1473 Best Sights in Italy

Dedicated to the Assumption of the Virgin, the Duomo is an object lesson in Italian Gothic architecture. Completed in the early 14th century, it is decorated so as to emphasize geometry and verticality: pointed arches and narrow vaults are completely covered with frescoes that direct your gaze upward. The porch on the south side of the cathedral facing the square was built in 1470; it represents the Gothic style at its most florid and excessive.

Cremona's Romanesque Duomo was consecrated in 1190. It's an impressive structure in a breathtaking piazza, and certainly one of the most beautiful churches in Italy. Here you can find the Story of the Virgin Mary and the Passion of Christ, the central fresco of an extraordinary cycle commissioned in 1514 and featuring the work of local artists, including Boccaccio Boccaccino, Giovanni Francesco Bembo, and Altobello Melone.

San Miniato's Duomo, set in a lovely piazza, has a simple yet pretty 13th-century facade, which has been restored. It also has a lovely pulpit designed by Giovanni Duprè, which was executed by his daughter Amalia (1845–1928). The interior is largely uninteresting, though there's a poignant plaque commemorating the 55 citizens who were killed in this church in July 1944 by German occupying forces.

Arezzo's medieval cathedral at the top of the hill contains a fresco of a tender Maria Maddalena by Piero della Francesca (1420–92); look for it in the north aisle next to the large marble tomb near the organ. Construction of the Duomo began in 1278 but twice came to a halt, and the church wasn't completed until 1510. The ceiling decorations and the stained-glass windows date from the 16th century. The facade, designed by Arezzo's Dante Viviani, was added later (1901–14).

The Cattedrale di Santa Maria, also known as the Duomo, was begun in the 12th century, but major renovation in the 17th century and reconstruction during the mid-1930s have left little of the original medieval church. The tiers of columns on the facade resemble those of medieval Romanesque Pisan churches, but only sections of the central portal, the bell tower, and the two side entrances are from the 13th century. Look for one of the most memorable features inside—the oversize marble pulpit sculpted in the 1300s and divided in half to fit into the church nave; it now lies on either side of the main entrance.

The Cattedrale San Pietro Apostolo, or Duomo, was given a 19th-century neoclassical makeover but retains the Renaissance splendor of the Malchiostro Chapel, with an Annunciation by Titian (1520) and Pordenone's (1484–1539) Adoration of the Magi frescoes. The crypt has 12th-century columns. Bring a handful of coins for the coin-operated lights that illuminate the artwork. To the left of the Duomo is the Romanesque Battistero di San Giovanni (11th–12th centuries), which is probably quite similar in style to the medieval Duomo; it's open only for special exhibitions.

This 18th-century Baroque cathedral has a single nave with chapels and paintings on the sides. There are two altarpieces by local artist Francesco Zuccarelli (1702–88), a Rococo landscape artist, a favorite of George III and one of the founders of the British Royal Academy.

This massive Romanesque church, also known as the Cathedral of San Vigilio (St. Vigilius), forms the southern edge of the Piazza del Duomo. Locals refer to this square as the city's salotto (sitting room), as in fine weather it's always filled with students and residents drinking coffee, sipping an aperitif, or reading the newspaper. The Baroque Fontana del Nettuno presides over it all. When skies are clear, pause here to savor the view of the mountaintops enveloping the city.

Within the Duomo unusual arcaded stone stairways border the austere nave. Ahead is the baldacchino (altar canopy), a copy of Bernini's masterpiece in St. Peter's in Rome. To the left of the altar is a mournful 16th-century crucifixion, flanked by the Virgin Mary and John the Apostle. This crucifix, by German artist Sisto Frey, was a focal point of the Council of Trent: each decree agreed on during the two decades of deliberations was solemnly read out in front of it. Stairs on the left side of the altar lead down to the 4th-century Paleo-Christian burial vault (Early Christian Basilica). Outside, check out the bronze scale model of the city on the south side of the cathedral, then walk around to the back to see an exquisite display of 14th-century stonemason artistry, from the small porch to the intriguing knotted columns on the graceful apse.

Sovana extends from the Rocca Aldobrandesca at the eastern end of town west to this imposing cathedral, built between the 10th and 14th century. The church, dedicated to Saints Peter and Paul, is Romanesque in style but, atypically, the main entrance is on the left-hand side of the building.

In the center of the borgo antico, Gallipoli's Duomo is a notable Baroque cathedral from the late 17th century, dedicated to Sant'Agata, patron saint of the city. Built in local limestone, the ornate facade is matched by an equally elaborate interior with columns and altars in fine polychrome marble and paintings by leading local Gallipoli and Neapolitan maestros of the time. Particularly interesting are the stone carvings that depict episodes from the city's history.

Ancient, but rebuilt from the 15th-century right up to 1924, the town's cathedral follows a Latin-cross design; its nave and two side aisles are divided by thick piers with round arches. A Renaissance-style door and artworks, including the archbishop's 16th-century marble throne and ceiling paintings attributed to the 18th-century Neapolitan school, are easily viewable. Twentieth-century marquetry ornaments the choir stalls with representations of the Stations of the Cross. Torquato Tasso, Sorrento's most famous native son, was baptized here in the 16th century (probably at the front in the first chapel on the right). The delightfully florid three-story campanile, topped by a clock and a belfry, has an open arcaded base and recycled Roman columns.

With its cupola and twin turrets, Acireale's cathedral is an extravagant Baroque construction dating from the 17th century. Look out for the 19th-century, horizontal sundial on the floor of the transept which incorporates the signs of the zodiac, and in the chapel to the right of the altar, the 17th-century silver statue of Santa Venera (patron saint of Acireale) by Mario D'Angelo. Climb up to the belvedere for stunning views.

The imposing town cathedral was built in the 13th century but acquired a baroque facade 500 years later; its 14th-century cloister is decorated with medieval frescoes.

Set on a narrow street on the highest tier of the town, the Duomo dates from the 13th century, with some Baroque additions—in particular, a lavishly decorated bishop's chapel.

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.

Designed by Rosario Gagliardi in 1738 (and completed in 1791), Ragusa's main cathedral, a fine example of the Sicilian Baroque, was further modified in the 19th century with the addition of a Neoclassical cupola. The flamboyant convex facade with bell tower rises 203 feet, looking like a wedding cake from the sloping piazza below to provide sightlines for the 141-foot dome. Although visitors enter via side entrances, the ornate portal frames wooden doors that are decorated with six episodes in the martyrdom of San Giorgio, all carved by Fiorello (1793). The three-nave interior is more subdued in comparison and contains numerous paintings and statuary by mostly 18th-century Sicilian artists, as well as an impressive 3,383-pipe Organum Maximum made in Bergamo in 1881; that alone is well worth hearing and a reason to visit. But you may wish to linger to take in the artworks and sunlight-bathed atmosphere from 20 vibrant, stained-glass windows, each detailing more saintly scenes and allegories.

The main Norman cathedral of Caccamo, the original church was built in the 1400s by the Chiaramonte family and filled with artwork from many Sicilian Renaissance masters. The building was expanded and rebuilt in the 1600s in the elaborate Sicilian Baroque style and still houses all the paintings from the previous structure and other artwork from abandoned or destroyed churches in the area.

The most impressive part of Turin's 15th-century cathedral is the Cappella della Sacra Sindone (Chapel of the Holy Shroud), where the famous relic is housed in a sealed casket. The Sacra Sindone is a 12-foot-long sheet of linen, thought by millions to be the burial shroud of Christ, bearing the light imprint of his crucified body. The shroud first made an appearance around the middle of the 15th century, when it was presented to Ludovico of Savoy in Chambéry. In 1578 it was brought to Turin by another member of the Savoy royal family, Duke Emanuele Filiberto.

It was only in the 1990s that the Catholic Church began allowing rigorous scientific study of the shroud. Not surprisingly, the results have been hazy. On one hand, three separate university teams—in Switzerland, Britain, and the United States—have concluded, as a result of carbon-14 analysis, that the cloth dates from between 1260 and 1390. On the other hand, they are unable to explain how medieval forgers could have created the shroud's image. Either way, the shroud continues to be revered as a holy relic, exhibited to the public on very rare occasions.

Termini's main cathedral is dedicated to St. Nicholas and, like most Sicilian churches, is filled with precious artwork. The interior chapel and altar are from the 17th century and are decorated with precious inlaid colored marble, while the facade was remodeled in the early 20th century with the addition of four saintly statues and three colonnaded doors. The Duomo also has an on-site museum of sacred art, filled with silverwork, vestments, religious relics, and liturgical objects of great value.

Statues of the apostles line the staircase of Modica's honey-colored stone cathedral, which was originally constructed in the 14th century, then rebuilt in an impressive Baroque style following its destruction in the 1693 earthquake. Look down to marvel at the ornate intarsia stone tiling and above at the vaulted ceiling frescoes (1760-80) depicting Biblical scenes by local artist Gian Battista Ragazzi and his son Stefano. Flanked by an impressive wooden choir the main altar has a vibrant marble statue Madonna del Soccorso (also called Madonna della Mazza), which dates from 1507. This curious image of Mary, who is wielding a club to smash a Satanic figure while cradling the baby Jesus, has its origins in the legend of 14th-century Nicola La Bruna from Palermo, whose vision of Mary is said to have cured a grave illnes. On a political note, there was a long and bitter dispute with lofty rival San Giorgio (Modica's other cathedral) regarding which church was rightfully Modica's "Chiesa Madre" (Mother Church); thankfully, they now share that status more amicably. If you're a glutton for churches, consult www.laviadellecollegiate.it for information and itineraries that cover Modica's plethora of places of worship.

One end of the Piazza del Popolo is dominated by this 12th-century Romanesque-Gothic masterpiece, built over the site of a Roman temple. The simple facade is enlivened by a finely carved rose window. Look up at that window as you step inside and you'll notice its peculiarity: each "petal" of the rose has a cherub's face in the stained glass. Also take a close look at the capitals of the double columns with pilasters: perched between the acanthus leaves are charming medieval sculptures of saints—Peter with his keys, George and the dragon, and so on. You can see the rich brown tones of the wooden choir near the altar, but unless you have binoculars or request special permission in advance, you can't get close enough to see all the exquisite detail in this Renaissance masterpiece of woodworking (1521–30). The severe, solid mass of the Duomo is mirrored by the Palazzo dei Priori (1595–97) across the way.

About 4 km (2½ miles) east of Assisi is a monastery set in a dense wood against Monte Subasio: the Hermitage of Prisons. This was the place where St. Francis and his followers went to "imprison" themselves in prayer. The only site in Assisi that remains essentially unchanged since St. Francis's time, the church and monastery are the kinds of tranquil places that St. Francis would have appreciated. The walk out from town is very pleasant, and many trails lead from here across the wooded hillside of Monte Subasio.

Behind the church of San Galgano, a short climb brings you to this charming little chapel with frescoes, by painter Ambrogio Lorenzetti (documented 1319–48), and a sword in a stone. Legend has it that Galgano, a medieval warrior and bon vivant, was struck by a revelation on this spot in which an angel told him to give up his fighting and frivolous ways forever. As a token of his conversion, he plunged his sword into the rock, where it remains today.

Some of Italy's best-preserved monumental rock tombs, dating from the 2nd to the 3rd century BC, are found just outside the town at the Etruscan necropolis. Some of the tombs, such as the so-called Tomba Sirena (Siren's Tomb), preserve clear signs of their original and elaborately carved decorations. Others, like the Tomba Ildebranda (Hildebrand Tomb), are spectacular evidence of the architectural complexity sometimes achieved. Don't forget to walk along the section of an Etruscan road carved directly into the tufa stone.

The entrepreneur Ignazio Florio played a leading part in the regeneration of Favignana's tuna fisheries in the 19th century, a tale told in his company's former fishery, a huge complex located on the outskirts of Favignana town, now converted into a museum. Hour-long guided tours take you through the fascinating history and gruesome methods of bluefin tuna fishing, including the ritualistic and bloody culmination of the fishing process, La Mattanza, or "The Killing." These traditional methods died out with the growth of modern industrial practices and overfishing. Tours must be booked a least a day in advance. There's also a separate section focusing on the Battle of Egadi (241 BC), which saw the defeat of the Carthaginians by a Roman fleet and their subsequent expulsion from Sicily.

This winery is known for its steadfast commitment to producing only Barolo—nothing else. The winemaker here, Maurizio Anselma, is something of a prodigy in the Barolo world, and he’s quite open to visitors. Contact them by email or phone in advance for an appointment.

The cellars of this venerable winery date from the 17th century and hold almost 200 oak wine barrels. Some of Italy's most famous wines are produced here, including an excellent range of Brunellos, a fine Rosso di Montalcino, and the estate's special Super Tuscan brands—Brusco dei Barbi and Bruscone dei Barbi. Olive oil, salami, and pecorino cheese are made at the winery's organic farm. Guided tours of the cellars are followed by wine tastings, during which you can also sample the other products.

Park in the car park just off the main inland road from Tracino to Rekale. From here, a lovely path leads up to lush upland meadows (carpeted with wildflowers in spring) where favare, natural emissions of sulfurous steam, billow through crevices in the rock. If you want a longer walk, a path continues from here to the Grotta del Bagno Asciutto. Alternatively, you could climb one of Pantelleria’s two main peaks, Montagne Grande (1 hour, 40 minutes) or Monte Gibele (50 minutes).

The Genova–Casella Railroad is a good way to get a sense of the rugged landscape around Genoa; the train departs about every 90 minutes, and a bus supplements some routes. In operation since 1929, it runs from Piazza Manin in Genoa (follow Via Montaldo from the center of town, or take Bus No. 34 or 36 to the piazza) through the beautiful countryside above the city, arriving in the rural hill town Casella. The tiny train traverses precarious switchbacks that afford sweeping views of the Ligurian hills. In Casella Paese (the last stop) you can hike, eat lunch, or check out the view and ride back. Canova (two stops from the end of the line) is the start of two possible hikes: a two-hour (one-way) trek to a small sanctuary, Santuario della Vittoria, and a grueling four-hour hike to the hill town of Creto. Another worthwhile stop is Sant'Olcese Tullo, where you can take a half-hour (one-way) walk through the Sentiero Botanico di Ciaé, a botanical garden and forest refuge with a tiny medieval castle.

This outdoor sculpture park is filled with contemporary art and is especially gorgeous against the stunning Tyrrhenian coastline. One of the park's most spectacular permanent installations is the Monument for a Dead Poet by Tano Festa, a giant, blue-framed window that looks out towards the sea and can be seen from miles away. Other fascinating pieces include a bronze pyramid placed precisely on the 38th parallel of latitude and the labyrinth of Arianna, which recalls the ancient Greek myth of the Minotaur.