1473 Best Sights in Italy

Angels designed by Baroque master Bernini line the most beautiful of central Rome's 20-odd bridges. Bernini himself carved only two of the angels (those with the scroll and the crown of thorns), both of which were moved to the church of Sant'Andrea delle Fratte shortly afterward at the behest of the Bernini family. Though copies, the angels on the bridge today convey forcefully the grace and characteristic sense of movement—a key element of Baroque sculpture—of Bernini's best work.

Originally built in AD 133–134, the Ponte Elio, as it was originally called, was a bridge over the Tiber to Hadrian's Mausoleum. Pope Gregory changed the bridge's name after he had a vision of an angel sheathing its sword to signal the ending of the plague of 590. In medieval times, continuing its sacral function, the bridge became an important element in funneling pilgrims toward St. Peter's. As such, in 1667 Pope Clement IX commissioned Bernini to design 10 angels bearing the symbols of the Passion, turning the bridge into a sort of Via Crucis.

In 2016, Pope Francis opened the 136-acre pontifical estate and its glorious gardens to the public, which includes the archaeological remains of the palace of the Roman Emperor Domitian (dating from the 1st century AD). To explore the gardens up close, a 50-minute ecobus tour of the villa grounds is available for €15 per person. The gardens are managed by Borgo Laudato Si', an ecologically minded department of the Vatican. As a result, in addition to the standard audio guide, each bus stop is accompanied by a short excerpt from the Encyclical Letter Laudato Si', the Pope's treatise on the natural environment.

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.

Occupying a rather unkempt pedestrianized piazza, this elegant ceremonial gateway is one of Naples's finest Renaissance landmarks. Ferdinand II of Aragon commissioned the Florentine sculptor and architect Giuliano da Maiano to build this white triumphal arch—perhaps in competition with the Arco di Trionfo found on the facade of the city's Castel Nuovo—in the late 15th century. As at Castel Nuovo, this arch is framed by two peperino stone towers, here nicknamed Honor and Virtue, while the statue of Saint Gennaro keeps watch against Mt. Vesuvius in the distance. Across Via Carbonara stands the medieval bulk of the Castel Capuano, home to Angevin and Aragonese rulers until 1540, when it was transformed by the Spanish viceroy into law courts, a function it fulfilled until just a few years ago. On Sunday, this is a meeting place for Naples's extracomunitari (immigrants), who chat in their native tongues—from Ukrainian and Polish to Twi and Igbo.

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 medieval gate in the Aurelian walls was replaced by the current one between 1562 and 1565, by Nanni di Bacco Bigio. Bernini further embellished the inner facade in 1655 for the much-heralded arrival of Queen Christina of Sweden, who had abdicated her throne to become a Roman Catholic.

This gateway "door" to the harbor bears a huge ceramic panel, created by Renato Rossi in the 1950s, commemorating the trade routes of the republic during the Middle Ages. In one example, ships loaded with Italian timber sold the wood for gold in North Africa, then used the gold to buy gems, spices, and silks in Asia to trade back in Italy. Walk 200 feet along Corso delle Repubbliche Marinare, past the tourist office, to see the ceramic panel created by Diodoro Cossa in the 1960s. The scenes illustrate local historical highlights, among them Roman refugees establishing themselves in nearby Scala in the 4th century, the founding of Amalfi by these same Romans, Amalfi's commercial and diplomatic role in the Mediterranean, the arrival of St. Andrew's body, and the invention of the maritime compass.

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).

Framed by two squat, circular towers, this gate was constructed at the beginning of the 5th century during a renovation of the 3rd century Aurelian Walls. Here you can see just how well the walls have been preserved and imagine hordes of Visigoths trying to break through them. Sturdy as they look, these walls couldn't always keep out the barbarians: Rome was sacked three times during the 5th century alone.

This huge gateway, regally guarding the city, is a remarkable relic from the Roman era. The area between the massive inner and outer walls was used as a small parade ground for the changing of the guard.

A striking 12th-century twin-tower structure, this medieval gateway stands on the spot where a road from ancient Rome entered the city. It is just steps uphill from Christopher Columbus's boyhood home.

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.

The waters of the port at Elba's eastern end are noticeably azzurro (sky-blue). It's worth a stop for a walk and gelato along the rows of yachts harbored here.

On the southeastern side of Monte Argentario, this small port town is the haunt of the rich and famous, with top-notch hotels and restaurants perched on the cliffs.

On Monte Argentario's north side, busy and colorful Porto Santo Stefano is the peninsula's main center, with markets, hotels, restaurants, and ferry service to Giglio and Giannutri, two of the Tuscan islands.

The lively port town where Victor Hugo (1802–85) spent his boyhood makes a good base for visiting Elba. Head right when you get off the ferry to get to the centro storico, fortified in the 16th century by the Medici grand duke Cosimo I (1519–74). Most of the pretty, multicolor buildings that line the old harbor date from the 18th and 19th centuries when the boats in the port were full of mineral exports rather than tourists.

Bagno Vignoni's main hot-spring pool is inside the luxury Posta Marcucci Spa hotel. Non-hotel guests can swim in the three outdoor pools, which range in temperature from 38°C (100°F) to 28°C (82°F), and can use the sun beds and umbrellas in the garden. Slippers and bathing caps are compulsory and can be purchased at the ticket desk. Entry is more expensive on the weekends.

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.

For a quick beach escape from Agrigento, head to Punta Bianca Beach, a natural reserve along the coast. Like most natural reserves on the island, the access road is in poor condition, so be patient while driving. The bumpy ride is worth it when you catch the breathtaking views from the hill overlooking an abandoned stone house that stands against the white stones. The best time to go is in the afternoon to catch the golden hour and sunset. The short hike to the beach is enjoyable and not too challenging, even for children. The reward? A truly incredible and secluded beach experience. Best for: solitude, sunset, walking. Amenities: none.

The "three sons of Capri" can be best seen from the famous lookout point at Punta di Tragara at the end of gorgeous Via Tragara. At this point, a path—marked by a plaque honoring the poet Pablo Neruda, who loved this particular walk—leads down hundreds of steps to the water and the feet of I Faraglioni, and perhaps to a delightful lunch at one of the two lidos at the rock base: Da Luigi, a household name in the Bay of Naples, or La Fontelina, an exclusive sun-drenched retreat nearby. After lunch, habitués then hire a little boat to ferry them back to nearby Marina Piccola and the bus back to town. Near the start of the Neruda path turn left to find the most gorgeous seaside walk in Capri—the Via Pizzolungo. Another place to drink in the view of I Faraglioni, which is most romantic at sunset, is the Punta Del Cannone, a hilltop belvedere reached beyond the Certosa di San Giacomo and the Giardini di Augusto.

Pristine views can be had from the deteriorating faro (lighthouse) at Punta Portofino, a 15-minute walk along the point that begins at the southern end of the port. Along the seaside path you can see numerous impressive, sprawling private residences behind high iron gates. Amenities: none; parking (free). Best for: walking.

One of a pair of pylons (the other is across the strait in Villa San Giovanni, Calabria) that carried electricity across the strait from 1955 to 1994, this steel tower stands 761 feet over the most northeastern point of Sicily. Though the pylons are no longer officially in use, they do have protected historic monument status and are used to gather meteorological data. Access to the 1,000-odd steps to the top is closed to the public. 

While strolling the city, take in this handsomely restored district between Riviera Garibaldi and Piazza Santa Maria Battuti. It's the site of university buildings, upscale apartments, and restaurants and shops.

The Four Corners is the decorated intersection of two main thoroughfares: Via Vittorio Emanuele and Via Maqueda. Four rather exhaust-blackened Baroque palaces from Spanish rule meet at concave corners, each with its own fountain and representations of a Spanish ruler, patron saint, and one of the four seasons. These days it's one of Palermo's major tourist hot spots and a favorite venue for street performers.

This intersection takes its name from its four Baroque fountains, which represent the Tiber (on the San Carlo corner), the Arno, Juno, and Diana. Despite the nearby traffic and the tightness of the sidewalk, it's worth taking in the views in all four directions from this point: to the southwest, as far as the obelisk in Piazza del Quirinale; to the northeast, along Via XX Settembre to the Porta Pia; to the northwest, across Piazza Barberini to the obelisk of Trinità dei Monti; and to the southeast, as far as the obelisk and apse of Santa Maria Maggiore. The prospect is a highlight of Pope Sixtus V's campaign of urban beautification and an example of Baroque influence on city planning.

A connoisseur's delight, the art collection at this late-16th-century palace includes Giovanni Bellini's Presentation in the Temple and Sebastiano Ricci's triptych Dawn, Afternoon, and Evening. Portraits of newlyweds Francesco Querini and Paola Priuli were left unfinished on the death of Palma Vecchio (1480–1528); note the groom's hand and the bride's dress. Original 18th-century furniture and stuccowork are a fitting background for Pietro Longhi's portraits. Nearly 70 works by Gabriele Bella (1730–99) capture scenes of Venetian street life; the Collezione Intesa Sanpaolo section spans the centuries from Tintoretto canvasses to sinewy modernist Alberto Viani sculptures; there's a contemporary art collection, too, plus a downstairs café. The entrance hall and the small, charming rear garden were designed by famous Venetian architect Carlo Scarpa during the 1950s.

The lovely historic center of Ragusa, known as Ibla, was completely rebuilt after the devastating earthquake of 1693. Its tumble of buildings are perched on a hilltop and suspended between a deep ravine and a sloping valley. The tiny squares and narrow lanes make for pleasant meandering, but expect plenty of stairs.

Just inside Porta Trapani, the western entrance that most people use to access Erice, the first sight that confronts visitors to the town is the dramatic ensemble of the Real Duomo, Erice's main church, and its detached bell tower, the Torre di Re Fernando. Both are battlemented and retain a formidable Gothic appearance. The church, dating from around 1314, contains traces of a fresco of an angel dating from its original construction, visible in the sanctuary on the left-hand side of the nave. The bell tower was orignally built by the Aragonese as a lookout tower in the late 13th century, and its 108 steps can be climbed for splendid bird's-eye views.

Elba's quietest town is an old-fashioned port on the northeastern edge of the island. Here you'll find a pebble beach, an old mine, a leafy public park, and ferry service to Piombino.

This village at the eastern end of the Cinque Terre is built into a river gorge (hence the name, which means "major river"). It has a tiny harbor protected by large slabs of alabaster and marble, which serve as tanning beds for sunbathers as well as being the site of several outdoor cafés with fine views. According to legend, the settlement of Riomaggiore dates as far back as the 8th century, when Greek religious refugees came here to escape persecution by the Byzantine emperor.