1473 Best Sights in Italy

About 8 km (5 miles) south of Florence on the road to Siena is one of the country's two American cemeteries (the other is in Nettuno). It contains 4,392 bodies of Americans who died in Italy during World War II. Spread across a gently rolling hill, the simple crosses and Stars of David bearing only name, date of death, and state seem to stretch endlessly. Atop the hill is a place for reflection and large mosaic maps depicting the Allied assault in 1943. The two fronts—called the Gothic Line and the Gustav Line—are vividly rendered. So, too, is the list containing 1,409 names of those missing in action.

Central Sicily is peppered with sulfur mines, most abandoned since the 1980s, and testaments to one of the most horrific aspects of Sicily’s history. Many children ended up working in the mines, most of them orphans, and if they died at work, no time was wasted in burying them. Conditions for men were hardly better—they worked naked underground in 98°F temperatures, and thousands died of respiratory diseases. The Floristella Mine near the town of Valguarnera Caropepe is overlooked by a splendid villa, built, with chilling insensitivity, as a summer residence by the mine’s noble owners, and later used as offices. A path leads down to the minehead where a winching mechanism lowered the lift to nine different levels, giving access to tunnels that stretched for over 5 km (3 miles). The small ovens where the extracted rock was heated for a week until liquid sulfur emerged are still evident, as are the tracks along which small trains hauled the rock to the surface.

The best way to explore the haunting history of Valguarnera is with local guide Paolo Bellone, who has interviewed many of the miners and their families. He will meet you at the mine, then take you to see the town’s powerful and moving private museum collections, which include documentary footage of the sulfur miners at work in the 1960s and rooms furnished to demonstrate everyday living conditions for the poor and the better-off in the 19th and early 20th centuries. Tours culminate with a visit to the Casa Museo, where one woman lived for her entire life, from her birth in 1911 until her death at the age of 89 in 2000, rarely throwing anything away, including her father’s Fascist party membership card and a 1922 water bill. The house has been kept as it was found, down to the garlic, herbs, and sugar in the ancient kitchen, cigarette butts in an ashtray, and a packet of American Black Jack chewing gum.

This broad, bustling waterfront promenade is one of Venice's prime stretches for strolling; thanks to its southern orientation along the Giudecca Canal, it is full of families, students, children, and dogs whenever there is the slightest ray of sunshine. Come in spring or winter to warm up a little, or in the summer to cool off under café umbrellas with drinks or gelato. Restaurant terraces over the water lure diners until late. The name Zattere means "rafts," and this was the area designated by the Venetian government for storing the vast platforms of tree trunks that were floated down rivers from the nearby Alps destined to become pilings, beams, ships, or any other item made of wood.

Contemporary and modern art enthusiasts should seek out this 2018-established collection lovingly amassed since the late '60s by a wealthy Pugliese couple. Among the 200-plus works, striking geometric and abstract paintings and sculpture from 1950–80 predominate. The permanent exhibits are a wonderful introduction to masters of modernismo italiano and less well-known Pugliese artists from Burri to Zorio.

This isn't your typical Etruscan history museum. A seven-year project led by the Luigi Rovati Foundation transformed two levels of a palazzo commissioned by the Prince of Piombino in 1871 into a stone-carved contemporary museum where ancient artifacts stand alongside those from the 20th century and beyond. Digital installations translate Etruscan into English and Italian on some of the objects, while an immersive moving floor map shows the civilization's major cities before its Roman conquest. A rotating display of contemporary exhibits along with permanent works on the main floor continues the play of ancient and modern, such as one where Andy Warhol's interpretation of an Etruscan scene was in the same room as archaeological finds. Giardino Padiglione, and its adjoining Andrea Aprea Bistrot, is an ideal spot for an afternoon aperitif or coffee.

This small nonprofit art foundation is housed inside the turn-of-the-century Cerere factory, which produced pasta until 1960 and embodies San Lorenzo's transition from industrial to artsy. Although the foundation was established in 2004 to promote the work of young contemporary artists, artists have been renting studio space in the factory since the 1970s. Part of the exhibition space has remained raw, which makes for interesting site-specific installations. Check in advance to see what's happening, as exhibitions typically change every couple of months.

Sculptor Giambologna's elaborate 1563–66 Baroque fountain and monument to Neptune occupying Piazza Nettuno has been aptly nicknamed "Il Gigante" (The Giant). Its exuberantly sensual mermaids and undraped god of the sea drew fire when it was constructed—but not enough, apparently, to dissuade the populace from using the fountain as a public washing stall for centuries.

When Pope Sixtus V (Felice Peretti) completed the restoration of the Acqua Felice aqueduct toward the end of the 16th century, Domenico Fontana was commissioned to design its monumental fountain. Sculptors Leonardo Sormani and Prospero da Brescia had the unhappy task of executing the central figure of Moses; the comparison with Michelangelo's magnificent Moses in the church of San Pietro in Vincoli was inevitable, and the giant sculpture was widely criticized. But the new fountain served to position the formerly rustic Quirinale neighborhood as a thriving urban center.

The underground Amenano River flows beneath much of Catania. You can glimpse it at the Fontana dell'Amenano, a Carrara marble fountain on the Piazza del Duomo that was built in 1867. It's a popular meeting point and tourist attraction. However, one of the best places to experience the river is at the bar-restaurant A Putia dell'Ostello ( Piazza Currò 6  095/7233010  www.agorahostel.com). Here you can sit at a lantern-lit underground table as the water swirls through. If you're not planning to stay for a drink, someone from the bar will sell you a €1 ticket to walk into the cavelike seating area. Aside from the underground river, the bar area aboveground is a lively, fun spot to hang out on a Monday evening when many other places are closed.

At the foot of the Spanish Steps, this curious, leaky boat fountain is fed by Rome's only surviving ancient aqueduct, the Acqua Vergine. The sinking ship design is a clever solution to low water pressure and was created by Pietro Bernini, with the help of his son, the prolific sculptor Gian Lorenzo Bernini. The project was commissioned by Barberini Pope Urban VIII, and the bees and suns on the boat are symbols of the Barberini family. Looking for more symbolism, some insist that the Berninis intended the fountain to be a reminder that this part of town was often flooded by the Tiber; others claim that it represents the Ship of the Church; and still others think that it marks the presumed site of the emperor Domitian's water stadium in which sea battles were reenacted in the glory days of the Roman Empire.

The upper shell and inscription of this fountain, which is decorated with the famous heraldic bees of the Barberini family, are from a fountain that Bernini designed for Pope Urban VIII; the rest was lost when the fountain was moved to make way for a new street. The inscription caused considerable uproar when the fountain was first built in 1644. It said that the fountain had been erected in the 22nd year of the pontiff's reign, although, in fact, the 21st anniversary of Urban's election to the papacy was still some weeks away. The last numeral was hurriedly erased, but to no avail—Urban died eight days before the beginning of his 22nd year as pope. The superstitious Romans, who had regarded the inscription as a foolhardy tempting of fate, were vindicated.

Designed by Giacomo della Porta in 1581 and sculpted by Taddeo Landini, this fountain, set in pretty Piazza Mattei, is one of Rome's most charming. Its focal point consists of four bronze boys, each grasping a dolphin spouting water into a marble shell. Bronze turtles just out of reach of the boys' hands drink from the upper basin. The turtles were added in the 17th century by Bernini.

A freshwater spring, the Fountain of Arethusa sits next to the sea, studded with Egyptian papyrus that's reportedly natural. This anomaly is explained by a Greek legend that tells how the nymph Arethusa was changed into a fountain by the goddess Artemis (Diana) when she tried to escape the advances of the river god Alpheus. She fled from Greece, into the sea, with Alpheus in close pursuit, and emerged in Sicily at this spring. It's said if you throw a cup into the Alpheus River in Greece, it will emerge here at this fountain, which is home to a few tired ducks and some faded carp—but no cups. If you want to stand right by the fountain, you need to gain admission through the aquarium; otherwise look down on it from Largo Aretusa.

In the middle of the Gargano Promontory is the majestic Foresta Umbra (Shady Forest), a dense growth of beech, maple, pine, and oak generally found in more northerly climates, thriving here because of the altitude, which reaches 3,200 feet above sea level. Between the trees in this national park are occasional dramatic vistas opening out over the Golfo di Manfredonia. There are nature trails and picnic areas easily reached from Vieste, Peschici, and Mattinata. A seasonal lakeside visitor center (bike hire and guide hikes available) and Museo Naturalistico della Foresta Umbra, offers information, a small natural history exhibition and family-friendly deer-feeding area.  

A drive through the park, especially on the very winding 34-km (21-mile) road between the Monastero di Camaldoli and Santuario della Verna, passing through the lovely abbey town of Badia Prataglia, reveals one satisfying vista after another, from walls of firs to velvety pillows of pastureland where sheep or white cattle graze. In autumn, the beeches add a mass of red-brown to the palette, and, in spring, torrents of bright golden broom pour off the hillsides with an unforgettable profusion and fragrance.

Walking the forests—which also include sycamore, lime, maple, ash, elm, oak, hornbeam, and chestnut trees and abundant brooks and impressive waterfalls—is the best way to see some of the wilder creatures, from deer and mouflon (wild sheep imported from Sardinia in 1872) to eagles and many other birds, as well as 1,000 species of flora, including many rare and endangered plants and an orchid found nowhere else. The park organizes theme walks in summer and provides English-speaking guides anytime with advance notice.

The far-western and southern coasts of Ischia are more rugged and attractive than other areas. Forio, at the extreme west, has a waterfront church, Chiesa del Soccorso, and is a good spot for lunch or dinner. Head to the whitewashed Soccorso church to watch a gorgeous sunset—perhaps the best spot on the island to do so.

These ruins, along with those of the Foro di Nerva, on the northeast side of Via dei Fori Imperiali, give only a hint of what must have been impressive edifices. The three columns are all that remain of the Temple of Mars Ultor.

In an attempt to rival the Roman Forum, Julius Caesar had this extension built in the middle of the 1st century BC. Each year without fail, on the Ides of March, flowers are laid at the foot of Caesar's statue.

Of all the Fori Imperiali, Trajan's was the grandest and most imposing, a veritable city unto itself. Designed by architect Apollodorus of Damascus, it comprised a vast basilica, two libraries, and a colonnade laid out around the square—all at one time covered with rich marble ornamentation. Adjoining the forum were the Mercati di Traiano (Trajan's Markets), a huge multilevel brick complex of shops, taverns, walkways, and terraces, as well as administrative offices involved in the mammoth task of feeding the city.

The Museo dei Fori Imperiali (Imperial Forums Museum) takes advantage of the Forum's soaring vaulted spaces to showcase archaeological fragments and sculptures while presenting a video re-creation of the original complex. In addition, the series of terraced rooms offers an impressive overview of the entire forum. A pedestrian walkway, the Via Alessandrina, also allows for an excellent (and free) view of Trajan's Forum.

To build a complex of this magnitude, Apollodorus and his patrons clearly had great confidence, not to mention almost unlimited means and cheap labor at their disposal (readily provided by slaves captured in Trajan's Dacian Wars). The complex also contained two semicircular lecture halls, one at either end, which are thought to have been associated with the libraries in Trajan's Forum. The markets' architectural centerpiece is the enormous curved wall, or exedra, that shores up the side of the Quirinal Hill excavated by Apollodorus's gangs of laborers. Covered galleries and streets were constructed at various levels, following the exedra's curves and giving the complex a strikingly modern appearance.

As you enter the markets, a large vaulted hall stands in front of you. Two stories of shops and offices rise up on either side. Head for the flight of steps at the far end that leads down to Via Biberatica. (Bibere is Latin for "to drink," and the shops that open onto the street are believed to have been taverns.) Then head back to the three retail and administrative tiers that line the upper levels of the great exedra and look out over the remains of the Forum. Empty and bare today, the cubicles were once ancient Rome's busiest market stalls. Though it seems to be part of the market, the Torre delle Milizie (Tower of the Militia), the tall brick tower that is a prominent feature of Rome's skyline, was actually built in the early 1200s.

For amazing views, take the funivia, a cable car that takes you to heights from which you can see seven lakes: Maggiore, Orta, Mergozzo, Varese, Camabbio, Monate, and Biandronno. Situated between Lakes Maggiore and Orta, it offers tourists 360-degree views of the Po Plain right across to the distant Alpine peaks. At the top, nature- and adventure-lovers can rent mountain bikes and ride on properly marked paths, while others can just relax at a local restaurant.

For a bracing ride to the top of Monte Ingino (where you can see the Basilica di Sant'Ubaldo), hop on the funicular that climbs the hillside just outside the city walls at the eastern end of town. It's more like an oversize metal birdcage than a cable car, and it's definitely not for those who suffer from vertigo. Operating hours vary considerably from month to month; check the funicular's website.

This is the Roman outpost of Larry Gagosian’s global art empire. Taking residence in a 1920s bank building, Gagosian brings an international crowd with highly anticipated exhibitions and blockbuster showcases of megastars such as Cy Twombly, Damien Hirst, and Jeff Koons.

Devoted to the city's seafaring history, this museum is probably the best way, at least on dry land, to get an idea of the changing shape of Genoa's busy port. Highlighting the displays is a full-size replica of a 17th-century Genoan galley.

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.

In 1863 Turin was the first Italian city to begin a public collection devoted to contemporary art. Housed in a modern building on the edge of downtown, a permanent display of more than 600 paintings, sculptures, and installation pieces (from a collection of more than 45,000 works of art) provides an exceptional glimpse of how Italian contemporary art has evolved since the late 1800s. The Futurist, Pop, neo-Dada, and Arte Povera movements are particularly well represented, and the gallery has a fine video and art film collection.

Located in a former monastery, this small museum displays a capsule collection of modern art, with an emphasis on Italian artists. The permanent collection is too large to be displayed at once, so exhibitions rotate, displaying paintings, drawings, prints, and sculptures by artists of the 19th and 20th centuries, including Giorgio de Chirico, Mario Mafai, Scipione, Gino Severini, and Giorgio Morandi.

Housed in a 1930s palazzo and displaying over 400 mainly Italian modern works amassed largely by collector Giuseppe Ricci Oddi (1868–1936), this gallery hit worldwide headlines for the mysterious and labyrinthine saga surrounding centerpiece painting Portrait of a Lady by Gustav Klimt (1862--1918). After viewing the vivacious expressionistic canvas and learning about the theft, forgery and reappearance of the Austrian lady 23 years after her theft in 1997, you can join those who like to speculate over the curious, clandestine turn of events. Not be overshadowed, the luminous paintings and sculptures largely spans Romanticism through Expressionism, with works by De Nittis, Grosso, Pellizza da Volpedo, Larsson and Boccioni.

Housed in the richly adorned Palazzo Spinola north of Piazza Soziglia, this beautiful museum contains masterpieces by Luca Giordano and Guido Reni. The Ecce Homo, by Antonello da Messina (1430–79), is a hauntingly beautiful painting, of historical interest because it was the Sicilian Antonello who first brought Flemish oil paints and techniques to Italy from his sojourns in the Low Countries. Or so some contend.

Housed in this late-15th-century Catalan Gothic palace with Renaissance elements is the Galleria Regionale, holding Palermo's foremost collection of medieval and Renaissance art. Among its treasures are the Annunciation (1474), a painting by Sicily's prominent Renaissance master Antonello da Messina (1430–79), and an arresting fresco spanning two floors (and visible from both the ground floor and a first-floor gallery) by an unknown 15th-century painter, titled The Triumph of Death, a macabre depiction of the plague years.

Palazzo Bellomo looks unlike any other palace in Ortigia, a formidable 13th-century building, whose austere minimalist facade (with scarcely a window) could almost seem contemporary but dates from a time when Sicily was part of the Holy Roman Empire. Conflicts between Emperor Frederick II and the Pope were rife—the Pope was encouraging the mercantile cities Venice and Genoa to make war on Sicily, promising Siracusa as prize. That defense was paramount is not surprising. The Gothic upper floor was added, along with the courtyard—a perfect Shakespearean film set—in the 15th century. Highlight of the collection is an Annunciation by Antonello da Messina, painted for a church in Palazzolo Acreide, with the Hyblaean mountains visible through the windows behind the angel and the Madonna. Early Christian sculpture and a fine collection of altarpieces and icons are fascinating evidence of the enduring Byzantine and Gothic influence in Sicily. While the rest of Italy was swept by the Renaissance, Siracusa’s artists were still painting heavily stylized Byzantine or Gothic works.