1473 Best Sights in Italy

Enchanting showpiece of the Largo Dominova—the little square that is the heart of Sorrento's historic quarter—the Sedile Dominova is a picturesque open loggia with expansive arches, balustrades, and a green-and-yellow-tile cupola, originally constructed in the 16th century. The open-air structure is frescoed with 18th-century trompe-l'oeil columns and the family coats of arms, which once belonged to the sedile (seat), the town council where nobles met to discuss civic problems as early as the Angevin period. Today, Sorrentines still like to congregate around the umbrella-topped tables near the tiny square.

Jews were well settled in Florence by the end of the 14th century. By 1574, however, they were required to live within the large "ghetto" at the north side of today's Piazza della Repubblica, by decree of Cosimo I. Construction of the modern Moorish-style synagogue began in 1874 as a bequest of David Levi, who wished to endow a synagogue "worthy of the city." Falcini, Micheli, and Treves designed the building on a domed Greek cross plan with galleries in the transept and a roofline bearing three distinctive copper cupolas visible from all over Florence. The exterior has alternating bands of tan travertine and pink granite, reflecting an Islamic style repeated in Giovanni Panti's ornate interior.

Down a small street around the corner from Il Campo, this synagogue is worth a visit simply to view the two sobering plaques that adorn its facade. One commemorates June 28, 1799, when 13 Jews were taken from their homes by a fanatic mob and burned in the square. The other memorializes the Sienese Jews who were deported during World War II. Visits are permitted every half hour, and guided tours in English are available by prior arrangement.

This synagogue has been the city's largest Jewish temple, and a Roman landmark with its distinctive aluminum dome, since its construction in 1904. The building also houses the Jewish Museum on its lower floor, with displays of precious ritual objects and exhibits that document the uninterrupted presence of a Jewish community in the city for nearly 22 centuries. Until the 16th century, Jews were esteemed citizens of Rome. Among them were bankers and physicians to the popes, who had themselves given permission for the construction of synagogues. But, in 1555, during the Counter-Reformation, Pope Paul IV decreed the building of the walls of the Ghetto, confining the Jews to this small flood-prone area and imposing restrictions, some of which continued to be enforced until 1870. For security reasons, entrance is via guided visit only, and tours in English are available twice a day but should be booked online ahead of time. Entrance to the synagogue is through the museum on Via Catalana.

The edifice built by Brunelleschi in 1419 to serve as an orphanage takes the historical prize as the very first Renaissance building. Brunelleschi designed its portico with his usual rigor, constructing it from the two shapes he considered mathematically (and therefore philosophically and aesthetically) perfect: the square and the circle. Below the level of the arches, the portico encloses a row of perfect cubes; above the level of the arches, the portico encloses a row of intersecting hemispheres. The entire geometric scheme is articulated with Corinthian columns, capitals, and arches borrowed directly from antiquity.

At the time he designed the portico, Brunelleschi was also designing the interior of San Lorenzo, using the same basic ideas. But because the portico was finished before San Lorenzo, the Spedale degli Innocenti can claim the honor of ushering in Renaissance architecture. The 10 ceramic medallions depicting swaddled infants that decorate the portico are by Andrea della Robbia (1435–1525/28), done in about 1487.

Within the building is the Museo degli Innocenti. Although most of the objects are minor works by major artists, they're still worth a look. Of note is Domenico Ghirlandaio's (1449–94) Adorazione dei Magi (Adoration of the Magi), executed in 1488. The museum also hosts temporary exhibits primarily focused on contemporary art.

This good, sandy beach lies between the nature reserves of Foce del Platani and Torre Salsa and is easily reached by car. It comes with a handful of lidos where you can eat and drink well and rent sun loungers in season. Amenities: food and drink. Best for: swimming; walking.

Panarea is known more for its boat culture than for an abundance of beaches. But the crescent of golden sand, gently lapping waves, and shallow waters at Zimmari make it a popular beach for sunbathing and taking a dip. From San Pietro, it's an easy 20- to 30-minute stroll as you meander south through the winding streets and continue on the path above the coastline. You'll know you've arrived when the path ultimately ends. Amenities: sunbeds and umbrellas to rent; snack bar. Best for: snorkeling, swimming.

Among the less developed of the Costa Smeralda's five-star beaches, the Spiaggia del Principe is tucked well away from the crowds, mainly because it is not so readily accessible as some of the others. The rewards, however, are all the greater. Edged by jagged, gold-tinted rocks, the beach has fine white sand and water ranging from emerald to a Caribbean shade of turquoise. Access from the car park is tricky—a 10-minute walk along a rough path (stout sneakers needed)—but a tuk-tuk service is sometimes on hand for a small charge. Amenities: food and drink; parking (fee in summer); toilets. Best for: swimming; walking.

Only the most intrepid beachgoers will seek out Spiaggia della Calcara. Located on the northern tip of the island, it's reachable by winding through the streets of Iditella, continuing down a dirt path, and then through some hearty shrubs. But your reward is a practically private beach of small stones with spectacular views of rocky outcroppings in the sea (not to mention a reprieve from the chaos of the vacationers who fill the island each summer). Just be sure to wear sturdy shoes to get down and back up the path; this is not a beach for flip-flops. Amenities: none. Best for: sunbathing, swimming.

From the port of Levante, walk five minutes in the direction of Porto di Ponente, past the stone tinged yellow with sulfur that radiates constant heat. Or really just follow your nose as the natural hot springs of Vulcano have a very distinctive odor. Once you arrive at this little stretch of beach, you'll notice the water gurgling in pockets at the edges, creating natural rock-enclosed hot tubs. Even though the official fanghi (mud baths) have been closed for the last few years, you can still experience the warmth of the water coming from the hot springs at the nearby beaches.

A short 15-minute walk from the port, this wide beach features soft, powdery, black volcanic sand that sits in sharp contrast to the clear crystalline waters. Along the strand, you'll find various beach clubs set up during the summer months with chair and umbrella rentals. It's advised to wear a dark-colored swimsuit as the black sand has been known to discolor fabric.

Positano regularly receives a Bandiera Blu (Blue Flag) in recognition of its water quality, safety, and services offered. The Spiaggia Grande (large beach) has the glorious, rainbow-hue backdrop of the town, but for a more informal atmosphere and lush vegetation, follow the Via Positanesi d'America to the Fornillo beach. Almost 300 meters long and now largely managed by Hotel Pupetto, the beach was a favorite of Pablo Picasso because of its position between the medieval Trasita and Clavel towers. Amenities: food and drink; kayak; lifeguards; showers; toilets; water sports. Best for: snorkeling, swimming.

The curvy, rustic roads to Spiaggia di Piana Grande lead to an off-the-beaten-path beach. It's not the typical Sicilian crowded summer beach; it has a humble chiosco (beach kiosks) serving fresh fried fish, a rocky coastline, and pristine blue waters. Amenities: food and drink. Best for: swimming, walking.

This beach of sandy red-gold dunes offers lots of fascinating sea plants and flowers growing straight out of the sand. There are no facilities, so bring provisions and sun protection. Also note that the beach is at the Foce del Belice Natural Reserve, so you will have to walk a quarter of a mile to get there. It's lovely for beach walks and bird-watching (look out for kingfishers, egrets, and herons) as well as swimming. Amenities: none. Best for: swimming; walking.

The walkway from the Piazza Flavio Gioia leads down to Spiaggia Grande, Positano's main beach, bordered by an esplanade and some of the town's busiest restaurants. Surrounded by the spectacular amphitheater of houses and villas that leapfrog up the hillsides of Monte Comune and Monte Sant'Angelo, this remains one of the most picturesque beaches in the world. Amenities: food and drink; lifeguards; showers; toilets; water sports. Best for: swimming.

The area around Piscità and Ficogrande is full of narrow side streets that lead down to the sea, where you'll find an assortment of different coves, inlets, and lavic outcroppings. Just head downhill from the principal streets and you'll eventually hit water. The largest beach area is Spiaggia Nera on the island's northeastern coast, where the black sand and stones sit in stark contrast to the aquamarine waters. 

San Trovaso is one of only four squeri, or boatbuilding yards specifically dedicated to gondolas and other Venetian wooden boats, still operating in Venice. (There once were at least 45.) Dating from the 17th century, it is a registered monument where you can really observe and appreciate a unique mode of transportation that still thrives today. If the small wooden buildings seem to resemble an Alpine chalet, it's because Venice's boatbuilders historically came from the nearby mountains. Notice the wooden planks stacked outside to season (a gondola is made of eight different types of wood). Half-hour visits can be booked.

The unusual element at this church is an archaeological site where five layers of Luccan history were revealed when it was discovered in 1969. Paths and catwalks suspended above the delicate sites in the grottoes under the church enable you to wander from one era to another—from the 2nd-century-BC site of a Roman temple through the 5th, 8th, 9th, and 11th centuries. After leaving the underground sights, the 12th-century church feels almost modern.

The very image of the walled monasteries pictured in luxurious medieval tapestries, Saint Catherine's rests at the foot of Mount Sinai, nestled in a valley between jagged granite mountains. The monastery-cum-fortress was commissioned by the Byzantine emperor Justinian in AD 530 to protect those of Greek Orthodox faith. It also served as a strategic post on a bandit-ridden caravan route connecting Africa to Asia.

About 12 Greek Orthodox monks live and work here; the archbishop, who resides in Cairo, visits at Easter and other important holidays. Outside and around the monastery live the Christian Bedouins of the Jabaliyeh tribe, who have long served the monks by working in the gardens and orchards.

Buildings within the monastery have been erected and expanded upon throughout the centuries. The most important of these are the basilica, the Chapel of the Burning Bush, the monks' quarters, the Skull House, and the library, with its treasury of rare books that includes a 4th-century translation of the Hebrew Bible commissioned by Constantine the Great (the library is closed to the public). All buildings are enclosed by the fortress wall, which ranges in height and thickness as it adapts to the shape of the encompassing mountains.

Stepping through the modern-day north-side entrance, you see the fountain of Moses to your left. It serves as the main source of fresh water. To the right, a minaret of a mosque was built in the 10th century in order to protect the church from the Fatimid Caliph's order to destroy all churches and monasteries. After passing the fountain, step through to the basilica, also known as the Church of the Transfiguration, in which the apse is adorned with an ancient mosaic of the Transfiguration of Jesus. Chandeliers and decorated ostrich eggs hang from the ceiling, and gilded icons from Crete decorate the walls. Take your time in here—there are treasured works of art all around. The basilica doors date to the 6th century.

The Chapel of the Burning Bush, behind the basilica, is the most sacred of the buildings in the monastery. Unfortunately, it's not always open to the public. Dating from the 4th century AD, the chapel is the oldest part of the church, and its walls are covered with icons, of which the monastery itself has 2,000. (You can see yet more icons in the hall next to the library; the rest are kept in secured rooms, closed to the public.) Outside the chapel, you can see the bush where it is believed that God spoke to Moses. Many attempts to transplant branches of the bush have failed.

The Skull House is a chamber to which the bones of deceased monks are transferred from the cemetery after five years of interment. (The burial plot is very small and must be constantly reused.) The skulls number around 1,500 and are lined up in neat rows.

Frescoes here are some of the oldest in the German-speaking world, dating from the 8th century. A small, modern museum offers multimedia installations (in Italian or German only) presenting four epochs in the region's history: ancient, medieval, Gothic, and the era of the Great Plague of 1636 (which claimed a quarter of Naturno's population, some of whom are buried in the church's cemetery). There are leaflets and other information in English on request.

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 the summer of 1530, when Michelangelo was in his mid-50s, he went into hiding in San Lorenzo for political reasons. Some experts believe he may have spent those few months under the Cappelle Medicee in this 33x10x8-foot room with a tiny window facing Via del Canto dei Nelli. In 1975, charcoal and red chalk drawings were discovered under a plaster wall here. It wasn't until 2023, though, that the room was opened to the public. For reasons of conservation, access is limited to just 100 people per week, with groups of no more than four at a time allowed in for just 15 minutes. The requisite reservations ( www.b-ticket.com/b-Ticket/uffizi) for these slots tend to sell out months in advance, so plan accordingly.

As you step through an open trapdoor and gingerly walk down a narrow set of stairs, the impact is high, and 15 minutes isn't nearly enough time to fully examine about a dozen human figures as they twist and turn with passion across the arched walls. Scholars attribute some of these works to Michelangelo. In the New Sacristy above, compare them to the artist's sculptures on the tombs, particularly that of Giuliano de Medici, Duke of Nemours, and see what you think.

A tunnel-like passageway also known as Via dei Mercanti, the evocative Supportico Rua was the main thoroughfare of medieval Amalfi, when the main road was a raging torrent. Still the town's most fascinating "street," it is especially wonderful when the light from alleys and windows plays on its white walls. Stretching almost the length of the main street, it ends at a medieval-era contrada, or neighborhood, with a fountain known as Capo di Ciuccio (donkey's head), where mules would refresh themselves after the climb down from the hills.

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.

In the center of Busseto is the lovely Teatro Verdi, dedicated, as you might expect, to the works of the hamlet's famous son. Guided tours (in both English and Italian) of the well-preserved, ornate, 19th-century-style theater are offered every half hour. Check with the Busseto tourist office for the performance schedule.

Construction of this formidable neoclassical theater, the largest in Italy, was started in 1875 by Giovanni Battista Basile and completed by his son Ernesto in 1897. A reconstruction project started in 1974 ran into severe delays, and the facility remained closed until just before its centenary, in 1997. Its interior is as glorious as ever, but the exterior remains more famous thanks to The Godfather Part III, which ended with a famous shooting scene on the theater's steps. Visits, by 40-minute guided tour only, are available in five languages, including English, while a tour of the current production's palconscenico (stage set) is also available daily at changing times (call to check).

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.