1473 Best Sights in Italy

Within this Benedictine monastery is a peacefully shady 12th-century cloister that has been modified over the centuries. It remains the only surviving example of a Romanesque cloister in Venice. The brick pavement is original, and the many inscriptions and fragments on display (some from the 9th century) are all that remain of the first Basilica di San Marco.

The final resting place for some 1,400 souls was designed in 1828 by Carlo Reishammer and originally intended for the Swiss community in Florence. Just outside the city's 14th-century walls (no longer visible), the cemetery grew to accommodate other foreigners living here, and thus earned another of its names, the Protestant Cemetery. It's also referred to as the "Island of the Dead." Indeed, Swiss painter Arnold Böcklin (1827–1901) used the cemetery as inspiration for his haunting painting of that name.

Perhaps its most famous resident is Elizabeth Barrett Browning (1809–61), who spent the last 15 years of her life in the city. Other noteworthy expats buried here include the English poets Arthur Clough and Walter Savage Landor, Frances Trollope (mother of Anthony), and the American preacher Theodore Parker.

One of the most famous of Genovese landmarks is this bizarrely beautiful cemetery; its fanciful marble and bronze sculptures sprawl haphazardly across a hillside on the outskirts of town. A pantheon holds indoor tombs and some remarkable works like an 1878 Eve by Villa. Don't miss Rovelli's 1896 Tomba Raggio, which shoots Gothic spires out of the hillside forest. The cemetery began operation in 1851 and has been lauded by such visitors as Mark Twain and Evelyn Waugh. It covers a good deal of ground (allow at least half a day to explore). Take Bus Nos. 13 or 14 from the Stazione Genova Brignole, Bus No. 34 from Stazione Principe, or a taxi.

Film buffs may want to make the trip out to Cinecittà Studios—stomping ground of Fellini, Audrey Hepburn, and Elizabeth Taylor and birthplace of such classics as Roman Holiday, Cleopatra, and La Dolce Vita. You can take a guided tour of the sets and see the exhibition Cinecittà Shows Off, with memorabilia like original gowns, suits, and props from movies and TV series. Cinecittà is about 25 minutes southeast of the city center on Metro A. Sometimes tours in English are available; inquire via email ( [email protected]).

From the belvedere of the Domus Flavia on the Palatine Hill, you can see the Circus Maximus; there's also a great free view from Piazzale Ugo La Malfa on the Aventine Hill side. The giant space where 300,000 spectators once watched chariot races while the emperor looked on is ancient Rome's oldest and largest racetrack; it lies in a natural hollow between the two hills. The oval course stretches about 650 yards from end to end; on certain occasions, there were as many as 24 chariot races a day, and competitions could last for 15 days. The charioteers could amass fortunes rather like the sports stars of today. (The Portuguese Diocles is said to have totted up winnings of 35 million sestertii.)

The noise and the excitement of the crowd must have reached astonishing levels as the charioteers competed in teams, each with their own colors—the Reds, the Blues, etc. Betting also provided Rome's majority of unemployed with a potentially lucrative occupation. The central ridge was the site of two Egyptian obelisks (now in Piazza del Popolo and Piazza San Giovanni in Laterano). Picture the great chariot race scene from MGM's Ben-Hur and you have an inkling of what this was like.  The "Circo Massimo Experience," a 40-minute augmented and virtual reality experience through the stadium, costs €12.

This fascinating museum consists of three sections, one dedicated to geology and another to archaeology, and one to documentary photography. It's a testament to Petralia Sottana's long and fascinating human and geological history. The rocks and fossils in the locally gathered collection date back to 200 million years ago and showcase the geographical evolution of the area. The museum's archaeological collection shows a vast array of prehistoric vases, numerous ancient Greek ceramics, and items from the Bronze Age. A moving collection of photographs documents Madonie life and landscape, beginning with the work of the Palermitano Enzo Sellerio, whose 1973 show began a series of exhibitions, culminating in a 2021 group show. 

In Classe, a short distance outside Ravenna, this museum dazzlingly illustrates the history of Ravenna and its environs from the pre-Roman era to the Lombard conquest in AD 751. The museum occupies a refurbished sugar refinery, and with the help of multimedia presentations and panels in Italian and English, it chronicles the Roman, Ostrogoth, and Byzantine periods. Displays include bronze statuettes, stone sculptures, glassware, and mosaic fragments. A separate room summarizes the building's more recent history. It's an easy walk from Sant'Apollinare in Classe.  To get here from Ravenna, take Bus No. 4 from the station or the local train to Classe, or use the cycle path from the city center.

The lovely Benedictine cloister of the abbey adjacent to the Duomo was built at the same time as the church but enlarged in the 14th century. The enclosure is surrounded by 216 intricately carved double columns, every other one decorated in a unique glass mosaic pattern. Afterward, don't forget to walk behind the cloister to the belvedere, with stunning panoramic views over the Conca d'Oro (Golden Conch) plain toward Palermo. If you wish to visit, reserve a tour online at least a week in advance.

The site of Italy's first chairlift in 1946 now has modern yellow eight-seater cable cars that ascend to a height of 6,562 feet. From there you have access to ski lifts that take you all over the Alta Badia region and, in summer, to trails that include a 10-km (6-mile) route to the Rifugio Pralongià. You can rent skis and snowboards at the Ski Service Colalto, located at the bottom of the lift.

The 13th-century Collegiata church has three majestic portals, one possibly the work of Giovanni Pisano (circa 1245/48–1318). Behind the high altar are some fine examples of inlaid woodwork by Antonio Barilli (1482–1502). In the floor of the left aisle, look for the tomb slab of Henry of Nassau, a pilgrim knight who died here in 1451.

This Gothic church is dedicated to Asti's patron saint, believed by some to have been decapitated by the Emperor Hadrian on this very spot. San Secondo is also the patron of the city's favorite folklore and sporting event, the annual Palio di Asti, a colorful medieval-style horse race that's similar to Siena's. It's held each year on a Sunday in early September in the vast Campo del Palio to the south of the church.

The Collegiata di Sant'Andrea is a jewel of a museum, filled with terra-cotta sculptures from the della Robbia school, including one by Andrea della Robbia. There's also a magnificent 15th-century fresco pietà by Masolino (circa 1383–1440), as well as a small work by Fra Filippo Lippi (1406–69) and a wonderful tabernacle attributed to Francesco Botticini (circa 1446–97) and Antonio Rossellino (1427–79). On Sunday afternoon, entrance to the museum is free.

Originally there was a 6th-century chapel on this site, founded by the Archdeacon Orso, a local saint. Most of the structure was destroyed or hidden when an 11th-century church was erected over it. If you go up the stairs on the left from the main church you can see the frescoes of Christ and the apostles (ask the sacristan, who'll let you in). Take the outside doorway to see the church's crowning glory, its 12th-century cloister, enclosed by some 40 stone columns with carved capitals depicting scenes from the life of St. Orso.

Opposite the Museo del Satiro Danzante, the exuberant Baroque Jesuit College, with its portal framed by hefty male caryatids, was once the center of the Catholic Inquisition in town during the 18th century, charged with rooting out and punishing anything they deemed to be heresy. In 1824, the Jesuits clashed with Sicily’s Bourbon rulers and were kicked out (probably missed by a few). Now, the space is undergoing renovations, and visitors can explore small exhibitions of artworks from the municipal archives. The damaged church of Sant’Ignazio next door is sometimes open; it's an evocative elliptical space, framed by red-gold sandstone and marble columns, and open to the sky. It is occasionally used for open-air concerts and exhibitions.

These elaborate rooms, on the ground floor of the Palazzo dei Priori, served as the meeting hall and chapel of the guild of bankers and money changers. Most of the frescoes were completed by the most important Perugian painter of the Renaissance, Pietro Vannucci, better known as Perugino. He included a remarkably honest self-portrait on one of the pilasters. The iconography includes common religious themes, such as the Nativity and the Transfiguration seen on the end walls. Booking a time for your visit in advance online or by phone is recommended.

In the center of Piazza Santa Trinita is this column from Rome's Terme di Caracalla, given to the Medici grand duke Cosimo I by Pope Pius IV in 1560. Typical of Medici self-assurance, the name translates as the Column of Justice.

The last monument to be added to the Forum was erected in AD 608 in honor of the Byzantine emperor Phocas, who had donated the Pantheon to Pope Boniface IV. It stands 44 feet high and remains in good condition.

Inspired by Trajan's Column, this 2nd-century-AD column is composed of 27 blocks of marble covered in reliefs recounting Marcus Aurelius's victory over the Germanic tribes. A bronze statue of St. Paul, which replaced the original effigy of the emperor and his wife, Faustina, in the 16th century, stands at the top. The column is the centerpiece of Piazza Colonna.

The remarkable series of reliefs spiraling up this column, which has stood in this spot since AD 113, celebrate the emperor's victories over the Dacians in today's Romania. The scenes on the column are an important primary source for information on the Roman army and its tactics. An inscription on the base declares that the column was erected in Trajan's honor and that its height corresponds to the height of the hill that was razed to create a level area for the grandiose Foro di Traiano. The emperor's ashes, no longer here, were kept in a golden urn in a chamber at the column's base; his statue stood atop the column until 1587, when the pope had it replaced with a statue of St. Peter.

The open space in front of the Curia was the political hub of ancient Rome. Julius Caesar had rearranged the Comitium, moving the Curia to its current site and transferring the imperial Rostra, the podium from which orators spoke to the people (decorated originally with the prows of captured ships, or rostra, the source for the term "rostrum"), to a spot just south of where the Arch of Septimius Severus would be built. It was from this location that Mark Antony delivered his funeral oration in Caesar's honor. On the left of the Rostra stands what remains of the Tempio di Saturno, which served as ancient Rome's state treasury. The area of the Comitium has been under excavation for several years and is currently not open to visitors.

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).

With its wonderful patches of emerald set in a blue-glass lagoon, Conca dei Marini's harbor is one of the most enchanting visions on the coast. Descend (and later ascend!) the steps past the Borgo Marinaro houses (a colony for off-duty celebrities) and down to the harbor, set with cafés and a little chapel dedicated to Santa Maria della Neve that seems to bless the picture-perfect beach. Amenities: food and drink; lifeguards; showers; toilets. Best for: snorkeling, swimming.

This attractive town, with Venetian-style villas and arcaded streets, lies 23 km (14 miles) north of Treviso in wine-producing country and is known for its sparkling white wine, prosecco. Its other claim to fame is its connection with Gianbattista Cima—called Cima di Conegliano. Along with Giovanni Bellini, Cima is one of the greatest painters of the early Venetian Renaissance, and the town's elegant 14th-century Duomo houses an altarpiece he painted in 1492. The front of the Duomo is formed by the frescoed late-medieval facade and Gothic arcade of the Scuola dei Battuti. If you stop in town, be sure to taste the prosecco, sold in local wine bars and shops. There is regular train service from Treviso.

Boat tours of the harbor, operated by the Consorzio Liguria Via Mare, launch from the aquarium pier and last about an hour. The tours include a visit to the breakwater outside the harbor, the Bacino delle Grazie, and the Molo Vecchio (Old Port). There are also daily excursions down the coast as far as Portofino and San Fruttuoso.

Commonly referred to as the "Calatrava Bridge" after its designer, Santiago Calatrava, this swooping modern arch crossing the Grand Canal connects Piazzale Roma to the train station. Opinions have differed wildly on its aesthetic ever since its inauguration in 2008, but no one can deny its long-overdue usefulness—as many as 5,000 people a day cross it when arriving, departing, or daily commuting. It has become notorious for its structural flaws, most notably slippery steps made of Murano glass that—it is said—are eventually going to be replaced by concrete. Whatever your thoughts on its beauty, the views from its graceful summit are always engaging.

In 1211 St. Francis founded the Convento di San Francesco, which contains two cloisters and an ornate wooden choir. For a dose of monastic living, you can stay overnight.

The Convento e Chiesa di Santi Jacopo e Lucia is also oddly known as the church of San Domenico, which refers to the fact that the Dominicans took over the church in the 14th century. Most of the interior suffers from too much baroque, but there is a lovely sculpted tomb by Bernardo Rossellino for Giovanni Chellini, a doctor who died in 1461. You'll find it on the right-hand nave close to the high altar.

Stone buildings, narrow lanes, and stairways are strung together amid vineyards high on the cliffs; on a clear day views of the entire coastal strip are excellent. The high perch and lack of harbor make this farming community the most remote of the Cinque Terre.

A string of elegantly connected palazzi expresses the artistic nature of this city center, the heart of which is concentrated along Corso Vannucci. Stately and broad, this pedestrian-only street runs from Piazza Italia to Piazza IV Novembre. Along the way, the entrances to many of Perugia's side streets might tempt you to wander off and explore. But don't stray too far as evening falls, when Corso Vannucci fills with Perugians out for their evening passeggiata, a pleasant predinner stroll that may include a pause for an aperitif at one of the many bars that line the street.

This lively street that runs the length of Lipari Town from the port blends the tourist and local worlds. You'll find the requisite souvenir shops selling trinkets and postcards, but it's also where residents go to visit their butcher, to pick up daily bread, and to buy fishing tackle. During summer evenings, it's closed to cars and becomes the primary stretch for making the evening passeggiata (evening stroll) past cafés that reverberate with energy late into the evenings.