1473 Best Sights in Italy

Naples was originally named by the Greeks after the Mermaid Parthenope (who slew herself after being rejected by Odysseus, at least in the poet Virgil’s version), so it's only fitting that the city should have established one of Europe's first public aquariums in 1874. Founded by the German scientist Anton Dohrn and housed in a Stile Liberty building designed by Adolf von Hildebrandt, the aquarium quickly became the wonder of Naples for children and art-exhausted adults. At the time—when, not so incidentally, the public imagination was being stirred by Jules Verne’s Captain Nemo and Hans Christian Andersen’s Little Mermaid—technological innovations made it possible to funnel seawater directly from the bay into the aquarium.

Officially named the Stazione Zoologica, the aquarium reopened in 2021 after a major six-year overhaul. Tanks still showcase marine life from the Bay of Naples, as well as tropical fish, but the complex now also includes the Museo Darwin-Dohrn (Da-DoM), a few steps away in the leafy Villa Comunale. The highlight is the skeleton of a sperm whale, which washed up in Ischia in 2018, in a room opening up to the bay. Guided tours are available.

A vast archaeological site in a remote location, Morgantina long provided rich pickings for illegal excavators: when Italian detectives raided an 18th-century villa in Enna belonging to a Sicilian art dealer, they discovered more than 30,000 ancient artifacts, most of them plundered from Morgantina. In 1986, American archaeologist Malcolm Bell, director of Princeton University’s excavations at Morgantina, established that the heads, hands, and feet of 6th-century BC Greek statues of goddesses from a private collection exhibited at the Getty museum outside of Los Angeles also derived from Morgantina. Identified as Demeter and Persephone, the statues were acroliths, with wooden bodies (long rotted away) and marble extremities. Returned to Sicily in 2009 after a lengthy legal battle, they are currently displayed at a small museum in the village of Aidone, beautifully lit and hauntingly "dressed" by Sicilian fashion designer Marella Ferrara.

Equally powerful is the so-called Aphrodite Getty, or Venus of Malibu, bought by the Getty in 1987 for $18 million on the basis of provenance documents that were later proved to have been forgeries. Returned to Sicily in 2011, the hefty maturity of her body, revealed by wind-blown drapery, has led most scholars to identify her as the mother goddess Demeter. Other objects returned from the Getty include the Eupolmos Silver, a set of ritual dining ware, and a head of Hades, identified as belonging to Morgantina when a student working in the site archives discovered a terra-cotta curl of blue-tinted "hair" and suspected that it belonged to a head on display in the Getty. When the curl was sent to the museum, it was found to be a perfect fit, and in 2016 the head was returned to Sicily.

The cathedral of Rome is San Giovanni in Laterano, not St. Peter's. The church was built here by Emperor Constantine 10 years before he built the church dedicated to Peter, making it the ecclesiastical seat of the Bishop of Rome (the pope). But thanks to vandals, earthquakes, and fires, today's building owes most of its form to 16th- and 17th-century restorations, including an interior designed by Baroque genius Borromini. Colossal statues stand watch over the towering facade: the 12 apostles plus Christ, John the Baptist, and the Virgin Mary.

Some earlier fragments do remain: under the portico on the left stands an ancient statue of Constantine, while the central portal's ancient bronze doors were brought here from the Forum's Curia. The altar's rich Gothic tabernacle, holding what the faithful believe are the heads of saints Peter and Paul, dates from 1367. The last chapel on the left aisle houses the cloister, which is encrusted with 12th-century cosmatesque mosaics. Around the corner stands one of the oldest Christian structures in Rome: Emperor Constantine's octagonal baptistery. Despite several restorations, a 17th-century interior redecoration, and even a 1993 Mafia-related car bombing, the baptistery from AD 315 remains true to its ancient form.

One of Sicily’s best-kept secrets, the archaeological park of Akrai is home to what is said to be Siracusa’s first inland settlement, built to defend its overland trading route from other Greek colonies. You can access the site by a steep but steady 20-minute walk or a five-minute drive. Today, the site contains mainly ruins, but it is well worth visiting simply to see the Teatro Greco, originally constructed in the 3rd century BC to seat 600. Around the site, you'll also find two old stone quarries used to build the settlement, then converted into burial chambers as well as a remarkably well-preserved portion of the stone road into the area. Mount Etna may be seen rising majestically in the distance.

From the middle of the 11th century, Amalfi's center of shipbuilding, customs houses, and warehouses was the Arsenale, today the only (partially) preserved medieval shipyard in southern Italy. Ships and galleys up to 80 feet long, equipped with up to 120 oars, were built at this largest arsenal of any medieval maritime republic. Two large Gothic halls here now host the Museo della Bussola e del Ducato Marinaro di Amalfi (Museum of the Compass and Maritime Duchy of Amalfi) with exhibitions and artifacts from Amalfi's medieval period, including paintings, ancient coins, banners, and jeweled costumes. The highlight is the original 66-chapter draft of the code of the Tavole Amalfitane, the sea laws and customs of the ancient republic, used throughout the Italian Mediterranean from the 13th to the 16th century. The Tavole established everything from prices for boat hires to procedures to be followed in case of a shipwreck. Long one of the treasures of the Imperial Library of Vienna, the draft was returned to Amalfi after more than 500 years. Ten of the arsenal's original 22 stone piers remain; the others were destroyed by storms and changes in the sea level on this ever-active coast.

This Romanesque abbey has been owned by internationally acclaimed cookbook author Lorenza de' Medici's family for more than a century and a half (the family isn't related to the Florentine Medici). Wine has been produced here since the abbey was founded by Vallombrosan monks in the 11th century. Today, the family continues the tradition, making wines, cold-pressed olive oil, and various flavored vinegars. Don’t miss the jasmine-draped courtyard and the inner cloister with its antique well.

A visit to this winery is a must for wine lovers. The well-maintained cellar offers an excellent tour experience, guided by knowledgeable and friendly staff who will walk you through the Sicilian wine-making process. The tour includes a visit to the sprawling vineyards and an overview of the cellar and its various stages of production, culminating in a tasting of four exceptional, high-quality wines. Visits must be booked in advance, either online or by phone. If you can manage, book the visit in the late afternoon to catch the golden hour against the vineyards and the olive groves. 

Though the bar first opened in 1962—and the building has been around since the 1400s—this little café didn't gain worldwide popularity until Francis Ford Coppola chose it as the setting of significant scenes in The Godfather. In fact, prior to Coppola, the bar didn't even have an official name. He chose "Bar Vitelli" for his fictional café, had the name painted on the exterior wall, and the name has stuck for decades. Here, Michael Corleone famously asked Apollonia to marry him. And most street scenes where Michael is seen walking up the road were filmed on the building's side. The interior of the café functions as a small museum of the filming that happened in Savoca, with film stills and photos throughout. Outside, small tables sit under fairy lights and an arbor of vines. Be sure to order a lemon granita with a splash of Zibbibo, a sweet dessert wine. And though the rest of Sicily serves granita with brioche, here you'll find lightly sweetened "zuccarata" cookies. 

This building started out in the Middle Ages as the headquarters for the capitano del popolo (captain of the people) and was later a prison. It now contains the Museo Nazionale, which has one of Italy's finest collections of Renaissance sculpture. The remarkable masterpieces by Michelangelo (1475–1564), Donatello (circa 1386–1466), and Benvenuto Cellini (1500–71) are distributed amid an eclectic collection of arms, ceramics, and miniature bronzes, among other things.

In 1401, Filippo Brunelleschi (1377–1446) and Lorenzo Ghiberti (circa 1378–1455) competed to earn the most prestigious commission of the day: the decoration of the north doors of the Baptistery in Piazza del Duomo. For the contest, each designed a bronze bas-relief panel depicting the sacrifice of Isaac; the panels are displayed together in the room devoted to the sculpture of Donatello, on the upper floor. According to Ghiberti, the judges chose him, though Brunelleschi maintained that they were both hired for the commission. See who you believe after visiting.

By day, you can lose yourself in the maze of white alleyways in Bari Vecchia, the Old Town stretching along the harbor, now humming with restaurants, cafés, and crafts shops. Residents tend to leave their doors wide open, so you can catch a glimpse into the daily routine of southern Italy: matrons hand-rolling orecchiette, their grandchildren home from school for the midday meal, and workers busy patching up centuries-old arches and doorways. Back in the new town, join the evening passeggiata on pedestrian-only Via Sparano, then, when night falls, saunter out among the outdoor bars and restaurants in Piazza Mercantile, past Piazza Ferrarese at the end of Corso Vittorio Emanuele.

At the oldest winery on Etna, the expansive terrace shaded by oak trees looks out over vineyards and down to the sea. The staff offers friendly and informative tours (with excellent English) followed by a tasting of five wines with food pairings or a more formal lunch. Reservations are required. There are also four charming guest rooms overlooking the vineyards for overnight stays (minimum two nights).

Loreto is famous for one of the best-loved shrines in the world: the Santuario della Santa Casa (House of the Virgin Mary), within the Basilica della Santa Casa. Legend has it that angels moved the house from Nazareth, where the Virgin Mary was living at the time of the Annunciation, to this hilltop in 1295. The reason for this sudden and divinely inspired move was that Nazareth had fallen into the hands of Muslim invaders, who the angelic hosts viewed as unsuitable keepers of this important shrine.

The house itself consists of three rough stone walls contained within an elaborate marble tabernacle. Built around this centerpiece is the giant Basilica of the Holy House, which dominates the town. Millions of pilgrims come to the site every year (particularly at Easter and on the December 10 Feast of the Translation of the Holy House), and the little town of Loreto can become uncomfortably crowded.

Many great Italian architects—including Bramante, Antonio da Sangallo the Younger (1483–1546), Giuliano da Sangallo (circa 1445–1516), and Sansovino (1467–1529)—contributed to the design of the basilica. It was begun in the Gothic style in 1468 and continued in Renaissance style through the late Renaissance.

The famous Piero della Francesca frescoes depicting The Legend of the True Cross (1452–66) were executed on the three walls of the Capella Bacci, the apse of this 14th-century church. What Sir Kenneth Clark called "the most perfect morning light in all Renaissance painting" may be seen in the lowest section of the right wall, where the troops of Emperor Maxentius flee before the sign of the cross. Reservations are required and can be made online.

The basilica isn't one church but two: the Gothic church on the upper level, and the Romanesque church on the lower level. Work on this two-tiered monolith was begun in 1228. Both churches are magnificently decorated artistic treasure houses, covered floor to ceiling with some of Europe's finest frescoes: the Lower Basilica is dim and full of candlelight shadows, while the Upper Basilica is bright and airy.

In the Upper Church, the magnificent frescoes from 13th-century Italian painter Giotto, painted when he was only in his twenties, show that he was a pivotal artist in the development of Western painting. The Lower Church features frescoes by celebrated Sienese painters Simone Martini and Pietro Lorenzetti, as well as by Giotto (or his assistants).

The 11th-century Basilica di San Nicola, overlooking the sea in the città vecchia (old city), houses the bones of St. Nicholas, the inspiration for Santa Claus. His relics were stolen from Myra, in present-day Turkey, by a band of sailors from Bari and are now buried in the crypt. Because St. Nicholas is also the patron saint of Russia, the church draws both Roman Catholic and Russian Orthodox pilgrims; souvenir shops in the area display miniatures of the Western saint and his Eastern counterpart side by side.

Locals consider this the most important church in Palazzolo Acreide, rebuilt and repaired after the 1693 earthquake. When you enter, usually a volunteer will be available to take you on a brief tour. The main focal points are the relics and the statue of St. Paul paraded annually through the town with alternate moments of piety and raucous pyrotechnics, between June 26 and June 29.

The octagonal church of San Vitale was built in AD 547, after the Byzantines conquered the city, and its interior shows a strong Byzantine influence. The area behind the altar contains the most famous works, depicting Emperor Justinian and his retinue on one wall, and his wife, Empress Theodora, with her retinue, on the opposite one. Notice how the mosaics seamlessly wrap around the columns and curved arches on the upper sides of the altar area. School groups can sometimes swamp the site from March through mid-June.

Thousands of faithful make the pilgrimage here each year to pray at the tomb of St. Anthony, while others come to admire works by the 15th-century Florentine master Donatello. His equestrian statue (1453) of the condottiere Erasmo da Narni, known as Gattamelata, in front of the church is one of the great masterpieces of Italian Renaissance sculpture. The huge church, which combines elements of Byzantine, Romanesque, and Gothic styles, was probably begun around 1238, seven years after the death of the Portuguese-born saint. The Cappella del Santo (housing the tomb of the saint) dates from the 16th century.

At the heart of Vicenza, Piazza dei Signori contains the Palazzo della Ragione (1549), the project with which Palladio made his name by successfully modernizing a medieval building, grafting a graceful two-story exterior loggia onto the existing Gothic structure. Commonly known as Basilica Palladiana, the palazzo served as a courthouse and public meeting hall (the original Roman meaning of the term "basilica"). Walk around the loggia for grandstand views of the piazza, and the cavernous salon which hosts wonderful art exhibitions. Take a look also at the Loggia del Capitaniato, opposite, which Palladio designed but never completed.

The octagonal Baptistery is one of the supreme monuments of the Italian Romanesque style and one of Florence's oldest structures. Local legend has it that it was once a Roman temple dedicated to Mars (it wasn't), and modern excavations suggest that its foundations date from the 1st century AD. The round Romanesque arches on the exterior date from the 11th century, and the interior dome mosaics from the beginning of the mid-13th century are justly renowned, but—glittering beauties though they are—they could never outshine the building's famed bronze Renaissance doors decorated with panels crafted by Lorenzo Ghiberti. Copies of the doors on which Ghiberti worked (1403–52) most of his adult life are on the north and east sides of the Baptistery (to protect them from pollution and acid rain, the original doors were moved to the Museo dell'Opera del Duomo, where they're now on display). The Gothic panels on the south door were designed by Andrea Pisano (circa 1290–1348) in 1330.

Ghiberti's north doors depict scenes from the life of Christ; his later east doors (1425–52), facing the Duomo facade, render scenes from the Old Testament. Both merit close examination, for they are very different in style and illustrate the artistic changes that marked the beginning of the Renaissance. Look at the far right panel of the middle row on the earlier (1403–24) north doors (Jesus Calming the Waters). Here, Ghiberti captured the chaos of a storm at sea with great skill and economy. The artistic conventions he used, however, are basically pre-Renaissance: Jesus is the most important figure, so he is the largest; the disciples are next in size, being next in importance; the ship on which they founder looks like a mere toy.

The exquisitely rendered panels on the east doors are larger, more expansive, more sweeping—and more convincing. The middle panel on the left-hand door tells the story of Jacob and Esau, and the various episodes of the story—the selling of the birthright, Isaac ordering Esau to go hunting, the blessing of Jacob, and so forth—have been merged into a single beautifully realized street scene. Ghiberti's use of perspective suggests depth: the background architecture looks credible, the figures in the foreground are grouped realistically, and the naturalism and grace of the poses (look at Esau's left leg and the dog next to him) have nothing to do with the sacred message being conveyed. Although the religious content remains, the figures and their place in the natural world are given new prominence and are portrayed with a realism not seen in art since the fall of the Roman Empire nearly a thousand years before.

As a footnote to Ghiberti's panels, one small detail of the east doors is worth a special look. To the lower left of the Jacob and Esau panel, Ghiberti placed a tiny self-portrait bust. From either side, the portrait is extremely appealing—Ghiberti looks like everyone's favorite uncle—but the bust is carefully placed so that you can make direct eye contact with the tiny head from a single spot. When that contact is made, the impression of intelligent life—of modern intelligent life—is astonishing. It's no wonder that these doors received one of the most famous compliments in the history of art from an artist known to be notoriously stingy with praise: Michelangelo declared them so beautiful that they could serve as the Gates of Paradise.

Ample swimming and clean, fine-grained sand make Gallipoli's beaches a good choice for families. For a stunning Borgo Antico backdrop there's La Purità. The 5-km (3-mile) mainland strand from the Punta Pizzo nature reserve to the more developed Lido San Giovanni is divided among a series of bathing establishments, providing sun beds, umbrellas, showers, changing facilities, and snack bars. Parco Gondar hosts a fun fair and music events. Water-sports equipment can be bought or rented at the waterfront shops in town. Amenities: food and drink; lifeguards; parking (fee); showers; toilets; water sports. Best for: partiers; snorkeling; sunset; swimming; walking; windsurfing.

At the foot of Monte Serra in Viagrande, this family-run winery is one of the most internationally significant on Etna, distributing some 170,000 bottles worldwide. And the Benanti family has been instrumental in propagating the viticulture of the volcano. As you arrive at the 19th-century estate for a tasting, you'll easily be seduced by the historic grounds and hills flanked with vines. But their wines, approximately 15 different expressions of Etna, hold the real magic.

When visitors think of classic Sicilian landscapes, they often think of arid, desertlike lands. However, as you head to the island's center, the views you see may encompass much greener rolling hills, frondous trees, and carpets of wildflowers, confirming the island's biodiversity, especially if you are traveling in the spring. West of Caltanissetta is Bosco Gabbara, a natural reserve known for its hiking trails, which are especially popular among locals during the spring and fall. Pack lunch and snacks because there are no restaurants or stops with food along the trails. You may consider hiring a guide who knows the ins and outs of the area.

Housed, perhaps appropriately, in an ex-orphanage in the center of Corleone, the Centro Internazionale di Documentazione sulla Mafia e del Movimento Antimafia, or C.I.D.M.A., chronicles the dark history of the criminal organization that has been identified with Sicily for much of the 20th century and beyond. Most of the story is told through a moving exhibition of black-and-white photographs, almost all taken by Letizia Battaglia, who bravely made it her life's work to record the Mafia's activities in Sicily, in particular the arrests of Mafia operatives and the deaths of their victims. One room holds the vast collection of files used in the Maxi-Trial of Mafia suspects that took place between 1986 and 1992 and led to the murders of the judges Giovanni Falcone and Paolo Borsellino, who are also remembered here. There is space given to the pentito (informant) Tomasso Buscetta, whose testimony resulted in a slew of arrests, but whose entire family was wiped out by vengeful hitmen. It's a sad and sobering experience to hear about such atrocities, and a visit to the center is best undertaken with a guide, without whose explanations you would miss much essential information. Call ahead to book a guided tour (available in English), and to confirm opening times.

Just a 20-minute drive from Enna, occupying a similarly dramatic crag top, the town of Calascibetta is built atop a honeycomb of caves, most of them hidden from sight as they form the cellars of simple houses. Look closely, however, and you’ll spot some houses built straight into the rock, and keep an eye open if anyone opens a garage door as there may well be a cave inside. An entire network of these caves has been uncovered—and is evocatively floodlit at night—on Via Carcere. Head up to Piazza San Pietro, where there are the ruins of a Norman tower and panoramic views. Follow signs from Calascibetta to the “Villaggio Bizantino,” and you’ll come to a stunning complex of caves overlooking a magnificent valley inhabited (and used as a cemetery) from ancient times until the Byzantine period when some of the caves were turned into tiny churches. The caves continued to be used by shepherds as shelter for themselves and their flocks until relatively recently. Today, the villaggio is run by volunteers, who will organize guided tours and walks in English, and introduce you to some of the local shepherds and cheese makers. It's always open Friday and Saturday, but reach out in advance if you want to visit another day. Not far from the villagio (and clearly signposted from Calascibetta), there is another series of caves (not guarded) at Realmese which you can scramble into and explore alone (but be careful as the rock is slippery). From here, a clearly marked track leads back to the village, a walk of just over 3 miles.

In the former Benedictine covent of San Polo lies a reception room for the erudite abbess Giovanna da Piacenza, who hired Correggio in 1519 to provide its bucolic, cherub-dancing decoration: mythological scenes are depicted in glorious frescoes of the Triumphs of the Goddess Diana, the Three Graces, and the Three Fates. A small room contains a copy of The Last Supper, while La Cella di Santa Caterina mixes frescoes of saintly scenes with fantastical figures, all by Araldi (1460--1528).

If practicalities and time allow, make the short trip toward Capo Rizzuto just down the coast for some of the most fabulous bathing and snorkeling in the region. Among its bays and protected marine reserve waters is Spiagge Rosse, whose orange-red sand beach and crystalline waters make it the most alluring on this stretch of coast. Amenities: food and drink; lifeguards; parking (no fee); showers; toilets. Best for: snorkeling; swimming.

The emotional intensity and naturalism of the frescoes illustrating the lives of Mary and Jesus in this world-famous chapel broke new ground in Western art. Enrico Scrovegni commissioned these frescoes to atone for the sins of his deceased father, Reginaldo, the usurer condemned to the Seventh Circle of the Inferno in Dante's Divine Comedy. Giotto and his assistants worked on the frescoes from 1303 to 1305, arranging them in tiers to be read from left to right. To preserve the artwork, doors are opened only every 15 minutes.

This magnificent complex includes the Cappella dei Principi, the Medici chapel and mausoleum that was begun in 1605 and kept marble workers busy for several hundred years, and the Sagrestia Nuova (New Sacristy), designed by Michelangelo and so called to distinguish it from Brunelleschi's Sagrestia Vecchia (Old Sacristy) in San Lorenzo. 

Michelangelo received the commission for the New Sacristy in 1520 from Cardinal Giulio de' Medici (1478–1534), who later became Pope Clement VII. The cardinal wanted a new burial chapel for his cousins Giuliano, Duke of Nemours (1478–1534), and Lorenzo, Duke of Urbino (1492–1519). He also wanted to honor his father, also named Giuliano, and his uncle, Lorenzo il Magnifico. The result was a tour de force of architecture and sculpture.

Architecturally, Michelangelo was as original and inventive here as ever, but it is, quite properly, the powerfully sculpted tombs that dominate the room. The scheme is allegorical: on the tomb on the right are figures representing Day and Night, and on the tomb to the left are figures representing Dawn and Dusk. Above them are idealized sculptures of the two men, usually interpreted to represent the active life and the contemplative life. But the allegorical meanings are secondary; what is most important is the intense presence of the sculptural figures and the force with which they hit the viewer.

The complex is also home to the Stanza Segreta di Michelangelo (Michelangelo's Secret Room), a small room—covered in exquisite charcoal and chalk sketches—where the artist was thought to have hidden for a few months in 1530, after having angered Pope Clement VII. For preservation reasons, access to this room is very limited, and the requisite reservations ( www.b-ticket.com/b-Ticket/uffizi) tend to sell out very quickly several months in advance, so plan well ahead.

In antiquity, the Casa dei Cervi was one of the first houses that visitors to the town would have passed as they entered the city from the seaward side. As in most top-notch town residences, however, the entranceway is plain and leads into a vestibulum, a small vestibule, that opens onto an open courtyard called a peristylium. The showpiece in this particular house is the garden area, surrounded by a so-called cryptoporticus embellished with fine still-life frescoes and terminating in a partially reconstructed gazebo. Of course, prior to the eruption the house would have had a fine view over the Bay of Naples.