as tropical fish, but the complex now also includes the Museo Darwin-Dohrn (Da-DoM), a few steps away in the leafy Villa Comunale. The highlight is the skeleton of a sperm whale, which washed up in Ischia in 2018, in a room opening up to the bay. Guided tours are available.

Known to locals as Maschio Angioino, in reference to its Angevin builders, this imposing castle is now used more for marital than for military purposes—a portion of it serves as a government registry office. A white four-tiered triumphal entrance arch, ordered by Alfonso of Aragon after he entered the city in 1443 to seize power from the increasingly beleaguered Angevin Giovanna II, upstages the building's looming Angevin stonework. At the arch's top, as if justifying Alfonso's claim to the throne, the Archangel Michael raises his right arm to slay a demon.

Across the courtyard within the castle, up a staircase, is the Sala Grande, also known as the Sala dei Baroni, which has a stunning vaulted ceiling 92 feet high. In 1486, local barons hatched a plot against Alfonso's son, King Ferrante, who reacted by inviting them to this hall for a wedding banquet, which promptly turned into a mass arrest. (Ferrante is also said to have kept a crocodile in the castle as his pet executioner.) You can also visit the Sala dell'Armeria, where a glass floor reveals recent excavations of Roman baths from the Augustan period, with resin plaster casts of the skeletons also found here (the originals are in storage in the Museo Archeologico Nazionale). In the next room on the left, the Cappella Palatina, revolving exhibitions (some free) adorn the walls along with a few tiny remaining fragments of the famous Giotto pictures described by Petrarch.

Before climbing to the castle's first-floor gallery, with its beautiful Renaissance-era masterpieces, check out the magnificent 16th-century Cappella delle Anime del Purgatorio and its richly decorated gold-plated altar.

At the back of the courtyard are giant photographs of three Roman ships, wood amazingly intact, unearthed during recent digging of the nearby metro station and now hidden away for restoration. A few tour itineraries are offered, including one of the underground prisons and the terrace with its unrivaled views of Piazza Muncipio's Roman excavations.  You must book and pay for entry in advance on the castle's website, but guided tours (in English and Italian), which provide greater access to the castle's rooms, are available only once inside the castle.

Atop a rocky promontory with a fabulous view of the entire city and majestic salons that would please any monarch, this monastery seems more like a palace. The certosa, or charter house, had been started in 1325, but, by the 18th century, it had grown so sumptuous that Ferdinand IV threatened to halt the religious order's government subsidy. Although the Angevin heritage can be seen in the pointed arches and cross-vaulted ceiling of the Certosa Church, over the years dour Gothic was traded in for varicolored Neapolitan Baroque.

The sacristy leads into the Cappella del Tesoro, with Luca Giordano's ceiling fresco of Judith holding aloft Holofernes's head and paintings by Jusepe de Ribera (the Pietà over the altar is one of his masterpieces). The polychrome marble work of the architect and sculptor Cosimo Fanzago (1591–1678) is at its finest here, and he displays a gamut of sculptural skills in the Chiostro Grande (Great Cloister). Fanzago's ceremonial portals at each corner of the cloister are among the most spectacular of all Baroque creations, aswirl with Michelangelo-esque ornament.

The nearby Museo dell’Opera, which isn't always open, contains sociology-theme rooms that add up to a chronological tour of the city. One room has 13 gouaches of Vesuvius, and another has paintings depicting the Plague. The Quarto del Priore (Prior's Quarters), the residence of the only monk allowed contact with the outside world, is an extravaganza of salons filled with frescoes, majolica-tile floors, and paintings, plus extensive gardens where scenic pergolati (roofed balconies) overlook the bay.

Entering from the Quarto del Priore side, you come upon two splendid gilded coaches and then the "Vessels of the King" naval museum, with a 20-meter (65-foot) boat occupying a whole room. Beyond this lie two rooms with Early Renaissance masterpieces; subsequent rooms hold works by later artists, including the tireless Giordano. Past the library, with its heavenly majolica-tile floor, comes the Sezione Presepiale, the world’s greatest collection of Christmas cribs. Pride of place goes to the Presepe (Nativity scene) of Michele Cuciniello. Equally amazing in its own way is a crib inside an eggshell.

The beautifully restored 17th-century Basilica di Pietrasanta, a Cosimo Fanzago Baroque masterpiece built on the site of the Roman Temple of Diana, hosts regular multimedia exhibitions, but the star attraction here is the underground visit to a section of Naples’s oldest aqueduct. Four tours a day descend 40 meters (131 feet) below the busy Via dei Tribunali to large lavishly illuminated cisterns hewed from excavated tuff two millennia ago, still filled with running water (thanks to a collaboration with the city’s waterworks).

The first thing Mayor Luigi de Magistris did after his 2011 election was to banish traffic from the city's seafront. Strolling, skating, or biking along Via Caracciolo and Via Partenope with Capri, Vesuvius, and the Castel dell'Ovo in your sights is a favorite Neapolitan pastime.

Also known as MANN, this legendary museum, located on the northern edge of the Centro Storico district, has experienced something of a rebirth in recent years. Its unrivaled collections include world-renowned archaeological finds that put most other museums to shame, from some of the best mosaics and paintings from Pompeii and Herculaneum to the legendary Farnese collection of ancient sculpture. The core masterpiece collection is almost always open to visitors, while seasonal exhibitions feature intriguing cultural events, collaborations, and contemporary artists. Some of the newer rooms, covering archaeological discoveries in the Greco-Roman settlements and necropolises in and around Naples, have helpful informational panels in English.

The dazzling funerary chapel of the Sangro di Sansevero princes combines noble swagger, overwhelming color, and a touch of the macabre—which expresses Naples perfectly. The chapel was begun in 1590 by Prince Giovan Francesco di Sangro to fulfill a vow to the Virgin if he were cured of a dire illness. The seventh Sangro di Sansevero prince, Raimondo, had the building modified in the mid-18th century and is generally credited for its current baroque styling, the noteworthy elements of which include the splendid marble-inlay floor and statuary, including Giuseppe Sanmartino's spine-chillingly lifelike Cristo Velato (Veiled Christ).

The grandiose, 18th-century, neoclassical, Bourbon royal palace houses fine and decorative art in 124 rooms. The main galleries on the first floor are devoted to the Farnese collection, as well as work from the 13th to the 18th century, including many pieces by Dutch masters, as well as an El Greco and 12 Titian paintings. On the second floor look for stunning paintings by Simone Martini (circa 1284–1344) and Caravaggio (1573–1610).

In the courtyard of the 16th-century Palazzo Marigliano is this world-famous hospital for dolls, which has a small museum dedicated to its poignant mission. Doll limbs, eyes and well-cuddled, antique characters of all shapes and descriptions spill from packed shelves. In business since 1895, it's a wonderful place to take kids (and their injured toys) and for anyone who retains a childhood sense of wonder with a penchant for the uncanny.

A leading Naples showpiece created as an expression of Bourbon power and values, the Palazzo Reale dates from 1600. Renovated and redecorated by successive rulers and once lorded over by dim-witted Ferdinand IV who liked to shoot his hunting guns at the birds in his tapestries, it is filled with salons designed in the most lavish 18th-century Neapolitan style.

The Spanish viceroys originally commissioned the palace, ordering the Swiss architect Domenico Fontana to build a suitable new residence for King Philip III, should he ever visit Naples. He died in 1621 before ever doing so. The palace saw its greatest moment of splendor in the 18th century, when Charles III of Bourbon became the first permanent resident. The flamboyant Naples-born architect Luigi Vanvitelli redesigned the facade, and Ferdinando Fuga, under Ferdinand IV, created the Royal Apartments, sumptuously furnished and full of precious paintings, tapestries, porcelains, and other objets d'art.

To access these 30 rooms, climb the monumental Scalone d'Onore (Staircase). On the right is the Court Theater, built by Fuga for Charles III and his private opera company. Damaged during World War II, it was restored in the 1950s; note the resplendent royal box. Pass through three regal antechambers to Room VI, the Throne Room, the ponderous titular object dating to sometime after 1850.

In the Ambassadors’ Room, choice Gobelin tapestries grace the beige fabric walls and the ceiling honors Spanish military victories, painted by local artist Belisario Corenzio (1610–20). Room IX was bedroom to Charles's queen, Maria Cristina. The brilliantly gold private oratory has beautiful paintings by Francesco Liani (1760). The Great Captain's Room has ceiling frescoes by Battistello Caracciolo (1610–16); all velvet, fire, and smoke, they reveal the influence of Caravaggio’s visit to the city. A jolly wall-mounted series by Federico Zuccari depicts 12 proverbs.

Room XIII was Joachim Murat's writing room when he was king of Naples; brought with him from France, some of the furniture is courtesy of Adam Weisweiler, cabinetmaker to Marie Antoinette. The huge Room XXII, painted in green and gold with kitschy faux tapestries, is known as the Hercules Hall, because it once housed the Farnese Hercules, an epic sculpture of the mythological Greek hero. Pride of place now goes to the Sèvres porcelain.

The Palatine Chapel, also known as the Royal Chapel, redone by Gaetano Genovese in the 1830s, is gussied up with an excess of gold, although it has a stunning multicolor marble intarsia altar transported from a now-destroyed chapel in Capodimonte (Dionisio Lazzari, 1678). Also here is a Nativity scene with pieces sculpted by Giuseppe Sammartino and others. Another wing holds the Biblioteca Nazionale Vittorio Emanuele III. Starting out from Farnese bits and pieces, it was enriched with the papyri from Herculaneum found in 1752 and opened to the public in 1804. The sumptuous rooms can still be viewed, and there's a tasteful terrace that looks onto Castel Nuovo.

In the Bourbon stables, the Galleria del Tempo (open afternoons and evenings only) offers a multimedia trip through the history of Naples. The Museo Caruso (open mornings only) in the monumental Sala Dorica is dedicated to the great Neapolitan tenor Enrico Caruso.

Atop Posillipo's hill, this small yet magical complex has a 1st-century villa and two amphitheaters; access is though the Grotta di Seiano, a 2,500-foot tunnel cut though the tufa rock over two millennia ago. Guided tours (in Italian, book ahead) are given at 11 weekdays, 10:30 and 12:15 on weekends and holidays. Evening concerts are often held here in the summer.

One of the Centro Storico's defining sites, this octagonal church was built around the corner from the Duomo for a charitable institution seven noblemen founded in 1601. The institution's aim was to carry out acts of Christian charity like feeding the hungry, clothing the poor, nursing the sick, sheltering pilgrims, visiting prisoners, and burying the indigent dead—acts immortalized in the history of art by Caravaggio's famous altarpiece depicting the Sette Opere della Misericordia (Seven Acts of Mercy). Pride of place is given to the great Caravaggio above the altar.

The church of San Lorenzo features a very unmedieval facade of 18th-century splendor. Due to the effects and threats of earthquakes, the church was reinforced and reshaped along Baroque lines in the 17th and 18th centuries. Begun by Robert d'Anjou in 1270 on the site of a previous 6th-century church, the church has a single, barnlike nave that reflects the Franciscans' desire for simple spaces. Also found here is the church's most important monument: the tomb of Catherine of Austria (circa 1323), by Tino da Camaino.

This church, simple and rather anonymous from the outside, houses some of the most important ensembles of Renaissance sculpture in southern Italy. Begun with the adjacent convent of the Olivetani and its four cloisters in 1411, it was given a Baroque makeover in the mid-17th century by Gennaro Sacco.

To the left of the Ligorio Altar is the Mastrogiudice Chapel, whose altar contains Scenes from the Life of Jesus (1489) by Benedetto da Maiano, a great name in Tuscan sculpture. On the other side of the entrance is the Piccolomini Chapel, with a Crucifixion by Giulio Mazzoni (circa 1550), a refined marble altar (circa 1475), and a funerary monument to Maria d'Aragona by another prominent Florentine sculptor, Antonello Rossellino (circa 1475).

With museum-worthy paintings and sculptures, this church is a must-see. The Formiello in the name refers to the formali, the nearby underground aqueduct, which, according to history, the Aragonese also used to capture the town. The church and its dark piperno stone was designed for the Dominicans by the Tuscan architect Romolo Balsimelli, a student of Brunelleschi.

The side chapels are as interesting for their relics as they are for their art. In the Orsini chapel are the elaborately framed remains of Vincent Martyr and other Dominican saints, while the fourth chapel displays some 20 martyrs' skulls that were brought to Naples by King Alfonso in 1490 after the 1480 Ottoman sack of Otranto, during which 813 Christians were executed for refusing to renounce their faith. This event is depicted in the rather surrealistic altar painting of the beheading of Antonio Primaldo, whose decapitated body, through the strength of faith, stands upright to confound his Ottoman executioner.

In the fifth chapel, a cycle of paintings by Giacomo del Po shows the life and afterlife of St. Catherine, while in the vault Luigi Garzi depicts the same saint in glory. Up in the faded dome, painted by Paolo di Mattei, Catherine and the Madonna implore the Trinity to watch over the city.

Offering a stark and telling contrast to the opulence of the nearby Gesù Nuovo, Santa Chiara is the leading Angevin Gothic monument in Naples. The fashionable house of worship for the 14th-century nobility and a favorite Angevin church from the start, the church of St. Clare was intended to be a great dynastic monument by Robert d'Anjou. His second wife, Sancia di Majorca, added the adjoining convent for the Poor Clares to a monastery of the Franciscan Minors so she could vicariously satisfy a lifelong desire for the cloistered seclusion of a convent. This was the first time the two sexes were combined in a single complex.

Built in a Provençal Gothic style between 1310 and 1328 (probably by Gagliardo Primario) and dedicated in 1340, the church had its aspect radically altered, as did so many others, in the baroque period. A six-day fire started by Allied bombs on August 4, 1943, put an end to all that, as well as to what might have been left of the important cycle of frescoes by Giotto and his Neapolitan workshop. The church's most important tomb towers behind the altar. Sculpted by Giovanni and Pacio Bertini of Florence (1343–45), it is, fittingly, the tomb of the founding king: the great Robert d'Anjou, known as the Wise. Nearby are the tombs of Carlo, duke of Calabria, and his wife, Marie de Valois, both by Tino da Camaino.

Around the left side of the church is the Chiostro delle Clarisse, the most famous cloister in Naples. Complemented by citrus trees, the benches and octagonal columns comprise a light-handed masterpiece of painted majolica designed by Domenico Antonio Vaccaro, with a delightful profusion of landscapes and light yellow, azure, and green floral motifs realized by Donato and Giuseppe Massa and their studio (1742).

Designed by Catalan architect Oscar Tusquets Blanca and opened in 2012, this is the most impressive of the numerous Stazioni dell'Arte on the city's Metro Linea 1. First archaeological remains and then mosaics by William Kentridge lead to a 165-foot escalator descending below Robert Wilson's glittering oval Crater de Luz. A 560-foot corridor, connecting the station to the Quartieri Spagnoli, is lined with light boxes depicting Razza Umana (Human Race) by Oliviero Toscani. Lauded by both CNN and Britain's Telegraph, it also won a prestigious ITA Tunneling Award in 2015.

Dominican friars commissioned this Baroque, Greek cross–shape basilica, replete with majolica-tiled dome, in the early 17th century. The church acts as a small museum of the era's Counter-Reformation art—the most flagrantly devotional school of Catholic art—and includes no less than five Luca Giordano altarpieces. Note Giovan Vincenzo Forli's 17th-century Circumcision on the left. Elsewhere, the richly decorated elevated presbytery, complete with a double staircase, provides a note of color in the mostly gray-and-white decoration. The stairs to the right of the crypt provide access to the Catacombe di San Gaudioso, with visits every hour 10 am–1 pm that include seeing the Presepe Favoloso, an elaborate Nativity scene donated to the church by renowned artisans the Scuotto brothers in 2021.

This 12th-century castle, the oldest in Naples, was built atop the ruins of an ancient Roman villa on a thin promontory that dangles over the Porto Santa Lucia. Legend has it that the poet Virgil hid inside the villa an egg that had protective powers as long as it remained intact. The belief was taken so seriously that to quell the people's panic after Naples suffered an earthquake, an invasion, and a plague in quick succession, its monarch felt compelled to produce an intact egg, solemnly declaring it to be the original.

Today, the castle shares its views with some of the city's top hotels, and its gigantic rooms, rock tunnels, and belvederes over the bay are among the city's most striking sights. Some rooms are even given over to temporary art and photography shows. You enter below a forbidding trio of cannons. On the right is a large picture of the castle in Renaissance times. Turn left and look through the battlements to the intimate Borgo Marinaro below. An elevator on the right ascends to the castle top, or you can continue along the walkway overlooking the ramparts. The roof's Sala della Terrazze offers a postcard-come-true view of Capri.

Note that Castel dell'Ovo is closed for renovation work. Although it's scheduled to reopen in 2026, check on its status before visiting.

Perched on the Vomero, this massive castle is almost the size of a small town. Built by the Angevins in the 14th century to dominate the port and the old city, it was remodeled by the Spanish in 1537. The parapets, configured in the form of a six-pointed star, provide fabulous views. Once a major military outpost, the castle these days hosts occasional cultural events. Within the castle, the Museo del Novecento traces Naples's 20th-century artistic output.  For sunset and golden-hour views, plus half-price entry come after 4 pm.

These catacombs—designed for Christian burial—date back at least as far as the 2nd century AD. This was where St. Gennaro's body was brought from Pozzuoli in the 5th century, after which the catacombs became a key pilgrimage center. The 45-minute guided tour of the two-level site takes you down a series of vestibules with frescoed niche tombs. Looming over the site is the imposing bulk of the early-20th-century Madre del Buon Consiglio church, whose form was apparently inspired by St. Peter's in Rome. Under the general site name of Catacombe di Napoli, these catacombs are now linked ticketwise with the Catacombe di San Gaudioso, in the Sanità district.

Once a tavern, this building was rebuilt by the Monte di Pietà charity in 1616 as a church, and its two stories are fascinatingly complementary. As bare as the upper Church is lavish, the altar below-stairs is a stark black cross against a peeling gray wall. The nave covers what was a 1656 plague pit now set off by chains with four lamps to represent the flames of Purgatory. As the pit filled up, to accommodate more recent dead the skulls of earlier plague victims were placed on the central floor. So was born the cult of le anime pezzentelle (wretched souls). By praying for them, the living could accelerate these souls' way to Heaven, at which point the pezzentelle could intercede on behalf of the living.

During the 20th century, World War II left many Neapolitans with missing relatives. Some families found consolation by adopting a skull in their loved ones’ stead. The skulls would be cleaned, polished, and then given a box-type altarino.

If all this verges on the pagan, the Catholic Church thought likewise, and in 1969 the practice was banned. The altarini were blocked off and eventually abandoned. In 1992 the church reopened and most of the skulls were taken to Cimitero delle Fontanelle. Some still remain, like that of one Lucia, princess of skulls and patron of amore infelice (unhappy love).

Although this cathedral was established in the 1200s, the building you see was erected a century later and has since undergone radical changes—especially during the baroque period. Inside, ancient columns salvaged from pagan buildings rise to the 350-year-old richly decorated false wooden ceiling (the original Gothic ceiling is 6 meters higher). Off the left aisle, step down into the 4th-century church of Santa Restituta, which was incorporated into the cathedral. Though Santa Restituta was redecorated in the late 1600s in the prevalent baroque style, the Battistero (Baptistery) is the oldest in the Western world, with what some claim to be the most beautiful mosaics in Italy.

On the right aisle of the cathedral, in the Cappella del Tesoro di San Gennaro, multicolor marbles and frescoes honor St. Januarius, the miracle-working patron saint of Naples, whose altar and relics are encased in silver. Three times a year—on September 19 (his feast day); on the Saturday preceding the first Sunday in May, which commemorates the transfer of his relics to Naples; and on December 16—his dried blood, contained in two sealed vials, is believed to liquefy during rites in his honor; the rare occasions on which it does not liquefy portend ill, as in 1980, the year of the Irpinia earthquake.

The most spectacular painting on display is Ribera's San Gennaro in the Furnace (1647), depicting the saint emerging unscathed from the furnace while his persecutors scatter in disarray. These days large numbers of devout Neapolitans offer up prayers in his memory. The Museo del Tesoro di San Gennaro houses a rich collection of treasures associated with the saint. Paintings by Solimena and Luca Giordano hang alongside statues, busts, candelabras, and tabernacles in gold, silver, and marble by Cosimo Fanzago and other 18th-century baroque masters.

Following a revolution in 1848, Ferdinando II decided to build an escape route from the Palazzo Reale to the sea, under the Pizzofalcone hill, with work beginning five years later. The death of the king and political changes (leading to Garibaldi’s unification of Italy in 1861) meant the project was never completed, and the tunnel lay abandoned for almost a century until World War II, when it was used as a bomb shelter. The visit begins with a descent of 90 steps to a series of large tuff chambers, excavated for building work in the 18th century and then used as water cisterns. A short passageway leads to the tunnel itself, which, after the war, was used as a pound for stolen cars and motorbikes, many of which are still here. The more adventurous can book a tour of the cistern, which begins on Vico del Grottone 4, just off Via Gennaro Serra behind Piazza Plebscicito.

The galleria was erected during the "cleanup" of Naples following the devastating cholera epidemic of 1884. With facades on Via Toledo—the most animated street in Naples at the time—the Liberty-style arcade with curvy glass and wrought-iron dome and vaulted wings, built between 1887 and 1890 according to a design by Emanuele Rocco, had a prestigious and important location.

Once the headquarters of the Banco di Napoli, this vast 20th-century building houses a small museum that's worth seeking out for its outstanding collection of 17th- and 18th-century paintings. Relocated from the nearby 17th-century Palazzo Zevallos Stigliano in 2022, the star attraction is Caravaggio's last work, The Martyrdom of Saint Ursula. The saint here is, for dramatic effect, deprived of her usual retinue of a thousand followers. On the left, with a face of pure spite, is the king of the Huns, who has just shot Ursula with an arrow after his proposal of marriage has been rejected. A changing program "L’Ospite Illustre" introduces pieces by an "lllustrious guest," such as Raphael and Velázquez from renowned collections.

A stunning architectural contrast to the plain Romanesque frontage of other nearby churches, the strikingly austere, recently restored (2023) stone facade of this elaborate Baroque church dates to the late 16th century. Originally a palace, the building was seized by Pedro of Toledo in 1547 and sold to the Jesuits with the condition that the facade remain intact. Behind the entrance is Francesco Solimena’s action-packed Heliodorus’ Eviction from the Temple. You can find the work of familiar Baroque sculptors (Naccherino, Finelli) and painters inside. The gracious Visitation above the altar in the second chapel on the right is by Massimo Stanzione, who also contributed the fine frescoes in the main nave: they're in the presbytery (behind and around the main altar).

This piece is by controversial street artist Banksy. Located on a wall in front of the grand facade of the chiesa dei Girolamini, the church where the 17th-century philosopher Giambattista Vico is buried, the stencilled La Madonna con la Pistola sits behind a protective glass screen and attracts a regular trickle of devotees.

With 86,111 square feet of exhibition space, a host of young and helpful attendants, and occasional late-night events, the Madre is one of the most visited museums in Naples. Most of the artworks on the first floor were installed in situ by their creators, but the second-floor gallery exhibits works by international and Italian contemporary artists. The museum also hosts temporary shows by major international artists.