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Near the entrance to the huge, strange Grotto Arpaia, at the base of the sea-swept cliff, is a plaque recounting the strength and courage of Lord Byron (1788–1824) as he swam across the gulf to the village of San Terenzo, near Lerici, to visit his friend Shelley (1792–1822). The poet is said to have written his lengthy narrative poem Childe Harold's Pilgrimage in Portovenere.
This museum has all the class and elegance associated with the Gucci name. The story of Florentine Guccio Gucci—from selling imported luggage in his hometown in 1921 to helming one of Italy's best-known fashion labels—is screened in a theater with purple velvet couches. Tasteful displays of the design house's famous leather accessories, shoes, and sporting goods (including snorkels and flippers) also fill the 14th-century Palazzo del Tribunale di Mercatanzia, that is now known as Gucci Palazzo, or Gucci Garden. Centuries ago, this building heard and tried cases by disgruntled guildsmen; in its new incarnation, it houses not only the Gucci Visions museum, but also a boutique and bookstore, the Gucci Giordina 25 café, and the Gucci Osteria Florence. Expect to see some interesting juxtapositions of past and present, including an early 15th-century fresco of Christ crucified in a room that's filled with displays of 20th-century jewelry.
A boat tour (with Consorzio Liguria Via Mare, for example) gives you a good perspective on the layout of the harbor, which dates to Roman times. The Genoa inlet, the largest along the Italian Riviera, was also used by the Phoenicians and Greeks as a harbor and a staging area from which they could penetrate inland to form settlements and to trade. The port is guarded by the Diga Foranea, a striking 5-km-long (3-mile-long) wall built into the ocean. The Lanterna, a lighthouse more than 360 feet tall, was built in 1544; it's one of Italy's oldest lighthouses and a traditional emblem of Genoa.
Against the walls of San Quirico d'Orcia, these Italian-style gardens retain merely a shimmer of their past opulence. They were planted in 1581 by Diomede Leoni—hence the name of the park. In the center there's a 17th-century statue of Cosimo III, the penultimate Medici grand duke of Tuscany.
St. Francis of Assisi founded this 13th-century former monastery that retains its original cloister, famous for its distinctive Arab-Sicilian arcaded columns and crypt with frescoes. In the early 19th century, the property was transformed into the Amalfi Coast's earliest hotel. The many noteworthy guests include Henrik Ibsen, who wrote much of his play A Doll's House here. The hotel also owns the landmark Torre Saracena (Saracen Tower), now home to an atmospheric bar and restaurant, which sits across the highway and stands guard over Amalfi's seaside promontory.
The name translates literally as "the custodians of the vineyards of Etna," and Mario Paoluzi and his team take their roles as guardians quite seriously. From the low-intervention management of one of the oldest producing vineyards on Etna to the use of the alberello trellis system, this winery specializes in producing elegant expressions of Etna wines that pay homage to the history and culture of the area.
Salvo Foti, the patriarch of this family-run winery, has been called the most important Sicilian agronomist and winemaker. In fact, his work cultivating native grapes is part of the reason Americans have even heard of Nerello Mascalese or Carricante. His conscientious methods, which honor both the land and cultural traditions of Etna, have been passed on to his two sons (Simone and Andrea) who now manage the winery and lead tastings in the historic Palmento Caselle (c. 1840). In the fall, they still use the palmento to stomp grapes and press wine the way it was done centuries ago on Etna.
Perched at about 600 feet in the southwest hills of the island, this authentic Sardinian town 35 km (22 miles) north of Sant'Antioco has two notable medieval churches: the Cattedrale di Santa Chiara and Madonna delle Grazie. The town is famous for its theatrical, Spanish-inflected Easter festivities. A short drive away, on the Costa Verde, you can enjoy unspoiled, uncrowded beaches, including the beautiful Masua cove at Porto Cauli beach.
Designed by world-renowned architect Renzo Piano, this spiderlike white structure was erected in 1992 to celebrate the Columbus quincentenary. You can take its
Sant'Agata's most famous vantage point is on the far north side of the hill, where an ancient Greek sanctuary is said—somewhat fancifully—to have been dedicated to the Sirens of legend. That choice location became Il Convento di San Paolo al Deserto, a monastery built by the Carmelite fathers in the 17th century and now occupied by an order of nuns. The monastery's famed belvedere—with panoramic views of the blue waters all around, and of Vesuvius, Capri, and the peninsula—was a top sight for Grand Tour–era travelers.
Access to the belvedere's tower involves a steep climb, and opening hours can be sporadic. In fall and winter, closing is at 5 pm, while it's open until 7 from April to September (with at least a three-hour lunchtime closure). To get to the Deserto from the center of Sant'Agata, take the main road (Corso Sant'Agata) past the church of Santa Maria delle Grazie on your right, and keep walking uphill on Via Deserto for a little more than half a mile.
Il Ponte della Maddalena is, oddly, also known as the Devil's Bridge. Commissioned in all likelihood by Matilde di Canossa (1046–1115), it was restructured by the petty despot Castruccio Castracani in the early 14th century. It's worth the climb to the middle—the bridge is narrow, steep, and pedestrians-only—to check out the view. Despite 1836 flood damage and early-20th-century alterations, it seems little changed from the Middle Ages. If you're heading north along the Serchio from Lucca to Bagni di Lucca, you will see the bridge on your left.
In spring and summer, and on special dates, this narrow-gauge steam railway takes visitors through stunning countryside from Moccone and Camigliatello Silano to San Nicola-Silvana Mansio. The journey takes 40–50 minutes; in 2024 major works were carried out, including Sculca station, enabling it to stage cultural events, historical reenactments and culinary tastings. Check the website for the latest schedules, events, etc.
The estate of the larger-than-life Gabriele D'Annunzio (1863–1938)—one of Italy's major modern poets, and later war hero and supporter of Mussolini—is filled with the trappings of his conquests in art, love, and war. His eccentric house crammed with quirky memorabilia can only be seen during a 35-minute guided tour (available in English), and the extensive gardens are definitely worth a stroll, particularly to see the curious full-size warship's prow. There's also an imposing mausoleum, made of white marble, along with three museums showcasing personal items from D'Annunzio's exploits, including one devoted to his cars.
A complex of five grandly conceived complexes flanked with colonnades, the Fori Imperiali contain monuments of triumph, law courts, and temples. The complexes were tacked on to the Roman Forum, from the time of Julius Caesar in the 1st century BC until Trajan in the very early 2nd century AD, to accommodate the ever-growing need for buildings of administration and grand monuments.
From Piazza del Colosseo, head northwest on Via dei Fori Imperiali toward Piazza Venezia. Now that the road has been closed to private traffic, it's more pleasant for pedestrians (it's closed to all traffic on Sunday). On the walls to your left, maps in marble and bronze, put up by Benito Mussolini, show the extent of the Roman Republic and Empire (at the time of writing, these were partially obstructed by work on Rome's new subway line, Metro C). The dictator's own dreams of empire led him to construct this avenue, cutting brutally through the Fori Imperiali, and the medieval and Renaissance buildings that had grown upon the ruins, so that he would have a suitable venue for parades celebrating his expected military triumphs. Among the Fori Imperiali along the avenue, you can see the Foro di Cesare (Forum of Caesar) and the Foro di Augusto (Forum of Augustus). The grandest was the Foro di Traiano (Forum of Trajan), with its huge semicircular Mercati di Traiano and the Colonna Traiana (Trajan's Column). You can walk through part of Trajan's Markets on the Via Alessandrina and visit the Museo dei Fori Imperiali, which presents the Imperial Forums and shows how they would have been used through ancient fragments, artifacts, and modern multimedia.
This is the island's largest town and the usual point of debarkation. It's no workaday port, however, but rather a lively resort with plenty of hotels, restaurants, the island's best shopping area, and low, flat-roof houses on terraced hillsides overlooking the water. Its narrow streets and villas and gardens are framed by pines.
The most famous of the three Isole Borromee (Borromean Islands), is named after Isabella, whose husband, Carlo III Borromeo (1538–84), built the palace and terraced gardens here for her as a wedding present. Before Count Carlo began his project, the island was rocky and almost devoid of vegetation; the soil for the garden had to be transported from the mainland. For a splendid view of the lake, wander up the 10 terraces of Teatro Massimo. In the gardens, white peacocks roam among the scented shrubs. Visit Palazzo Borromeo to see the rooms where famous guests—including Napoléon and Mussolini—stayed in 18th-century splendor.
Stop for lunch at the smallest Borromean island, also known as Isola Superiore. It's less than 100 yards wide and only about ½ km (¼ mile) long. It's an ideal place to visit before, after, or in between touring the other two islands. Of the 10 or so restaurants on this island the two worth visiting are Il Verbano ( 0323/31226) and Belvedere ( 0323/32292). The island with little lanes strung with fishing nets and dotted with shrines to the Madonna is a crowded place filled with souvenir stands and shops in high season.
The three towns on the Island of the Lily—Giglio Porto, the charming harbor where the ferry arrives; Giglio Castello, a walled village at Giglio's highest point; and Giglio Campese, a modern west-side town—are connected by one long, meandering road. But to really explore Giglio you need a good pair of hiking boots. A network of rugged trails climbs the steep hills through clusters of wild rosemary and tiny daffodils, and, chances are, your only company will be the goats who thrive on Giglio's sun-baked hills.
The island's main attraction, however, is at sea level—a sparkling array of lush coves and tiny beaches, most accessible only on foot or by boat. With the exception of Giglio Campese, where the sandy beach is as popular in summer as any mainland resort, most of the coastline is untouched, leaving plenty of room for peaceful sunning if you're willing to go off the beaten path.
Reopened in 2016 after 14 years, the small crescent-shaped island of Vivara, a terminal segment of a volcanic cone and Carlo III's 18th-century hunting lodge, is today a living museum of natural history with unsullied Mediterranean maquis vegetation. Visitors cross a causeway to a Napoleonic-era fort near the entrance gateway, then follow the path winding up to a cluster of abandoned settlements at the highest point of the island (357 feet above sea level). The main cultural interest lies in the island's rich archaeological finds dating to prehistoric times, especially the Bronze Age, as testified to by a wealth of Mycenaean pottery fragments. It's at its best in springtime, with most of its plants in flower and lots of birds on the move. Admire the dense maquis on either side, growing unchecked for over 50 years, with characteristic plant species like tree heather, strawberry tree, and rockrose, the latter of which sports delicate pink flowers in spring. Although you'll hear birds—especially the blackcap—don't expect to see any of these skulking warblers, except perhaps around the clearing at the center of the island. At migration times, watch for two of the Mediterranean's more exotic-looking summer visitors: the hoopoe, a bird that looks more in keeping with the African savanna, and the bee-eater, with a splash of unusually vivid colors. The only way to visit the island is by taking a guided tour booked in advance through the comune.
In imperial times, Romans sheathed the entire island with marble to make it look like Aesculapius's ship, replete with a towering obelisk as a mast. Amazingly, a fragment of the ancient sculpted ship's prow still exists. You can marvel at it on the downstream end of the embankment. Today, medicine still reigns here. The island is home to the hospital of Fatebenefratelli (literally, "Do good, brothers"). Nearby is San Bartolomeo, built at the end of the 10th century by the Holy Roman Emperor Otto III and restored in the 18th century.
During summer, the island hosts an outdoor cinema, while its walkway is dotted with white tented bars and pop-up eateries.
Sent to Rome in a last-ditch attempt to treat his consumptive condition, English Romantic poet John Keats—celebrated for such poems as "Ode to a Nightingale" and "Endymion"—lived in this house at the foot of the Spanish Steps. At the time, this was the heart of Rome's colorful bohemian quarter, an area favored by English expats. He took his last breath here on February 23, 1821, and is now buried in the Non-Catholic Cemetery in Testaccio. On a visit to his final home, you can see his death mask, though local authorities had all his furnishings burned after his death as a sanitary measure. You'll also find a quaint collection of memorabilia of other English literary figures of the period—Lord Byron, Percy Bysshe Shelley, Joseph Severn, and Leigh Hun—and an exhaustive library of works on the Romantics.
Rather than visiting public beaches, many sun worshippers opt to enjoy the island's fabled stabilimenti balneari (private bathing lidos), some of which offer real relaxation and unbelievable views. One of the most famous is La Fontelina. At the foot of the Faraglioni rocks, the lido has a magical setting. There's no beach here, so the lido isn't suitable for children, and booking in advance is essential. You can get to La Fontelina by using a rocky path that begins at the end of Via Tragara; others prefer to take a ferry (€6) from the more accessible Marina Piccola during the afternoon. The excellent but pricey restaurant is open for lunch only. Amenities: food and drink; lifeguards; showers; toilets. Best for: snorkeling; swimming.
Located on Levanzo's rugged northwestern coast, Italy's most important example of cave art, the Grotta del Genovese, displays a stunning set of paintings and incised drawings dating from the Upper Paleolithic and Neolithic eras. The guide explains in fascinating detail how the small red and black figures of animals, fish, and insectlike humans were created here between 10,000 and 15,000 years ago, and how they were discovered by a holidaymaker in 1949.
Transport to the grotto, which is privately owned, may be included in the price of the ticket. Arriving by sea, a 20-minute ride, allows you to experience Levanzo's beautiful coast, but is not possible when the sea is at all rough as the boat must negotiate a narrow inlet in order to disembark passengers. The alternative is overland via Jeep, though this involves a downhill walk along a track for the last half mile. The whole excursion by boat or Jeep takes around 90 minutes. You can also make your own way here on foot along inland paths from Levanzo town, a walk of around one hour each way.
Visits to the site must be booked online, by email, or by phone at least 48 hours in advance, but ideally several days ahead during the busy summer months. Note that neither touching the engravings nor photographing them is allowed, and sturdy shoes are advised.
A short walk east of Piazza dei Signori is the pescheria (fish market; opened in 1856), set on an island on Cagnan Grande, one of the small canals that flow through town. The picturesque, leafy setting here is completed by the surrounding handsome medieval buildings, including Ca’ dei Carraresi, Ca’ Brittoni, and the former convent of the Monache Camaldolesi. Seek out two beguiling female statues close to Trevisani hearts around these parts: La Sirenetta or Little Mermaid emerges from the Cagnan Grande; and on Vicolo Podestà, Fontana Delle Tette's serene-looking signorina spouts water—and on special occasions, vino rosso and vino bianco—from her breasts.
The English writer and Capriophile Norman Douglas called this square, officially known as Piazza Umberto I, "the small theater of the world." The rendezvous point for international crowds, this "salone" became famous as the late-night place to spot heavenly bodies—of the Hollywood variety, that is: Frank Sinatra, Rita Hayworth, Julie Christie, Julia Roberts, and Mariah Carey are just a few of the celebs who have made La Piazzetta the place where the rich and famous come to watch other rich and famous folk. These days, if the high flyers bother to make an appearance, they're likely to show up at 8 in the evening for an aperitivo and some peppery tarallucchi bread sticks, with a possible return visit for a late-night limoncello.
In any event, the square is never less than picturesque and has been a natural crossroads and meeting point since Roman times. The religious complex of Santo Stefano was built around the square in the 17th century, but the clock tower and Municipio, or town hall (once the archbishop's palace) are the only remnants of its cathedral. Capri's version of Big Ben—the charming bell tower, or Torre dell'Orologio—is perched over the ancient gateway.
San Remo's steep and labyrinthine old town climbs upward to Piazza Castello, which offers a splendid view of the town and sea below. Some lovely old palazzi and squares have been restored, and the neighborhood gives you a sense of what it was like to live in San Remo centuries ago.
A fine example of Gallipoli Baroque, the 17th-century Church of Santa Maria della Purità stands at the end of the borgo antico overlooking famed Purità Beach. It contains an eye-popping wealth of art and decoration, including the painting at the high altar by Luca Giordano (1634-1705), intricately carved wooden choir stalls, and a 19th-century majolica pavement.
Dating from the 13th century, La Rocca (The Fortress) has a plaque commemorating writer Ludovico Ariosto's brief tenure here as commissar general for the Este. Ariosto (1474–1533) wrote the epic poem Orlando Furioso (1516), among other works. You can only see the impressive walls and great entryway of the fort from the outside.
Built in the mid-14th century for Cardinal Egidio Albornoz, this massive fortress served as a seat for the local pontifical governors, a tangible sign of the restoration of the Church's power in the area when the pope was ruling from Avignon. Several popes spent time here, and, in 1499, one of them, Alexander VI, sent his capable teenage daughter, Lucrezia Borgia (1480–1519), to serve as governor for three months. The Gubbio-born architect Gattapone (14th century) used the ruins of a Roman acropolis as a foundation and incorporated materials from many Roman-era sites, including the Teatro Romano.
La Rocca's plan is long and rectangular, with six towers and two grand courtyards, an upper loggia, and grand interior reception rooms. In the largest tower, Torre Maestà, you can visit an apartment with some interesting frescoes.
There's no doubt that the highlight of Castel di Tusa is its beaches, which stretch out from the beginning of the Tusa Cape in the east and end on the other side of the town at the Lungomare di Tusa. The beaches here vary from rocky, pebbly ones to golden sandy ones. Generally, Sicilian beaches are rustic with minimal facilities. Sicilians like to find a secluded spot to swim and sunbathe and might bring something for a picnic along with a simple beach umbrella. The same can be said for Tusa beaches: very basic but with crystal clear waters. Amenities: none. Best for: swimming; walking.
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