1473 Best Sights in Italy

The spookiest sight in all of Sicily, this 16th-century catacomb houses more than 8,000 corpses of men, women, and young children—some in tombs but many mummified, preserved, and hanging in rows on the walls, divided by social caste, age, or gender. Most wear signs indicating their names and the years they lived, and many are Capuchin friars, who were founders and proprietors of this bizarre establishment from 1599 to 1911. The site is still managed by the nearby Capuchin church, but was closed to new corpses when an adjacent cemetery was opened, making the catacombs redundant. Though memorable, this is not a spot for the faint of heart; children might be frightened or disturbed.

Burial place of several very early popes, this is Rome's oldest and best-preserved underground cemetery. One of the (English-speaking) friars who acts as custodian of the catacomb will guide you through its crypts and galleries, some adorned with early Christian frescoes. Watch out for wrong turns: this catacomb is five stories deep!  This site has a large parking area and is favored by big groups; it can get busy.

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.

Nobles of the 17th and 18th centuries in this area opted to have their corpses mummified. You can visit the somewhat creepy crypt, located beneath a 17th-century Capuchin monastery, to see their preserved remains and handwoven silk garments. The catacombs are usually open daily from April to October and on weekends the rest of the year, but it's advised to call ahead to be sure that someone is actually on-site to let you in.

In Tropea's beguiling warren of lanes, seek out the old Norman cathedral, whose main altar contains the locally revered icon of the Madonna di Romania, protectress of the city. Also of interest are the imposing 14th-century "Black Crucifix," in one of the side chapels, and the adjoining Museo Diocesano, which contains an archaeological section and a collection of sacred art, including a life-size statue of Santa Domenica in solid silver, dating from 1738. November through March, the cathedral is open for church services only, but if you're quiet and respectful, you can probably sneak a peek.

The city's Duomo was founded in 1093 by Sicily’s first Norman ruler, Roger I, who is depicted in relief above the main entrance on horseback trampling a turbanned Arab. It has an interior dominated by the huge marble tableau of the Transfiguration above the altar, revealed as if behind stucco curtains held back by cherubs, designed by the Palermitan Renaissance sculptor Antonello Gagini who is thought to have worked with Michelangelo in Rome. In the right transept is the fragment of a fresco of Christ Pantokrator dating back to the original Norman church and created by Greek Byzantine artists.

Originally dedicated to Santa Maria Maddalena before San Cataldo (St. Cathal of Munster) got the Papal nod, Puglia's oldest Duomo has 5th-century origins and been rebuilt several times—its present shape layered on top of an 11th-century Byzantine layout. Striking features include the ornate Baroque facade (1713) by the Leccese Mauro Manieri, geometric motifs in the nave and transept, 16 ancient marble columns with ornate capitals, and a recently rebuilt campanile and 1657 cupola. 

This church is a lesson in Palermitano eclecticism—originally Norman (1182), then Catalan Gothic (14th to 15th century), then fitted out with a Baroque and neoclassical interior (18th century). Its turrets, towers, dome, and arches come together in the kind of meeting of diverse elements that King Roger II (1095–1154), whose tomb is inside along with that of Frederick II, fostered during his reign. The exterior is more intriguing than the interior, and it's worth walking round to the gracefully decorated back of the apse to view the interlacing Arab arches inlaid with limestone and black volcanic tufa. The climb to the cathedral's roof is also recommended for some fabulous city views.

This beautiful cathedral, which practically abuts the Museo Nazionale Etrusco, is thought by many to be among the oldest churches in Tuscany; parts of it date from the mid-6th century. It houses the remains of Santa Mustiola, the patron saint of the city. It has very little artificial light inside, so you can get a pretty good idea of how people experienced this space over the centuries.

The Cathedral of Saint Bartholomew (aka the Duomo of Lipari) was built in the 16th century with an initial construction and history dating back to the Arab era in 838. This Baroque-style co-cathedral in the heart of Lipari's main town is the island's most famous landmark and the main place of worship of the entire Aeolian archipelago. The prominent facade can be seen from afar, but a visit is recommended. Even though you must ascend a steep staircase to reach it, the church is well worth the climb up. And it's located directly next door to the Aeolian Regional Archaeological Museum, the island's other main sight. 

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.

Dating from the 14th century and occupying the site of an ancient Roman forum, the cathedral contains remnants of at least three previous buildings, the earliest a hall dating from the 5th century. A section of the original floor mosaic still remains, incorporated into the floor of the present church. In the 9th and 11th centuries two adjacent churches were built—the Church of the Assumption and the Church of San Giusto. The beautiful apse mosaics of these churches, done in the 12th and 13th centuries by a Venetian artist, still remain in the apses of the side aisles of the present church. The mosaics in the main apse date from 1932. In the 14th century the two churches were joined and a Romanesque-Gothic facade was attached, ornamented with fragments of Roman monuments taken from the forum. The jambs of the main doorway derive from Roman funereal stelae.

Viterbo's Romanesque cathedral was built over the ruins of the ancient Roman Temple of Hercules. During World War II, the roof and the vault of the central nave were destroyed, and you can still see the mark the shrapnel left on the columns closest to the pulpit. Subsequently, the church was rebuilt to reflect its medieval design, and it still has many original details, including a beautiful Cosmati floor that dates from the 13th century.

Three popes are buried here, including Pope Alexander IV (1254–61), whose body was hidden so well by the canons, out of fear that it would be desecrated, that it has never been found. The adjoining Museo del Colle del Duomo has a collection of 18th-century reliquaries, Etruscan sarcophagi, and a painting of the Crucifixion that has been attributed to Michelangelo. The ticket to the museum also grants you entrance to the Palazzo Papale, located on the same square.

St. Francis and St. Clare were among those baptized in Assisi's Cattedrale, which was the principal church in town until the 12th century. The baptismal font has since been redecorated, but it's possible to see the crypt of St. Rufino, the bishop who brought Christianity to Assisi and was martyred on August 11, AD 238 (or AD 236 by some accounts), as well as climb to the bell tower. Admission to the crypt includes the small Museo della Cattedrale, with its detached frescoes and artifacts.

Giovanni Vaccarini designed the contrasting black lava and white limestone facade of city's cathedral, which dominates the Piazza del Duomo and which houses the tomb of composer Vincenzo Bellini. Also of note are the three apses of lava that survive from the original Norman structure and a fresco from 1675 in the sacristy that portrays Catania's submission to Etna's eruption. Guided tours of the cathedral, which is dedicated to Catania's protector, are available in English if reserved in advance. The cathedral's treasures are on view in the Museo Diocesano Catania ( www.museodiocesanocatania.com), and underneath the cathedral are the ruins of Greco-Roman baths.

Aosta's cathedral dates from the 10th century, but all that remains from that period are the bell towers. The decoration inside is primarily Gothic, but the main attraction of the cathedral predates that era by 1,000 years: among the many ornate objects housed in the treasury museum is a carved ivory diptych from AD 406 portraying the Roman emperor Honorius. You can also see frescoes dating from the 11th century above the Gothic vaults. The treasury and frescoes can only be visited on weekends between 3 and 5:30 pm, or with advance reservation on weekdays.

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.

A striking cathedral in the heart of Caltanissetta, the Cattedrale di Santa Maria La Nova is a cultural treasure, especially for those from the region. Inside, visitors can admire various works of art, including a 17th-century statue of St. Michael the Archangel by Stefano Li Volsi da Nicosia; a canvas of the Madonna del Carmelo by Filippo Paladini; and a crucifix by Antonello Gagini, a sculptor influenced by Michelangelo. A beautifully carved and decorated organ also graces the cathedral.

The sandy limestone from this quarry was much prized by ancient Greek builders. Lacking the fossilized shells abundant in much local stone, it was a stronger and more resistant construction material, and consequently a natural choice for the temples of Selinunte. Nevertheless, quarrying the stone in the huge discs required for temple columns was clearly no easy task, and as you wander through and above the gorge, you come across several broken discs, including one that was abandoned, split, before it had been fully removed from the bare rock. Even without the historical interest, this is a lovely place for a quiet stroll through olives, asphodel, and wildflowers, although in low season the site is unmanned and used by goatherds, so keep an eye out for untethered dogs.

Modern sculptures adorn the grounds of this respected Franciacorta winery (one of the largest in the region). Enjoyable two-hour-long tours conclude with a tasting; information about tour availability can be requested online.

The frescoes in the refectory of a former Benedictine nunnery were painted in sinewy style by Andrea del Castagno, a follower of Masaccio (1401–28). The Last Supper is a powerful version of this typical refectory theme. From the entrance, walk around the corner to Via San Gallo 25 and take a peek at the lovely 15th-century cloister that belonged to the same monastery but is now part of the University of Florence.

Prato's Center for Contemporary Art Luigi Pecci contains works of artists from around the world completed after 1965. The exhibitions constantly change, and often feature debut presentations.

Black lava stone from Etna, combined with largely Baroque architecture, give Catania's historic center a very distinctive feel. After Catania's destruction by lava and earthquake at the end of the 17th century, the city was rebuilt and its informal mascot "U Liotru" (an elephant carved out of lava balancing an Egyptian obelisk) was placed outside the cathedral as a kind of talisman. This square also marks the entrance to Catania's famous pescheria (fish market) and is one of the few points in the city where you can see the Amenano River aboveground. Another point of interest is Via Garibaldi, which runs from Piazza del Duomo up toward the impressively huge Porta Garibaldi, a black-and-white triumphal arch built in 1768 to commemorate the marriage of Ferdinando I. Also of note in the center are Castello Ursino, which is now a museum, the Greco-Roman theater off Via Vittorio Emanuele II, the Roman amphitheater in Piazza Stesicoro, and the Monastero dei Benedettini, now a part of the university.

This incredible Carthusian complex was largely funded in 1342 by the wealthy Florentine banker Niccolò Acciaiuoli, whose guilt at having amassed so much money must have been at least temporarily assuaged with the creation of such a structure to honor God. In the grand cloister are stunning (but faded) frescoes of Christ's Passion by Pontormo. Though much of the paint is missing, their power is still unmistakable.

Also of great interest are the monks' cells; the monks could spend most of their lives tending their own private gardens without dealing with any other monks. To get here, you must either take Bus 37 to the stop marked "Certosa" or have a car. Tours, which are mandatory, are given only in Italian, but even if you can't understand what's being said, you can still take in the sights.

A medieval Norman tower provides a spectacular landmark for this beach on Cetara's picturesque marina. With blue-and-white boats lying on the sand, anchovy-fishing boats in the harbor, and children playing in the adjacent park, the beach is a hive of activity—stretch out your towel and enjoy the buzz. The water here is clean, and the lido has a cool bar and sun beds for rent. The sun shines here until late afternoon, so if you stay long enough that hunger strikes, try the fried anchovies in the Cuopperia on the marina. Served in paper cones, cuoppi are the local fast food. Amenities: food and drink; lifeguards; showers; toilets. Best for: snorkeling; swimming.

Follow SP19 past Sarteano and continue on SP21 to reach this delightful village. Time may seem to have stopped as you walk along the quiet, narrow, medieval lanes and back alleys. Peer through the locked gate for a glimpse of the privately owned castle, and take in splendid views of olive orchards, cypress groves, and the quiet wooded slopes of Mt. Cetona from the town's terraced streets.

This walled medieval town, 3 km (2 miles) northeast of Chianciano Terme, is best known for its proximity to the nearby spas. Nevertheless, the well-preserved center has an appeal all of its own.

This 13th-century church houses substantial fragments of Andrea Mantegna's frescoes (1448–50), which were damaged by Allied bombing in World War II. Despite their fragmentary condition, Mantegna's still beautiful and historically important depictions of the martyrdom of St. James and St. Christopher show the young artist's mastery of extremely complex problems of perspective.

The 13th-century Dominican Church is renowned for its Cappella di San Giovanni, where frescoes from the Giotto school show the birth of a pre-Renaissance sense of depth and individuality.