1473 Best Sights in Italy

The dining hall of the towering 11th-century Abbey of Passignano houses a stunningly massive, 21-foot-wide Last Supper (1476) by Domenico and Davide Ghirlandaio, and the monastery's church has a 13th-century sculpture of St. Michael slaying the dragon.

From the church of San Domenico it's a five-minute walk northwest to Fiesole's original cathedral. Dating from the 11th century, it was first the home of the Camaldolese monks. Thanks to Cosimo il Vecchio de' Medici, the complex was substantially restructured. The facade, never completed owing to Cosimo's death, contains elements of its original Romanesque decoration.

Originally endowed by Willa, Marquess of Tuscany, in 978, this ancient church is an interesting mélange of 13th-century, Renaissance, baroque, and 18th-century architectural refurbishing. Its graceful bell tower, best seen from the interior courtyard, is beautiful for its unusual construction—a hexagonal tower built on a quadrangular base.

The interior of the church was halfheartedly remodeled in the baroque style during the 17th century. Three tombs by Mino da Fiesole (circa 1430–84) line the walls, including the monumento funebre di Conte Ugo (tomb sculpture of Count Ugo), widely regarded as Mino's masterpiece. Executed in 1469–81, it shows Mino at his most lyrical: the faces seem to be lit from within—no small feat in marble.

The best-known work of art here is the delicate Vision of St. Bernard, by Filippino Lippi (circa 1457–1504), on the left as you enter. The painting—one of Filippino's finest—is in superb condition; note the Virgin Mary's hands, perhaps the most beautifully rendered in the city. On the right side of the church, above the cappella di San Mauro, is a monumental organ dating from 1558. Constructed by Onofrio Zeffirini da Cortona (1510–86), it's largely intact but is missing its 16th-century keyboard.

The free beach at Marina Grande, under the J.K. Place hotel, is usually crowded, so social go-getters prefer the historic Bagni di Tiberio beach to the east. Here you can swim around the ruins of Tiberius's Palazzo a Mare and dine at the family-run beach club, which is best reached by boat from Marina Grande. Amenities: food and drink; lifeguards; showers; toilets. Best for: snorkeling; swimming.

The Bay of Silence is a sandy cove east of the pedestrian-only street in the old town, with pastel-color bars and restaurants edging the sand and bobbing boats dotting the horizon. It's a picture-postcard public beach and an idyllic setting for a dip in the Mediterranean, frequented mostly by locals and some visiting crowds in summer. You can also take a short walk up to the Convento dei Cappuccini, a church dedicated to the Virgin Mary. The monastery was built at the end of the 17th century and offers a spectacular panoramic view. Amenities: food and drink; parking (free). Best for: views; walking. 

From the small modern-day port of Baia you can board Cymba, a boat with glass panels on its lower deck and view part of the città sommersa, the underwater city of ancient Baia. The guided tour—usually in Italian, but given in English if arranged well in advance—lasts about 75 minutes and is best undertaken in calm conditions, when you can get good glimpses of Roman columns, roads, villa walls, and mosaics. Peer through fish-flecked plexiglass at statues of Octavia Claudia (Claudius's sister) and of Ulysses, his outstretched arms and mollusk-eaten head once a part of the nymphaeum since sunk into the deeps after an outbreak of bradyseism. (Note that these statues are actually replicas. The originals are up the hill in the Castle museum.)

Established in 1873, this museum located directly in front of the Duomo is perfect for lovers of ancient Greek and Roman art. It houses an impressive collection of artifacts recovered from the archaeological area of Himera, including old coins, statues, and many other objects from daily life. The gallery also houses the works of Sicilian artists from the 16th and 17th centuries, some Flemish works, and even a Byzantine triptych. It is an astoundingly random collection that's a testament to the passionate dedication Sicily has always had when it comes to artists and pieces of art. 

This small town—one of the most popular summer resorts on the lake—is 32 km (20 miles) north of Sirmione along Lake Garda's eastern shore, at the wider end. It's most famous for its red wine, which is light, dry, and often slightly sparkling; the Festa dell'Uva e del Vino (Grape and Wine Festival), held here in early October, is a great excuse to indulge in the local product. Bardolino has two handsome Romanesque churches, both near the center: San Severo, from the 11th century, and San Zeno, from the 9th.

Located between Monte Gorna and Monte Ilice, Pierluca Beneventano guides visitors up the steep slopes of his vineyard for a tasting (featuring red, white, and rosé) among the vines. From there, you can see the other ancient craters of the southeast and all the way down to the Ionian Sea. In addition to traditional Etna grapes, Pierluca is working to recultivate grape relics, varieties that were historically found on Etna, such as Moscatella dell’Etna, Muscatetuni, and Terribbile. Young and endlessly energetic, he’s embracing the wine-making traditions of the volcano while forging his own path. Keep an eye on his Nubivago wine, a white made with Carricante, Catarratto, and Moscatella dell’Etna in which he freezes the grapes before pressing them. Reservations are required.

Just past the glass museum, this is among the first churches founded by the lagoon's original inhabitants. The elaborate mosaic pavement includes the date 1140; its ship's-keel roof and Veneto-Byzantine columns add to the semblance of an ancient temple. Though renovations are ongoing, the church can still be visited.

Although its great arched vaults still dominate the north side of the Via Sacra, only about one-third of the original of this gigantic basilica (in the sense of a Roman courthouse and meeting hall) remains, so you can imagine what a wonder this building was when first erected. Begun under the emperor Maxentius about AD 306, the edifice was a center of judicial and commercial activity, the last of its kind to be built in Rome. Over the centuries, like so many Roman monuments, it was exploited as a quarry for building materials and was stripped of its sumptuous marble and stucco decorations. Its coffered vaults, like that of the Pantheon's dome, were later copied by many Renaissance artists and architects.

Filippo Brunelleschi designed this basilica, as well as that of Santo Spirito in the Oltrarno, in the 15th century. He never lived to see either finished. The two interiors are similar in design and effect. San Lorenzo, however, has a grid of dark, inlaid marble lines on the floor, which considerably heightens the dramatic effect. Brunelleschi's Sagrestia Vecchia (Old Sacristy) has stucco decorations by Donatello; it's at the end of the left transept.

A splendid example of southern Italian Baroque architecture, the basilica contains rows of lavishly decorated altars in polychrome marbles, as well as treasures like the silver statues of the two patron saints, San Martino and Santa Comasia. Eyes are drawn to the the gorgeous main altar (1773) by Neapolitan master Sanmartino (of San Severo, Naples fame). Among the other artistic, allegorical highlights is the vibrant sculpture of the Madonna Pastorella as a shepherd girl in a gown of cloth-of-gold, defending Christ's flock from demons. MuBa, a fab free museum nearby at via Stabile 4, exhibits religious artefacts from the basilica and archival art. 

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.

A former monastery, founded in the 7th century by monks fleeing Jerusalem following the Arab invasion, this is a major monument of Rome, though it takes on a subdued air thanks to its modern quiet surroundings in the upscale San Saba district. The serene but rustic interior harbors 10th-century frescoes, a famed Cosmatesque mosaic floor, and a hodgepodge of ancient marble pieces.

The ornate facade of this 18th-century Baroque church—a UNESCO World Heritage site—dominates Piazza del Popolo. The interior is worth a visit for its towering marble main altar, carved wooden sacristy, and numerous statuary and artworks, including some dedicated to the cult of Madonna Odigitria, traditionally venerated by the residents of the upper part of town with a music-and-flower-filled annual May procession. 

Milan's bishop, St. Ambrose (one of the original Doctors of the Catholic Church), consecrated this church in AD 387. St. Ambroeus, as he is known in Milanese dialect, is the city's patron saint, and his remains—dressed in elegant religious robes, a miter, and gloves—can be viewed inside a glass case in the crypt below the altar. Until the construction of the more imposing Duomo, this was Milan's most important church. Much restored and reworked over the centuries (the gold-and-gem-encrusted altar dates from the 9th century), Sant'Ambrogio still preserves its Romanesque characteristics, including 5th-century mosaics. The church is often closed for weddings on Saturday.

Two of Bernini's original angels that decorated the Ponte Sant'Angelo are found here, on either side of the high altar. The door in the right aisle leads into one of Rome's hidden gardens, where orange trees bloom in the cloister. Borromini's fantastic contributions—the dome and a curious bell tower with its droop-winged angels looking out over the city—are best seen from Via di Capo le Case, across Via dei Due Macelli.

Gracing Piazza Sant'Antonino and one of the largest churches in Sorrento, the Basilica di Sant'Antonino honors the city's patron saint, St. Anthony the Abbot. The church and the portal on the right side date from the 11th century. Its nave and side aisles are divided by recycled ancient columns. A painting on the nave ceiling is signed and dated by Giovan Battista Lama in 1734. The crypt, housing the saint’s bones, is enriched by polychrome marble and votive offerings. In addition, a relic case contains two whale ribs, which commemorates one of the saint’s miracles, when he saved a child from the cetacean. Directly opposite across the piazza is the turn-of-the-20th-century Municipio (town hall).

Gubbio's famous ceri—three 16-foot-tall pillars crowned with statues of Saints Ubaldo, George, and Anthony—are housed in this basilica atop Monte Ingino. The pillars are transported to the Palazzo dei Consoli on the first Sunday of May, in preparation for the Festa dei Ceri, one of central Italy's most spectacular festivals.

The lovely, wide piazza in front of this church is reason enough to visit. The red-and-white-striped facade frames the piazza's panoramic view over the Umbrian plains. Santa Chiara is dedicated to St. Clare, one of the earliest and most fervent of St. Francis's followers and the founder of the order of the Poor Ladies—or Poor Clares—which was based on the Franciscan monastic order. The church contains Clare's body, and in the Cappella del Crocifisso (on the right) is the cross that spoke to St. Francis. A heavily veiled nun of the Poor Clares order is usually stationed before the cross in adoration of the image.

This Early Christian basilica is stark and tranquil, showing off the lovely simplicity common to churches of its era. Although some of the side chapels were added in the 16th and 17th centuries, the essential form is as Rome's Christians knew it in the 5th century. Most striking are the 24 fluted Corinthian columns that line the classical interior. Once bright with mosaics, today the church has only one above the entrance door (its gold letters announce how the church was founded by Peter of Illyria, "rich for the poor," under Pope Celestine I). The beautifully carved, 5th-century cedar doors to the left of the outside entrance are the oldest of their kind in existence.

Visible from miles around, this thoroughly Baroque church was designed by Juvarra in the early18th century and, since 1731, has been the burial place of kings: no fewer than 58 members of the Savoy family are memorialized in the crypt.

Once a great colonnaded hall, this served as a meeting place for merchants and as a courthouse from the 2nd century BC; it was rebuilt by Augustus in the 1st century AD. To the right as you enter the Forum from Via dei Fori Imperiali, a spot on one of the basilica's preserved pieces of floor testifies to one of Rome's more harrowing moments—and to the hall's purpose. That's where bronze coins melted, leaving behind green stains, when Rome was sacked and the basilica was burned by the Visigoths in 410 AD. The term "basilica" refers here to the particular architectural form developed by the Romans: a rectangular hall flanked by colonnades, it could serve as a court of law or a center for business and commerce. The basilica would later become the building type adopted for the first official places of Christian worship in the city.

The Basilica Giulia owes its name to Julius Caesar, who ordered its construction; it was later completed by his adopted heir, Augustus. One of several such basilicas in the center of Rome, it was where the Centumviri, the hundred-or-so judges forming the civil court, met to hear cases. The open space between the Basilica Emilia and this basilica was the heart of the Forum proper—the prototype of Italy's Renaissance piazzas and the center of civic and social activity in ancient Rome.

Olbia's little basilica, a short walk from the main Corso Umberto I, is the city's unmissable sight. The simple granite structure dates from the 11th century, part of the great Pisan church-building program, using pillars and columns recycled from Roman buildings. The basilica has a bare, somewhat somber interior; its three naves are separated by a series of Romanesque arches, and fragments of frescoes are visible behind the altar. Recent renovations of the monument have unearthed the remains of a Greek and Roman necropolis, which is now open to the public (the entrance is in the car park beneath the piazza).

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 lovely Gothic baptistery, which faces the Duomo's facade, is best known for the pulpit carved by Nicola Pisano (circa 1220–84; father of Giovanni Pisano) in 1260. Every half hour, an employee will dramatically close the doors, then intone, thereby demonstrating how remarkable the acoustics are in the place.

The Duomo's 14th-century Gothic Baptistery was built to prop up the apse of the cathedral. There are frescoes throughout, but the highlight is a large bronze 15th-century baptismal font designed by Jacopo della Quercia. It's adorned with bas-reliefs by various artists, including two by Renaissance masters: the Baptism of Christ by Lorenzo Ghiberti (1378–1455) and the Feast of Herod by Donatello.

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.