337 Best Sights in Italy

St. Francis and St. Clare were among those baptized in Assisi's Cattedrale, which was the principal church in town until the 12th century. The baptismal font has since been redecorated, but it's possible to see the crypt of St. Rufino, the bishop who brought Christianity to Assisi and was martyred on August 11, AD 238 (or AD 236 by some accounts), as well as climb to the bell tower. Admission to the crypt includes the small Museo della Cattedrale, with its detached frescoes and artifacts.

Giovanni Vaccarini designed the contrasting black lava and white limestone facade of city's cathedral, which dominates the Piazza del Duomo and which houses the tomb of composer Vincenzo Bellini. Also of note are the three apses of lava that survive from the original Norman structure and a fresco from 1675 in the sacristy that portrays Catania's submission to Etna's eruption. Guided tours of the cathedral, which is dedicated to Catania's protector, are available in English if reserved in advance. The cathedral's treasures are on view in the Museo Diocesano Catania ( www.museodiocesanocatania.com), and underneath the cathedral are the ruins of Greco-Roman baths.

Aosta's cathedral dates from the 10th century, but all that remains from that period are the bell towers. The decoration inside is primarily Gothic, but the main attraction of the cathedral predates that era by 1,000 years: among the many ornate objects housed in the treasury museum is a carved ivory diptych from AD 406 portraying the Roman emperor Honorius. You can also see frescoes dating from the 11th century above the Gothic vaults. The treasury and frescoes can only be visited on weekends between 3 and 5:30 pm, or with advance reservation on weekdays.

The magnificent 12th-century duomo has two vigilant stone lions standing guard beside the main door; inside is some notable art in styles from medieval to Mannerist. The arch of the entrance is decorated with a delicate frieze of figures representing the months of the year, a motif repeated inside the baptistery. Some of the church's original artwork still survives, notably the simple yet evocative Descent from the Cross, a carving in the right transept by Benedetto Antelami (active 1178–1230), whose masterwork is this cathedral's baptistery. It's an odd juxtaposition to turn from his austere work to the exuberant fresco in the dome, the Assumption of the Virgin by Antonio Allegri, better known to us as Correggio (1494–1534). The fresco was not well received when it was unveiled in 1530. "A mess of frogs' legs," the bishop of Parma is said to have called it. Today Correggio is acclaimed as one of the leading masters of Mannerist painting.  The fresco is best viewed when the sun is strong, as this building is not particularly well lit.

Attached like a sinister balcony to the bell tower of Piacenza's 12th-century Duomo is a gabbia (iron cage), where miscreants were incarcerated naked and subjected to the scorn of the crowd in the marketplace below. Inside the cathedral, less evocative but equally impressive medieval stonework decorates the pillars and the crypt, and there are extravagant frescoes in the dome of the cupola begun by Morazzone (1573–1626). Guercino (1591–1666) completed them upon Morazzone's death. If you're feeling strong, you can climb the spiral staircase to the cupola for a closer view. Nearby at Via Prevostura 7, Kronos Museum displays the cathedral's collection of religious artworks, reliquaries, textiles and medieval manuscripts.  Take Bus No. 4/17 or walk 20 minutes to the Basilica di Santa Maria di Campagna for more captivating cupola frescos by Pordenone (combined cupola ticket €15), plus panoramic city views.

A striking cathedral in the heart of Caltanissetta, the Cattedrale di Santa Maria La Nova is a cultural treasure, especially for those from the region. Inside, visitors can admire various works of art, including a 17th-century statue of St. Michael the Archangel by Stefano Li Volsi da Nicosia; a canvas of the Madonna del Carmelo by Filippo Paladini; and a crucifix by Antonello Gagini, a sculptor influenced by Michelangelo. A beautifully carved and decorated organ also graces the cathedral.

The frescoes in the refectory of a former Benedictine nunnery were painted in sinewy style by Andrea del Castagno, a follower of Masaccio (1401–28). The Last Supper is a powerful version of this typical refectory theme. From the entrance, walk around the corner to Via San Gallo 25 and take a peek at the lovely 15th-century cloister that belonged to the same monastery but is now part of the University of Florence.

This incredible Carthusian complex was largely funded in 1342 by the wealthy Florentine banker Niccolò Acciaiuoli, whose guilt at having amassed so much money must have been at least temporarily assuaged with the creation of such a structure to honor God. In the grand cloister are stunning (but faded) frescoes of Christ's Passion by Pontormo. Though much of the paint is missing, their power is still unmistakable.

Also of great interest are the monks' cells; the monks could spend most of their lives tending their own private gardens without dealing with any other monks. To get here, you must either take Bus 37 to the stop marked "Certosa" or have a car. Tours, which are mandatory, are given only in Italian, but even if you can't understand what's being said, you can still take in the sights.

This 13th-century church houses substantial fragments of Andrea Mantegna's frescoes (1448–50), which were damaged by Allied bombing in World War II. Despite their fragmentary condition, Mantegna's still beautiful and historically important depictions of the martyrdom of St. James and St. Christopher show the young artist's mastery of extremely complex problems of perspective.

The 13th-century Dominican Church is renowned for its Cappella di San Giovanni, where frescoes from the Giotto school show the birth of a pre-Renaissance sense of depth and individuality.

This church was built on the spot where tradition says Christ appeared to St. Peter as the apostle was fleeing Rome and persuaded him to return and face martyrdom. A paving stone in the church bears an imprint said to have been made by the feet of Christ.

With an overall design by Vignola and a facade and dome by Della Porta, the first Jesuit church in Rome influenced the city’s ecclesiastical architecture for more than a century. Consecrated in 1584—after the Council of Trent (1545–63) solidified the determination of the Roman Catholic Church to push back against northern Europe's Reformed Protestants—Il Gesù also became the prototype for Counter-Reformation churches throughout not only Italy but also Europe and the Americas.

Although low lighting underplays the brilliance of everything, the inside of the church drips with gold and lapis lazuli, gold and precious marbles, and gold and more gold. The interior was initially left plain to the point of austerity; when it was finally fully embellished 100 years later, no expense was spared to inspire believers with pomp and majesty. The most striking element is the ceiling, where frescoes swirl down from on high and merge with painted stucco figures at the base. The artist Baciccia achieved extraordinary effects, especially over the nave in the Triumph of the Holy Name of Jesus. Here, the figures representing evil who are being cast out of heaven seem to hurtle down onto the observer.

The founder of the Jesuit order himself is buried in the Chapel of St. Ignatius, in the left-hand transept. This is surely one of the most sumptuous altars in Rome, though as is typical of Baroque decoration, which is renowned for its illusions, the enormous globe of lapis lazuli that crowns the altar is really only a shell of lapis over a stucco base. Note, too, architect Carlo Fontana’s heavy bronze altar rail, which is in keeping with the surrounding opulence.

It is more than worth the short detour from the lively Ballarò Market to step into the serene Baroque perfection of the "Church of Jesus." The ornate church was built by the Jesuits not long after their arrival in Palermo in the late 16th century, and was constructed at the site of their religious seat in the city, so the church is also sometimes known as Casa Professa (motherhouse). The interior is almost completely covered with intricate marble bas-reliefs and elaborate black, tangerine, and cream stonework. The splendid church was severely damaged in World War II, but careful restoration has returned it to its shiny, swirling glory.

The second-largest church in Caccamo, the Chiesa dell'Annunziata holds just as much precious artwork as the main cathedral and dates back to the 1700s. The frescoes in the presbytery are by Gianbecchina, while stunning stucco wall decorations are by the famous Sicilian master Giacomo Serpotta and the front altar's design of the Annunciation is by the Flemish, largely Naples-based artist Guglielmo Borremans.

Located right in front of the main square at the heart of Caccamo, the patched-up but picturesque Chiesa dell'Oratorio is one in a series of splendid Baroque monuments in the center of the city. Together with the Chiesa dell'Oratorio, the palace of Monte di Pietà, and the church of the Anime Sante del Purgatorio, it makes up the historic heart of the city's art and culture. The square is used as a majestic open-air stage for events and concerts, and what better backdrop than these splendid examples of Sicilian Baroque architecture.

Yet another beautiful historic church in Castelbuono that is well worth visiting, even for only a moment, Chiesa della Natività di Maria---also known as Madrice Nuova---was constructed in the years straddling the 16th and 17th centuries and rebuilt in the 1830s after substantial earthquake damage. It is characterized by typical Sicilian limestone stonework and an elegant bell tower. Inside it is filled with various reliquaries, gorgeous intarsia work, pious pieces of art, statuary by Filippo Quattroochi (1738--1813), and two 18th-century organs.  

The fabulously voluptuous facade makes a stunning contrast with the limestone cliffs soaring above the edge of the town's historic center. A dizzying fusion of the Baroque and rococo lies behind the lace grate doors of this single-nave church; your eyes eventually lead to the central altarpiece painting, Martyrdom of Saint Bartholomew (1779) by Francesco Pasucci. Most enchanting is the Neapolitan wooden nativity scene conceived in the 16th century and remodeled by Pietro Padula (1773–76).

As is usually the case in Sicily, this church is one of the best places in town to see some incredible art. The Chiesa di San Benedetto is decorated with an elaborate and remarkably well-preserved majolica ceramic floor designed and crafted by 18th-century Palermo artist Nicolò Sarana. The decorative gold-highlighted stucco wall decorations make the church glow in the sunlight.

The tiny village of Lamole contains this Romanesque church, which was greatly modified in 1860; the only remnant of its earlier incarnation can be found in its simple facade. Inside is a 14th-century altarpiece, as well as a curious side chapel on the right that is decorated with rather garish 20th-century religious works. From Greve in Chianti, drive south on SR222 for about 1 km (½ mile); take a left and follow signs for Lamole. It's about 10 km (6 miles) southeast of Greve.

This impressive deconsecrated 17th-century church occupies an entire block of the main street in the medieval quarter and sits beside the Collegio dei Gesuiti, which now houses the Biblioteca Comunale, the town's library, and its civic collections. These include the Civico Museo Archeologico, an archaeological museum with exhibits telling the history and significance of the Abete delle Madonie, an endangered fir tree species; and the Museo del Giocattolo Antico, with poignant displays of antique toys. The church itself is in the standard Greek cross structure. It is filled with marble vaults that host the statues of various saints and is decorated with floral embellishments typical of the extravagant Sicilian Baroque style. Government funding was secured in 2023 to begin extensive restoration of the building. 

Next to the Museo Civico Archeologico, you’ll find this little gem of a church, constructed starting in 1503 and decorated almost completely with magnificent 16th-century frescoes. The modest exterior belies the treasures inside, including a concealed back room once used by nuns that includes a fascinating fresco of Noah loading the ark with animals, including two unicorns.

Tiny, cypress-lined San Michele is home to the first church designed by Mauro Codussi and the first example of Renaissance architecture in Venice; the gracefully elegant structure shows the profound influence of Florentine architects Alberti and Rossellino that would come to full fruition in Codussi's palaces on the Canale Grande. The church's dedication to St. Michael is singularly appropriate, since traditionally he holds the scales of the Last Judgment.

Next to the church is the somewhat later hexagonal Capella Emiliani (1528–1543), whose strangely shaped dome recalls those of Etruscan tombs.

The 14th-century Gothic cathedral, with a crenellated facade and an ornate campanile, sits in the heart of the old town. The Capella di Santa Barbara, just behind the Duomo, is an octagonal church containing a 15th-century pietà.  Mass is held in German only.

Built in the 13th century, this church was renovated at the end of the 15th century, the beginning of the 18th century (perhaps due to damage from an earthquake), and most recently in 1981. From the Middle Ages up through the 19th century, it offered a final resting place to common citizens of Savoca. It's also known as the Chiesa di Santa Lucia, because of the silver statue of St. Lucia it houses, in addition to other sculptures and paintings from the nearby 15th-century church of St. Lucia that collapsed in a landslide in 1880. In popular culture, it's best known as the church where Michael Corleone wed Apollonia in The Godfather.

This small church dedicated to St. Peter (the patron saint of Panarea) was erected in 1881 by the island's inhabitants and took 42 years to complete. Meander the narrow streets uphill to arrive at the pale yellow church, and the first thing you'll notice is the breathtaking panoramic view from the stone terrace at the sea-facing entrance. Inside, a portrait of the saint hangs above the high altar and the small wooden pews offer respite for quiet reflection—and a break from the heat. On June 28--29, they celebrate the Festival of St. Peter, marked by a processional through the town and traditional dances and songs.

Visit this 15th-century church to view the excellent stained-glass window in the apse, executed by Sebastiano Mainardi (circa 1460–1513), as well as a haunting Pietà created by local artist Zacchia Zacchi (1473–1544).

Situated next to the castle in the upper part of town, this church was completely rebuilt in the 19th century. In the small chapel to the right of the nave is an Annunciation attributed to Michele di Ridolfo del Ghirlandaio (1503–77).

Towering over La Piazzetta, with a dome that is more sculpted than constructed and with cupolettas that seem molded from frozen zabaglione, Capri's mother church is a prime example of l'architettura baroccheggiante—the term historians use to describe Capri's fanciful form of Baroque architecture. Often using vaulting and molded buttresses (because there was little wood to be found on such a scrubby island to support the ceilings), Capri's architects became sculptors when they adapted Moorish and Grecian styles into their own "homemade" architecture. Sometimes known unglamorously as the ex-cathedral, the church was built in 1685 by Marziale Desiderio of Amalfi on the site of a Benedictine convent (founded in the 6th century), whose sole relic is the clock tower campanile across the Piazzetta. As in so many churches in southern Italy, there has been a good deal of recycling of ancient building materials: the flooring of the high altar was laid with polychrome marble from Villa Jovis, while the marble in the Cappella del Sacramento was removed from the Roman villa of Tragara. Inside the sacristy are some of the church treasures, including an 18th-century large silver bust of San Costanzo, the patron saint of Capri, whose holy day is celebrated every May 14.

Founded in the 17th century by the Jesuits, Scicli's "mother church" was rebuilt following the 1693 earthquake. Housing the remains of the town's patron saint, Guglielmo the Hermit, a side chapel also hosts the life-size papier-mâché statue of the Madonna su cavallo (on a horse), also known as the Madonna delle Milizie. She is paraded through the streets on the last Saturday in May to celebrate her feast day.

Like most small towns in Sicily, Mistretta's best artwork can be found in its local churches, and the town's "Mother Church" has an array of treasures passed down through the centuries. Its facade is made from the characteristic golden limestone of Sicily with elegant Romanesque arches and columns. Inside, everything from the floor to the decorative altar is made of precious marble, which comes from the nearby town of San Marco D'Alunzio, which has supplied marble for churches all over Messina province since the Middle Ages. The rose-colored pink marble in particular was quite rare and the most expensive and luxurious decoration used in churches to show off a town's prosperity.