1473 Best Sights in Italy

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.

Of Italy's opera houses, La Scala in Milan is the most famous, but San Carlo is perhaps the most beautiful, and Naples is, after all, the most operatic of cities. The neoclassical structure, designed by Antonio Niccolini, was built in a mere nine months after an 1816 fire destroyed the original. Many operas, including Donizetti's Lucia di Lammermoor and Rossini's La Donna del Lago, were composed for the house. Its nearly 200 boxes are arranged on six levels, and its 12,000-square-foot stage permits large-scale productions.

If you’re not attending an opera, you can still experience the splendid theater on a 30-minute guided tour and a visit to Memus (Museo Memoria e Musica). The theatrically lit museum and archive have props, costumes, stage sets, multimedia displays, and documents galore.

This still-working theater from the 19th century offers guided tours of its small, ornate interior, although litigation has suspended tours as of this writing. Check ahead as it often presents programs of classic and contemporary theater in Italian, and music concerts. It was named for silent film actress Tina Di Lorenzo. 

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.

The round layout of the Temple of Hercules Victor led it to be mistakenly identified for centuries as the Temple of Vesta, which has a similar shape but really sits on the other side of Palatine Hill in the Roman Forum. Now called by its correct name, it was built in the 2nd century BC around the same time as its neighbor, the Tempio di Portuno. The little park around the temples was once ancient Rome's cattle market, but now has benches to rest weary feet.

A picture-perfect, if dollhouse-size, Roman temple, this rectangular edifice from the 2nd century BC is built in the Greek style. Positioned in a bend in the Tiber River and long known as the Temple of Fortuna Virilis (Manly Fortune), it was appropriately dedicated to Portunus, the protector of ports. It now sits on a slip of greenery between two well-trafficked roads and owes its fine state of preservation to the fact that it was consecrated as a church in the 9th century.

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 Malatesta family constructed the Tempio Malatestiano, also called the Basilica Cattedrale, with a masterful facade by Leon Battista Alberti (1404–72). Inside, the chapel to the right of the high altar contains a wonderful (if faded) fresco by Piero della Francesca (1420–92) depicting Sigismondo Malatesta kneeling before a saint. The two greyhounds in the right corner are significantly less faded than the rest.

The same contemporary craftsmanship that went into Tenuta di Castellaro’s eco-wine resort design also applies to their wine making, as they use advanced methods that link to centuries-old traditions that have been used to make some of the oldest wines of the Aeolian archipelago. You’ll have the opportunity to try their incredible range of wines that stem from a seriously impressive system of cultivation and planting (also featuring a few new natural wines), whether you are a guest in the winery's hotel or not. And the wine-tasting and vineyard tour is worth the trip based on its cantina visit alone. This zero-impact winery is seriously unlike any other. 

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.

This spa has two buildings with a large park in the middle and three types of water: Acqua Santa, Acqua Fucoli, and Acqua Sillene. Mud baths and other health or beauty treatments are available. The all-important mineral water is served at long counters, where the staff is always ready to refill your glass. Be warned: The water can have a cleansing effect on your system that may come on suddenly.

The swimming pools and treatments at Terme di Saturnia spa and resort are open to the public. You might make an appointment for a thermal mud therapy or rent a lounge chair and umbrella to sit by the pools. On weekends, the day price jumps a wee bit.

The waters here are said to help with kidney and urinary-tract ailments and all manner of digestive disorders; there are bocce courts and a pretty park to stroll in while you sip. On summer afternoons you can dance to live orchestra music in the park.

The most attractive art nouveau structure in town, Terme Tettuccio, has lovely colonnades. Here fountains set up on marble counters dispense mineral water, bucolic scenes painted on tiles decorate walls, and an orchestra plays under a frescoed dome.

This winery, in the shadow of San Nicolò, takes a decidedly biological approach to grape growing. Olive and fruit trees (kiwi, lemon, and orange) abound, and they alternate row crops between the vines to enrich the soil. Inside the winery and tasting room, you can see the stratification of Etna’s lava, with flows from 50,000 years ago and 3,000 years ago, and where plant roots continue growing down into the stone. In the old palmento, you can book a private wine-making experience with barefoot grape stomping and all.

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.

One of the major monuments of contemporary Italian architecture, the Brion family tomb was designed and built by the architect Carlo Scarpa (1906–78) between 1970 and 1972. Combining Western rationalism with Eastern spirituality, Scarpa avoids the gloom and bombast of conventional commemorative monuments, creating, in his words, a secluded Eden.

Exiled from his native Florence, the author of The Divine Comedy died here in 1321, and Dante's tomb and bones (which over the centuries were secretly stashed in various spots nearby) lies in a small neoclassical building by the church of St. Francis. Nearby a Dante Circuit consists of the immersive, multimedia Museo Dante and more meditative Casa Dante with Dantean artifacts from the Biblioteca Classense and the Uffizi. The Florentines have long been trying to reclaim their famous son, but the Ravennans argue that since Florence did not welcome Dante in life, it does not deserve him in death. Perhaps as penance, every September the Florentine government sends olive oil that's used to fuel the light hanging in the chapel's center.

If you need a dip in the Mediterranean after a morning of sightseeing, Tonarella offers a unique blend of history and natural beauty that is easily accessible from the city center. Explore the ancient "tonnara," a traditional tuna fishing system still in use today, with its fascinating network of nets and platforms. Relax on the mixed sand and pebble beach, and swim in the calm waters; it's the perfect spot for children and those who prefer not to fight the waves. With several nearby beach clubs offering refreshments and delicious food, you can easily spend a whole day enjoying this unique coastal destination.

Dominating Piazza del Comune is perhaps the tallest campanile in Italy, visible for a considerable distance across the Po Plain. The tower's astronomical clock is the 1583 original. Climb the 500-plus steps to the top for amazing views; along the way, you can stop at the Museo Verticale for informative displays on astronomy and ancient methods of measuring time.

Predating the Venetian period by three centuries, this sturdy tower looms above the medieval residences of the main square; its crenellations recall its defensive purpose. You can climb the 165 steps to see the view from the top.

It is worth visiting Parco Sempione just to see the Torre Branca. Designed by architect Gio Ponti (1891–1979), who was behind so many of the projects that made Milan the design capital that it is, this steel tower rises 330 feet over the Triennale. Take the elevator to get a nice view of the city, then have a drink at the glitzy Justme Milano restaurant and club at its base.

At the northern end of the Costa Verde, Torre dei Corsari is a long and wide stretch of quartz sand, easily accessible and with plenty of facilities including bars, restaurants, and sun beds to rent. Amenities: food and drink; parking (fee in summer); toilets. Best for: sunset; swimming.

Built to both defend and control their new possession after the Sienese conquered Massa Marittima in 1335, the Fortezza dei Senesi crowns the upper part of town. Just inside the imposing Sienese gate is the so-called Tower of the Candle Holder, a massive bastion that is connected to the outer walls by the Arco Senese, a high-arched bridge. A visit to the tower gives access to the arch and to the upper city walls, where commanding views open before you.