95 Best Sights in Italy

If you find your imagination stretching to picture Rome as it was two millennia ago, then check out this "new" ancient site just a stone's throw from Piazza Venezia. As was common practice in Renaissance-era Rome, 16th-century builders simply filled in ancient structures with landfill, using them as part of the foundation for Palazzo Valentini. In doing so, the builders also unwittingly preserved the ruins beneath, which archaeologists rediscovered during excavations in 2007. It took another three years for the two opulent, imperial-era domus (upscale urban houses) to open to the public.

Descending below Palazzo Valentini is like walking into another world. Not only are the houses luxurious and well preserved—retaining their beautiful mosaics, inlaid marble floors, and staircases—but the ruins have been made to "come alive" through multimedia. Sophisticated light shows recreate what it all would have looked like, while a dramatic, automated voice-over accompanies you as you walk through the rooms, pointing out cool finds: the heating system for the private baths, the mysterious fragment of a statue, the marks left by wooden beams used to fill in the foundations of Palazzo Valentini during the Renaissance, and a WWII bunker and escape tunnel connected to the domus. If it sounds corny, hold your skepticism: it's an effective, excellent way to actually "experience" the houses as ancient Romans would have—and to learn a lot about ancient Rome in the process. To see a multimedia presentation about the detailed battle scenes sculpted onto Trajan's Column above the site, book the "Percorso Domus + Colonna Traiana" option.

The multimedia tour takes about an hour. There are limited spots, so book in advance over the phone, online, or in person; make sure you book one of the English tours.

Located high above Mistretta are the ruins of this Arab-Norman castle. At over 3,000 feet above sea level, the location offers some spectacular views out to the coast and the highest peaks of the mountains from Santa Croce down to Santo Stefano di Camastra. The remaining structure of the castle gives you an idea of its original dimensions, which were built to defend the city and look out all along the coast. The castle was also connected to an extended walled perimeter that encircled the original town.

Rome's first walls were erected in the 6th century BC, but the ancient city greatly expanded over the next few centuries, and when Rome was at its peak, it didn't need walls. In the 3rd century AD, however, Emperor Aurelian commissioned a 12-mile wall to protect the city. Although many considered this a sign of weakness, it was more than a century before those walls were first breached in a siege that would herald the end of the empire. The ancient walls eventually became the fortifications of the papal city and remained in use for 16 centuries until the unification of Italy in 1870. Studding the Aurelian Walls were 18 main gates, the best preserved of which is the Porta di San Sebastiano at the entrance to the Via Appia Antica. This gate is also home to a small museum that allows you to walk a section of the ancient ramparts and take in some truly wonderful views. Note that the museum closes relatively early, at 2 pm.

Though part of this ancient bath complex (the largest in the Roman world) is now the church of Santa Maria degli Angeli, and other parts were transformed into a Carthusian monastery or razed to make room for later urban development, a visit still gives you a sense of the scale and grandeur of this complex, which included a gymnasium, library, and public baths. Upon entering the church, you see the major structures of the baths, partly covered by 16th- and 17th-century overlay, some of which is by Michelangelo. The calm monastery cloister is filled with the Museo Nazionale Romano's collection of inscriptions; other rooms have pieces associated especially with remote Roman antiquity (think: huts), as well as archaeological finds from Rome's Republican and imperial periods, including a rare painted relief of the god Mithras.

Pre-Etruscan tombs at this necropolis aren't kept up well, but they're interesting simply for their age, as they're even older than Saturnia's legendary baths. Access is free and at all hours.

More than just about any other town, Orvieto has grown from its own foundations. The Etruscans, the Romans, and those who followed dug into the tufa (the same soft volcanic rock from which catacombs were made) to create more than 1,000 separate cisterns, caves, passages, storage areas, and production areas for wine and olive oil. Much of the tufa removed was used as building blocks for the city that exists today, and some was partly ground into pozzolana, which was made into mortar. You can see the labyrinth of dugout chambers beneath the city on the Orvieto Underground tour, which runs daily at 11, 12:15, 4, and 5:15 (reservations recommended), departing from Piazza del Duomo 23.

Even if a good portion of the arch was rebuilt by the Romans, three dark, weather-beaten, 4th-century-BC heads (thought to represent Etruscan gods) still face outward to greet those who enter here. A plaque on the outer wall recalls the efforts of the locals who saved the arch from destruction by filling it with stones during the German withdrawal at the end of World War II.

The oldest of Verona's elegant and graceful Roman portals, the Porta dei Leoni (on Via Leoni, just a short walk from Piazza delle Erbe) dates from the 1st century BC, but its original earth-and-brick structure was sheathed in local marble during the early imperial era. It has become the focus of a campaign against violence—there are often flowers and messages by the monument—in memory of the murder of a young Veronese here in 2009.

The massive, 1st-century-AD arch was built as part of the original Aqua Claudia and then incorporated into the walls hurriedly erected in the late 3rd century as Rome's fortunes began to decline. The great arch of the aqueduct subsequently became a porta (city gate) and gives an idea of the grand scale of ancient Roman public works. On the Piazzale Labicano side, to the east, is the curious Baker's Tomb, erected in the 1st century BC by a prosperous baker (predating both the aqueduct and the city walls); it's shaped like an oven to signal the deceased's trade. The site is now in the middle of a public transport node and is close to Rome's first tram depot (going back to 1889).

Looming over the Jewish Ghetto, this huge portico, with a few surviving columns, is one of the area's most picturesque set pieces, with the church of Sant'Angelo in Pescheria built right into its ruins. Named by Augustus in honor of his sister Octavia, it was originally 390 feet wide and 433 feet long; encompassed two temples, a meeting hall decorated with bronze statues, and a library; and served as a kind of grandiose entrance foyer for the adjacent Teatro di Marcello.

In the Middle Ages, the cool marble ruins of the portico became Rome's pescheria (fish market). A stone plaque on a pillar (it's a copy as the original is in the Musei Capitolini) states in Latin that the head of any fish surpassing the length of the plaque was to be cut off "up to the first fin" and given to the city fathers or else the vendor was to pay a fine of 10 gold florins. The heads, which were used to make fish soup, were considered a great delicacy.

If you're short on time but want a quick look at the cisterns and caves beneath the city, head for the Pozzo della Cava, an Etruscan well for spring water. On a walk through nine excavated caves you can see the fascinating ruins of medieval houses and unearthed archaeological artifacts.

One of the most important archaeological areas in Rome was only discovered in 1926 when construction around Teatro Argentina unearthed four Republican-age temples. The so-called Sacred Area was closed to the public for decades and was happily colonized by cats, who still roam the ruins. But now, a series of walkways allows up-close visits to the site, along with a small but smart collection of antiquities. The exact history of the temples is still being studied, but it is thought that the most ancient of the four (built in the 4th century BC) was dedicated to Feronia, a fertility goddess. While scholars continue to debate the origins of some of the temples here, they do agree that the large tuffa foundation behind the round temple was the Curia of Pompey, where senate sessions were once held—and the spot on which Julius Caesar was assassinated on the Ides of March (March 15) of 44 BC. 

The earliest Christian site in the Forum was originally part of an imperial structure at the foot of the Palatine Hill before it was converted into a church sometime in the late 5th century. Within it are some exceptional frescoes dating from the 6th to the 9th century. Buried by a 9th-century earthquake, the church was abandoned, and a replacement was eventually built on top in the 17th century. This newer church was knocked down in 1900 during excavation work on the Forum, which revealed the early medieval church beneath.

Built by Domitian and erroneously referred to since the 19th century as the "stadium," this was, in fact, a sunken garden that created a terrace on the slopes of the hill. It may also have been used to stage games (but not chariot races) and other amusements for the emperor's benefit.

In ancient Rome, traitors were hurled to their deaths from here. In the 18th and 19th centuries, the Tarpeian Rock became a popular stop for people making the Grand Tour because of the view it gave of the Palatine Hill. Today, the Belvedere viewing point has been long shuttered for restoration, but you can proceed a short walk down to Via di Monte Tarpeo, where the view is spectacular enough. It was on this rock that, in the 7th century BC, Tarpeia betrayed the Roman citadel to the early Romans' sworn enemies, the Sabines, only asking in return to be given the heavy gold bracelets the Sabines wore on their left arm. The scornful Sabines did, indeed, shower her with their gold, and added the crushing weight of their heavy shields, also carried on their left arms.

This thermopolium (a place where hot food and drinks were served, hence the Greek name) was connected to the home of the owner and had the counter decorated with a Priapus (the god of fertility) to keep the evil eye at bay.

Begun by Julius Caesar and completed by the emperor Augustus in 13 BC, this theater could house around 14,000 spectators. Like other ancient monuments, it was transformed into a fortress during the Middle Ages. During the Renaissance, it was converted into a residence by the Savelli, one of the city's noble families. Today, only the archaeological park around the theater is open to the public, with its picturesque walkway that curves past the ruins and links to the Portico d'Ottavia. In summer, the small park becomes a magical venue for open-air classical music concerts.

The Romans who colonized the city in 241 BC constructed this small theater in the 1st century AD; for centuries afterward it was used as a quarry for building materials. The most intact portion is the hallway that passes under the cavea (stands). The rest was heavily restored in the early 1950s and serves as a venue for Spoleto's Festival dei Due Mondi. The theater was the site of a gruesome episode in Spoleto's history: during the medieval struggle between Guelph (papal) and Ghibelline (imperial) forces, Spoleto took the side of the Holy Roman Emperor. Afterward, 400 Guelph supporters were massacred in the theater, their bodies burned in an enormous pyre. In the end, the Guelphs were triumphant, and Spoleto was incorporated into the states of the Church in 1354.

Just outside the walls, past Porta Fiorentina, are the ruins of the 1st-century-BC Roman theater, one of the best-preserved in Italy, with adjacent remains of the Roman terme (baths). You can enjoy an excellent bird's-eye view of the theater from Via Lungo le Mura.

The ruins of this 1st-century amphitheater, opposite the city's questura (police station), were discovered during 1938 demolition work. Its crumbling and partly grassy steps can be viewed from the street, while its statues are now displayed at the Museo Civico. The space is used for summer plays and concerts.

Erected by the Senate in honor of Faustina, deified wife of Emperor Antoninus Pius (AD 138–161), Hadrian's successor, this temple was rededicated to the emperor as well upon his death. Because it was transformed into a church (San Lorenzo in Miranda), it's one of the best-preserved ancient structures in the Forum.

Scattered through the piazza just across the bridge to Ortigia are the ruins of a temple dedicated to Apollo, which dates back to the 6th century BC. A model of this is in the Museo Archeologico. In fact, little of this noble Doric temple remains except for some crumbled walls and shattered columns; the window in the south wall belongs to a Norman church that was built much later on the same spot.

The three remaining Corinthian columns of this temple beautifully evoke the former grandeur and elegance of the Forum. This temple was dedicated in 484 BC to Castor and Pollux, the twin brothers of Helen of Troy, who carried to Rome the news of victory at Lake Regillus, southeast of Rome—the definitive defeat of the deposed Tarquin dynasty. The twins flew on their fabulous white steeds 20 km (12 miles) to the city to bring the news to the people before mortal messengers could arrive. Rebuilt over the centuries before Christ, the temple suffered a major fire and was reconstructed by the future Emperor Tiberius in 12 BC, the date of the three standing columns.

What survives of the base of the temple—built by Augustus, Julius Caesar's successor—stands over the spot where Caesar's body was cremated. A pyre was improvised by grief-crazed citizens who kept the flames going with their own possessions.

This round brick temple with bronze doors behind the Basilica dei Santi Cosma e Damiano is believed to have been dedicated by the Emperor Maxentius to his son, Valerius Romulus, who died in 309 AD and was deified. In the 6th century, the temple was converted into a vestibule for the church. There are various wall decorations in the rotunda, including Christ enthroned between St. Mary Magdalene and St. Mary Salome. To the left of the entrance is a 13th-century painting attributed to Jacopo Torriti depicting the Madonna enthroned and Child between the Medici saints.

Once Rome's largest temple, it was, in fact, originally two temples back-to-back. The half dedicated to Venus, facing the Colosseum, is the section seen today; its twin, which once faced the Forum, was dedicated to the goddess Roma and is now the foundation of the church of Santa Maria Nova. Begun by Hadrian in AD 121, the temple is accessible from the end of the Forum near the Arch of Titus and offers a great view of the Colosseum.

All that remains of Vespasian's temple are three graceful Corinthian columns. They marked the site of the Forum through the centuries while the rest was hidden beneath overgrown rubble. Nearby is the ruined platform that was the Tempio di Concordia.

Although only a fragment of the original building remains, this temple nevertheless conveys the sophisticated architectural elegance that was achieved in the later Roman Empire. Set off by florid Corinthian columns, the tholos (circular building) was rebuilt by Emperor Septimius Severus when he restored the temple (around AD 205), which is dedicated to Vesta, the goddess of the hearth. It was here that the six highly privileged vestal virgins—chosen when they were between six and 10 years old to serve for 30 years—kept Rome's sacred flame burning, a tradition that dated from the very earliest days of the city, when guarding the community's precious fire was essential to its well-being.

Next to the temple, the Casa delle Vestali gives you a glimpse of the splendor in which these women lived. Marble statues of the vestals and fragments of mosaic pavement line the garden courtyard, which once would have been surrounded by lofty colonnades and at least 50 rooms. Their standing in Rome was considerable: among women, they were second in rank only to the Empress. Their intercession could save a condemned man, and they did, in fact, rescue Julius Caesar from the lethal vengeance of his enemy Sulla.

The virgins were handsomely maintained by the state, but if they allowed the sacred fire to go out, they were scourged by the high priest, and if they broke their vows of celibacy, they were buried alive (a punishment doled out only a handful of times throughout the cult's 1,000-year history). The vestal virgins were one of the last of ancient Rome's institutions to die out, enduring until the end of the 4th century AD—even after Rome's emperors had become Christian.

The Terme di Caracalla are some of Rome's most massive—yet least visited—ruins. Begun in AD 206 by the emperor Septimius Severus and completed by his son, Caracalla, the 28-acre complex could accommodate 1,600 bathers at a time. Along with an Olympic-size swimming pool and baths, the complex also had two gyms, a library, and gardens. The impressive baths depended on slave labor, particularly the unseen stokers who toiled in subterranean rooms to keep the fires roaring in order to heat the water.

Rather than a simple dip in a tub, Romans turned "bathing" into one of the most lavish leisure activities imaginable. A bath began in the sudatoria, a series of small rooms resembling saunas, which then led to the caldarium, a circular room that was humid rather than simply hot. Here a strigil, or scraper, was used to get the dirt off the skin. Next stop: the warm(-ish) tepidarium, which helped start the cool-down process. Finally, it ended with a splash around the frigidarium, a chilly swimming pool.

Although some black-and-white mosaic fragments remain, most of the opulent mosaics, frescoes, and sculptures have found their way into Rome's museums. Nevertheless, the towering walls and sheer size of the ruins give one of the best glimpses into ancient Rome's ambitions. A newly installed fountain has returned some water to the baths, while a portable video guide allows a glimpse of the past grandeur, with images and audio that describe how the ruins appeared centuries ago. If you're here in summer, don't miss the chance to catch an open-air opera or ballet in the baths, put on by the Teatro dell'Opera di Roma.

The spectacular site of the Carthaginian and Roman city of Tharros was, like Nora to the south, chosen because it commanded the best views of the gulf and could provide an easy escape route if inland tribes threatened. The Phoenician-Punic city planning here includes sophisticated water channeling and masonry foundations. Two reconstructed Corinthian columns stand as testament to the site's Roman history, and there are baths visible and mosaic fragments from the Roman city.