1473 Best Sights in Italy

In this neighborhood of huge, austere palaces, Palazzo Spada strikes an almost frivolous note, with its pretty ornament-encrusted courtyard and its upper stories covered with stuccoes and statues. Although the palazzo houses an impressive collection of Old Master paintings, it's most famous for its trompe-l'oeil garden gallery, a delightful example of the sort of architectural games that rich Romans of the 17th century found irresistible.

Even if you don't go into the gallery, step into the courtyard and look through the glass window of the library to the colonnaded corridor in the adjacent courtyard. You'll see—or seem to see—a statue at the end of a 26-foot-long gallery, seemingly quadrupled in depth in a sort of optical telescope that takes Renaissance's art of perspective to another level. In fact the distance is an illusion: the corridor grows progressively narrower and the columns progressively smaller as they near a statue, which is just 2 feet tall. The Baroque period is known for its special effects, and this is rightly one of the most famous. Borromini was responsible for the ruse, but it was only made possible thanks to the careful mathematical calculations completed by a science-minded Augustinian priest Giovanni Maria da Bitonto.

Upstairs is a seignorial picture gallery with the paintings shown as they would have been: hung one over the next clear to the ceiling. Outstanding works include Brueghel's Landscape with Windmills, Titian's Musician, and Andrea del Sarto's Visitation. Look for the fact sheets that have descriptive notes about the objects in each room.

The galleria was erected during the "cleanup" of Naples following the devastating cholera epidemic of 1884. With facades on Via Toledo—the most animated street in Naples at the time—the Liberty-style arcade with curvy glass and wrought-iron dome and vaulted wings, built between 1887 and 1890 according to a design by Emanuele Rocco, had a prestigious and important location.

Once the headquarters of the Banco di Napoli, this vast 20th-century building houses a small museum that's worth seeking out for its outstanding collection of 17th- and 18th-century paintings. Relocated from the nearby 17th-century Palazzo Zevallos Stigliano in 2022, the star attraction is Caravaggio's last work, The Martyrdom of Saint Ursula. The saint here is, for dramatic effect, deprived of her usual retinue of a thousand followers. On the left, with a face of pure spite, is the king of the Huns, who has just shot Ursula with an arrow after his proposal of marriage has been rejected. A changing program "L’Ospite Illustre" introduces pieces by an "lllustrious guest," such as Raphael and Velázquez from renowned collections.

Beautifully situated in a 16th-century villa (with a garden and great views), this collection houses a vast amount of paintings, sculptures, and drawings from the very recent past. The artists are largely not household names, but a visit here is well worth it (as are their contemporary exhibitions).

One of the city's most beautiful buildings is an outstanding example of neoclassical architecture, built between 1790 and 1796. After it was donated to Napoléon, who lived here briefly with Empress Josephine, it became known as the Villa Reale. The collection consists of works donated by prominent Milanese art collectors. It emphasizes 18th- and 19th-century Italian works, but also has a smattering of 20th-century Italian pieces.

A stunning architectural contrast to the plain Romanesque frontage of other nearby churches, the strikingly austere, recently restored (2023) stone facade of this elaborate Baroque church dates to the late 16th century. Originally a palace, the building was seized by Pedro of Toledo in 1547 and sold to the Jesuits with the condition that the facade remain intact. Behind the entrance is Francesco Solimena’s action-packed Heliodorus’ Eviction from the Temple. You can find the work of familiar Baroque sculptors (Naccherino, Finelli) and painters inside. The gracious Visitation above the altar in the second chapel on the right is by Massimo Stanzione, who also contributed the fine frescoes in the main nave: they're in the presbytery (behind and around the main altar).

After the Dominicans took over the church of Santa Maria della Visitazione from the suppressed order of Gesuati laymen in 1668, Giorgio Massari, the last of the great Venetian Baroque architects, was commissioned to build this structure between 1726 and 1735. It has an important Gianbattista Tiepolo (1696–1770) illusionistic ceiling and several other of his works, plus those of his contemporaries Giambattista Piazzetta (1683–1754) and Sebastiano Ricci (1659–1734). Outside on the right-hand wall above a small staircase is a bronze door decorated with a series of panels showing scenes from the life of Jesus by noted Venetian sculptor Francesco Scarpabolla.

The Gianicolo is famous for its peaceful and pastel panoramic views of the city, a noontime cannon shot, the Fontana dell'Acqua Paola (affectionately termed "the big fountain" by Romans), and a monument dedicated to Giuseppe and Anita Garibaldi (the guiding spirit behind the unification of Italy in the 19th century, and his long-suffering wife). The view from the terrace, with the foothills of the Appennini in the background, is especially breathtaking at dusk. It's also a great view for dome-spotting along the city skyline, from the Pantheon to the myriad city churches.

A onetime bishop's residence that dates from at least the 12th century, the Villa Episcopio (formerly Villa di Sangro) today hosts concerts and exhibitions and has an open-air theater in its splendid gardens—the same gardens where André Gide found inspiration for his novel The Immoralist, where Italy's King Vittorio Emanuele III abdicated in favor of his son in 1944, and where Jackie Kennedy enjoyed breaks from her obligations as First Lady during a much publicized 1962 visit. Wheelchair access is via a new ramp on via San Giovanni del Toro.

For the ultimate Ischian spa escape, try the stylishly landscaped park of Giardini Negombo. Designed around a beach of the finest sand, by the scenic Bay of San Montano, it was created decades ago by Duke Luigi Camerini, a passionate botanist (who named his resort in honor of its resemblance to a bay in Sri Lanka). There are 12 saltwater or thermal pools here, plus facilities for hydromassage, a beauty center with sauna and Turkish bath, sports facilities for diving and windsurfing, a bar, restaurant, and, according to the brochure, "a boutique for irresponsible purchases." All this is set in gardens with 500 species of Mediterranean plants and several panoramic views. Everything here—modern stone waterfalls, elegant poolside tables with thatched-leaf umbrellas, sensitive landscaping—is in the finest taste. At night, the outdoor arena often hosts big-name concerts. The Hotel della Baia ($$) is also on-site.

Located just across the Grand Canal between Piazzale Roma and the train station, this lush oasis was created in the 1830s by demolishing the former monastery of Santa Croce. A tranquil place to sit in the shade, the gardens feature flowers, large, leafy trees, and a small playground for children. Pause to admire the marble statue of civil engineer Pietro Paleòcapa; not a Venetian, but one of the great 19th-century hydraulic engineers modifying rivers and swamps in Italy and Europe. He served in Venice as Director of Public Works and crowned his career by collaborating with Luigi Negrelli in the planning of the Suez Canal.

The largest spa on the island has the added boon of a natural sauna hollowed out of the rocks. Here you can sit like a Roman senator on stone chairs recessed in the rock and let the hot water cascade over you. With countless thermally regulated pools, promenades, and steam pools, plus lots of kitschy toga-clad statues of the Caesars, Poseidon exerts a special pull on tourists, many of them grandparents shepherding grandchildren. On certain days, the place is overrun with people, so be prepared for crowds and wailing babies.

Giuseppe Piermarini, architect of La Scala, laid out these gardens across Via Palestro from the Villa Reale in 1770. Designed as public pleasure gardens, today they are still popular with families who live in the city center. Generations of Milanese have taken a ride on the miniature train and merry-go-round. The park also contains a small planetarium and the Museo Civico di Storia Naturale (Municipal Natural History Museum).

Neatly trimmed lawns and flower beds extend over the hills behind St. Peter's Basilica, an area dotted with some interesting structures and other, duller ones that serve as office buildings. The Vatican Gardens occupy almost 40 acres and include a formal Italian garden, a flowering French garden, a romantic English landscape, and a small forest.

There's also the little-used Vatican railroad station, which now houses a museum of coins and stamps made in the Vatican, and the Torre di San Giovanni (Tower of St. John), restored by Pope John XXIII as a retreat for work and now used as a residence for distinguished guests. To visit the gardens, join a three-hour walking tour that also includes the Sistine Chapel. Garden visits must be booked online.

Garden lovers, those who crave a view, and those who enjoy a nice hike should visit this lovely villa, whose history spans centuries. It had a walled garden as early as the 14th century; its "Grand Stairs"—a zigzag ascent well worth scaling—have been around since the 16th. In spring, the garden is filled with irises, roses, and heirloom flowers and its magnificent wisteria pergola is in bloom. It also has a Japanese garden and statuary.

Created by Cosimo I in 1550, this delightful garden was designed by favorite Medici architect Niccolò Tribolo. Many of the plants here have been grown since the 16th century. Springtime, especially May, is a particularly beautiful time to visit, as multitudes of azaleas create a riot of color.

Easy to miss behind the Temple dei Dioscuri, the sunken garden was created within what was once a vast "tank" excavated in the stone on the orders of the Tyrant Theron in 480 BC. In time, it was transformed into a lush garden, irrigated by a series of little channels, a technique brought to Sicily by the Arabs, who had learned this craft in the deserts of North Africa. Now planted with citrus, olive, almond, pistachio, pomegranate, and even banana trees, it forms a true oasis, where often the only sound is that of running water. Check their website for seasonal events such as guided tours of the garden and citrus tastings.  In order to visit the garden, you must first purchase an access ticket to the Valley of the Temples.

On the edge of the old town, this tranquil public garden is lined with palm trees and dotted with fountains and churches along stone paths with numerous benches for contemplation and picnicking. The ambling walkways skirt the cliffside and offer dramatic views of the valley below. Among the three churches here, the Chiesa dei Cappuccini is notable for the beautiful wooden altar featuring a triptych by Pietro Novelli (1635) depicting the Assumption, flanked by Saints Agata and Catherina.

A 20-minute drive out of town brings you to the Giardino Zoologico, a small zoo laid out to accommodate the wiles of both animals and children.

The Pantheon area is ice-cream heaven, with some of Rome's best gelaterias within a few steps of each other. But for many Romans, a scoop at Giolitti, which opened in 1900, is tradition. The scene at the counter often looks like the storming of the Bastille; remember to pay the cashier first, and hand the stub to the counter-person when you order your cone.

Launched in 2019 and housed mainly in the former Dreher brewery industrial complex, GAD art village comprises a number of galleries and spaces, including those of renowned video artist Fabrizio Plessi, and hosts temporary exhibitions by world-renowned artists like Yoko Ono and other Biennale artists.

On the east bank of the Po, this neoclassical church is modeled after the Pantheon in Rome. It was built between 1827 and 1831 to commemorate the return of the house of Savoy to Turin after the fall of Napoléon's empire.

Take a cog railway up the steeply rising terrain to another part of the city's fortified walls. It takes 15 minutes to hoist you from Stazione Principe to Porta Granarolo, 1,000 feet above, where the sweeping view gives you a sense of Genoa's size. The funicular departs every 30–40 minutes.

The largest town in southern Tuscany, Grosseto is the capital of the Maremma. First recorded in the 9th century as a castellum (small fort) built to defend a bridge and a port on the nearby River Ombrone, the town is now a thriving agricultural center. Badly damaged during World War II, it has been largely rebuilt since the 1950s, but a small centro storico, protected by defensive walls that follow a hexagonal plan, is worth a short visit on your way to the coast.

Only when the Grotta Azzurra was "discovered" in 1826, by the Polish poet August Kopisch and Swiss artist Ernest Fries, did Capri become a tourist destination. The watery cave's blue beauty became a symbol of the return to nature. In reality, the grotto had long been a local landmark. During the Roman era it had been the elegant, mosaic-decorated nymphaeum of the adjoining villa of Gradola. The water's extraordinary sapphire color is caused by a hidden opening in the rock that refracts the light. Locals say the afternoon light is best from April to June, and the morning in July and August. The Blue Grotto can be reached from Marina Grande or from the small embarkation point below Anacapri on the northwest side of the island, accessible by bus from Anacapri. You board one boat to get to the grotto, then transfer to a smaller boat that takes you inside.

About 14 km (9 miles) southwest of Barga, after following a winding road flanked by both sheer cliffs and fantastic views, you come to Tuscany's Cave of the Wind. As the result of a steady internal temperature of 10.7°C (about 51°F), the wind is sucked into the cave in the winter and blown out in the summer. It has a long cavern with stalactites, stalagmites, "bottomless" pits, and subterranean streams. One-, two-, and three-hour guided tours of the cave are given. (The one-hour tour is offered only from November through March.)

The tacky road sign, squadron of tour buses, Dean Martin–style boatmen, and free-form serenading (Andrea is the king of the grotto crooners) scream tourist trap, but there is, nevertheless, a compelling, eerie bellezza in the rock formations and luminous waters here. The karstic cave was originally part of the shore, but the lowest end sank into the sea. Intense greenish light filters into the water from an arch below sea level and is reflected off the cavern walls. You visit the Grotta dello Smeraldo, which is filled with huge stalactites and stalagmites, on a large rowboat. Don't let the boatman's constant spiel detract from the experience—just tune out and enjoy the sparkles, shapes, and brilliant colors. The light at the grotto is best from noon to 3 pm. You can take an elevator from the coast road down to the grotto, or in the summer you can drive to Amalfi and arrive by boat (from €30 including admission fee). Companies in Positano, Amalfi, and elsewhere along the coast provide passage to the grotto, but consider one of the longer boat trips that also explore Punta Campanella, Li Galli, and the more secluded spots along the coast.

Set in the bowels of Monte Tuoro, this legend-haunted cave was dedicated to Cybele, the Magna Mater, or Great Mother of the gods—hence the somewhat corrupted name of the cave. A goddess with definite eastern origins, Cybele did not form part of the Greek or Roman pantheon: worship of her was introduced to Italy in 204 BC at the command of the Sibylline oracle, supposedly for the purpose of driving Hannibal out of Italy. At dawn the cave is touched by the rays of the sun, leading scholars to believe it may also have been a shrine where the Mithraic mysteries were celebrated. Hypnotic rituals, ritual sacrifice of bulls, and other orgiastic practices made this cave a place of myth, so it's not surprising that later authors reported (erroneously) that Emperor Tiberius used it for orgies. Nevertheless, the cave was adapted by the Romans into a luxurious nymphaeum (small shrine), but little remains of the original structure, which would have been covered by tesserae, polychrome stucco, and marine shells. If you want to see the few ancient remains, you have to step inside the now-unprepossessing cavern.

More than 300 feet high, 900 feet long, and 200 feet wide, this gigantic cave is filled with spectacular stalactites and stalagmites. The required tour takes 50 minutes. Bring a sweater to ward off the year-round chill and be willing (and able) to descend 500 steps and then climb back up. To get here you can take Bus No. 42, which leaves every 30 minutes from the Piazza Oberdan; a more scenic route is to take the tram uphill from Piazza Oberdan to Opicina, where you connect with Bus No. 42.

Locals will almost certainly tell you that these romantic lakeside ruins were once the site of the villa of Catullus (87–54 BC), one of the greatest pleasure-seeking poets of all time. Modern-day archaeology, however, does not concur, and there is some consensus that this was the site of two villas of slightly different periods, dating from about the 1st century AD. But never mind—the view through the cypresses and olive trees is lovely, and even if Catullus didn't have a villa here, he is closely associated with the area and undoubtedly did have a villa nearby. The ruins are at the top of the isthmus and are poorly signposted: walk through the historic center and past the various villas to the top of the spit; the entrance is on the right. A small museum offers a brief overview of the ruins (on the far wall).