1473 Best Sights in Italy

Complicated, grand, delicate, and dominating, the 9th-century Amalfi cathedral has been remodeled over the years with Romanesque, Byzantine, Gothic, and Baroque elements but retains a predominantly Arab-Norman style. This intriguing blend of architectural styles easily confuses past and present, old and new, authentic and revival. The facade, with its glimmering mosaics, intricate patterns, and Arab design influences, is in fact no older than the 19th century. It was the masterwork of Neapolitan architect Errico Alvino, created during the height of Italy's fascination with Revivalism. The campanile, spliced with Saracen colors and intricate tile work, is the real deal and dates to the 13th century. The Chiostro del Paradiso (Paradise Cloister) is an Arab-Sicilian spectacular. Built around 1266 as a burial ground for Amalfi's elite, the cloister, the first stop on a tour of the cathedral, is one of southern Italy's architectural treasures. Its flower-and-palm-filled quadrangle has a series of exceptionally delicate intertwining arches on slender double columns.

The chapel at the back of the cloister leads into the earlier (9th-century) basilica. Romanesque in style, the structure has a nave, two aisles, and a high, deep apse. Note the 14th-century crucifixion scene by a student of Giotto. This section has now been transformed into a museum, housing sarcophagi, sculpture, Neapolitan goldsmiths' artwork, and other treasures from the cathedral complex.

Steps from the basilica lead down into the Cripta di Sant'Andrea (Crypt of St. Andrew). The cathedral above was built in the 13th century to house the saint's bones, which came from Constantinople and supposedly exuded a miraculous liquid believers call the "manna of St. Andrew." Following the one-way traffic up to the cathedral itself, you finally get to admire the elaborate polychrome marbles and painted, coffered ceilings from its 18th-century restoration. Art historians shake their heads over this renovation, as the original decoration of the apse must have been one of the wonders of the Middle Ages.

 Siracusa's Duomo is an archive of more than 2,000 years of island history, and has creatively incorporated ruins through the many time periods it has survived, starting with the bottommost, where excavations have unearthed remnants of Sicily's distant past, when the Siculi inhabitants worshipped their deities here. During the 5th century BC (the same time Agrigento's Temple of Concord was built), the Greeks erected a temple to Athena over it, and in the 7th century, Siracusa's first Christian cathedral was built on top of the Greek structure. The massive columns of the original Greek temple were incorporated into the present structure and are clearly visible, embedded in the exterior wall along Via Minerva. The Greek columns were also used to dramatic advantage inside, where on one side they form chapels connected by elegant wrought-iron gates. The Baroque facade, added in the 18th century, displays a harmonious rhythm of concaves and convexes. In front, the sun-kissed stone piazza is encircled by pink and white oleanders and elegant buildings ornamented with filigree grillwork, and is typically filled with frolicking children and street musicians. Check with the tourist office for guided tours of its underground tunnels, which are located to the right when you stand facing the cathedral.

One of the finest cathedrals in the region is lit by eight rose windows that are especially dazzling in the late afternoon sun. Above the church's entrance is Bernini's bust of Pope Urban VIII (1568–1644), who had the church redecorated in 17th-century Baroque; fortunately he didn't touch the 15th-century frescoes painted in the apse by Fra Filippo Lippi (circa 1406–69) between 1466 and 1469. These immaculately restored masterpieces—the Annunciation,Nativity, and Dormition—tell the story of the life of the Virgin. The Coronation of the Virgin, adorning the half dome, is the literal and figurative high point. Portraits of Lippi and his assistants are on the right side of the central panel.

This sustainably farmed 148-acre property produces some of the region's most renowned wines, in particular Gewürztraminer and Pinot Nero. It's overseen by Elena herself along with her daughters Julia and Karoline. Stop by their gorgeous Castel Ringberg site for a short vineyard hike (May through mid-October, by reservation), or have lunch at their Ostaria al Castello, which has panoramic views over the vines and down to Lake Caldaro. You can also do tastings in their historical cellar at a second vineyard site closer to Tramin (from May through August); the wine shop and bistro there are open daily year-round.

The island’s first female winemaker, Emanuela Bonomo, not only makes a fantastic passito dessert wine, but also had the vision to see that Pantelleria’s traditional gastronomic preserves made of capers, olives, fruits, vegetables, herbs, and oil that many islanders took for granted could find an international market. Her beautifully packaged preserves, pestos, and condiments inspired many islanders to revisit their own family’s traditions. Book ahead for a tour of the vineyard that includes visiting the Bonomo’s caper fields on Monte Gibele.

Adjacent to San Giorgio Maggiore is a complex that now houses the Cini Foundation, established in 1951 as a cultural center dedicated to humanist research. It contains a beautiful cloister designed by Palladio in 1560, his refectory, a library designed by Longhena, and various archives. In a woodland area you can wander amid 10 "Vatican Chapels" created for the 2018 Architecture Biennale by renowned architects, including Norman Foster. Another stunning feature is the Borges Labyrinth, a 1-km (½-mile) path through a boxwood hedge that allows visitors to take a 45-minute contemplative walk. It was designed by Randoll Coate and inspired by the Jorge Luis Borges short story "The Garden of Forking Paths." An evocative audio guide, composed by Antonio Fresa and performed by Teatro La Fenice's orchestra, may accompany your pensive stroll. Guided tours are given daily (except Wednesday), and reservations are required.

New structures of metal and glass and revamped buildings once part of a distillery from the 1910s now contain this museum's roughly 205,000 square feet. The modern art showcased here is not for the faint of heart. Permanent pieces, such as Haunted House, featuring works by Louise Bourgeois and Robert Gober, are avant-garde and challenging, and temporary exhibitions highlight cutting-edge Italian and international artists. Don't hesitate to ask one of the helpful, knowledgeable staffers for guidance navigating the expansive grounds, which can be confusing. And don't miss the Wes Anderson–designed café, Bar Luce, for a drink or snack, or the restaurant Torre for an aperitivo or a full meal with panoramic views from on high. The Fondazione is a hike from the city center; expect a 10-minute walk from the metro station to the galleries.

South of Panzano, the organic Fontodi wine estate owned by Giovanni Manetti produces famed Sangiovese wines. Tours, by appointment only, include a visit to the cellar and a tasting of several vintages. The family also owns an agriturismo, Teute di Pecille, with eight apartments in two traditional stone farmhouses.

A few minutes beyond the French-speaking village of Pont St. Martin, you pass through the narrow Gorge de Bard to reach the fortress that has stood guarding the valley entrance for more than eight centuries. Take a series of funiculars up the mountain to see the fort's five fascinating museums: Museo delle Alpi, dedicated to the history and culture of the Valle d'Aosta region; Le Prigioni, an interactive walk through the former prisons; Museo delli Fortificazioni, which looks at defense techniques (fortifications) over the centuries; Museo delle Frontiere, which examines the political, economic, and cultural meaning of borders; and a children's museum, Le Alpi dei Ragazzi. The fort also hosts regularly changing exhibitions featuring contemporary Italian artists. There's also a restaurant with well-prepared local foods, and a hotel if you want to extend your stay.

The origins of this imposing military fortress perched on a rocky hilltop above Gavi are rather murky, but it’s thought to have first been built atop the ruins of a 10th-century castle before being enlarged between the 16th and 18th centuries. The fortress was used as a military prison during both World Wars, and today you can take a 45-minute tour to learn about its history, as well as tour the courtyards, guards’ towers, and other rooms. Tours leave every hour from 8:30 to 4:30 Wednesday to Saturday and from 9:30 to 5:30 on the first Sunday of the month and public holidays. Even if you don't see the inside of the fort, the area around it offers stunning views of the town of Gavi and the Alto Monferrato hills below.

Opened in 2017, this funicular ride ascends 500 feet from near the Teatro Romano up to a panoramic terrace in just 90 seconds, affording fabulous Veronese views. For the adventurous, there's scope for long walks around the parkland paths and quiet lanes crisscrossing the elevated city walls.

The venerable Uffizi Gallery occupies two floors of the U-shape Palazzo degli Uffizi, designed by Giorgio Vasari (1511–74) in 1560 to hold the uffici (administrative offices) of the Medici Grand Duke Cosimo I (1519–74).

Among the highlights is the Battle of San Romano by Paolo Uccello (1397–1475). Gloriously restored in 2012, its brutal chaos of lances is one of the finest visual metaphors for warfare ever captured in paint. Equally noteworthy is the Madonna and Child with Two Angels in which Fra Filippo Lippi (1406–69) depicts eye contact established by the angel that would have been unthinkable prior to the Renaissance. In Sandro Botticelli's (1445–1510) Birth of Venus, the goddess seems to float in the air, and in his Primavera, a fairy-tale charm demonstrates the painter's idiosyncratic genius at its zenith.

Other significant works include the portraits of the Renaissance duke Federico da Montefeltro and his wife, Battista Sforza, by Piero della Francesca (circa 1420–92); Raphael's (1483–1520) Madonna of the Goldfinch, which is distinguished by the brilliant blues of the sky and the eye contact between mother and child, both clearly anticipating the painful future; Michelangelo's Doni Tondo; the Venus of Urbino by Titian (circa 1488/90–1576); and the splendid Bacchus by Caravaggio (circa 1571/72–1610). In the last two works, the approaches to myth and sexuality are diametrically opposed (to put it mildly).

Late in the afternoon is the least crowded time to visit. For a €4 fee, advance tickets (recommended) can be reserved by phone, online, or, once in Florence, at the Uffizi's reservation booths ( Uffizi presale booth, Piazza Pitti  055/294883), at least one day in advance of your visit. Keep the confirmation number, and take it with you to the door marked "reservations." In the past, you were ushered in almost immediately. But overbooking (especially in high season) has led to long lines and long waits even with a reservation. Taking photographs in the Uffizi is illegal, and this has contributed to making what ought to be a sublime museumgoing experience more like a day at the zoo.

The collection of Florentine paintings, dating from the 13th to 18th century, is largely unremarkable, but the sculptures by Michelangelo are worth the price of admission. The unfinished Slaves, fighting their way out of their marble prisons, were meant for the tomb of Michelangelo's overly demanding patron, Pope Julius II (1443–1513). But the focal point is the original David, moved here from Piazza della Signoria in 1873. It was commissioned in 1501 by the Opera del Duomo (Cathedral Works Committee), which gave the 26-year-old sculptor a leftover block of marble that had been ruined 40 years earlier by two other sculptors. Michelangelo's success with the block was so dramatic that the city showered him with honors, and the Opera del Duomo voted to build him a house and a studio in which to live and work.

Today, David is beset not by Goliath but by tourists, and seeing the statue at all—much less really studying it—can be a trial. Save yourself a long wait in line by reserving tickets in advance. An iron railing surrounds the sculpture, following a 1991 attack on it by a self-proclaimed hammer-wielding art anarchist who, luckily, inflicted only a few minor nicks on the toes. The statue is not quite what it seems. It is so poised and graceful and alert—so miraculously alive—that it is often considered the definitive sculptural embodiment of High Renaissance perfection. But its true place in the history of art is a bit more complicated.

As Michelangelo well knew, the Renaissance painting and sculpture that preceded his work were deeply concerned with ideal form. Perfection of proportion was the ever-sought Holy Grail; during the Renaissance, ideal proportion was equated with ideal beauty, and ideal beauty was equated with spiritual perfection. But David, despite its supremely calm and dignified pose, departs from these ideals. Michelangelo didn't give the statue perfect proportions. The head is slightly too large for the body, the arms are too large for the torso, and the hands are dramatically large for the arms.

The work was originally commissioned to adorn the exterior of the Duomo and was intended to be seen from below and at a distance. Michelangelo knew exactly what he was doing, calculating that the perspective of the viewer would be such that, in order for the statue to appear proportioned, the upper body, head, and arms would have to be bigger, as they would be farther away. But he also sculpted it to express and embody, as powerfully as possible in a single figure, an entire biblical story. David's hands are big, but so was Goliath, and these are the hands that slew him. Music lovers might want to check out the Museo delgli Instrumenti Musicali, also within the Accademia; its Stradivarius is the main attraction.

Modena's principal museum, housed in the Palazzo dei Musei and located just a short walk from the Duomo, has an impressive collection assembled in the mid-17th century by Francesco d'Este (1610–58), Duke of Modena. The Galleria Estense is named in his honor and contains masterpieces by Bernini, Correggio, El Greco, Tintoretto, Velázquez, Veronese, and Salvator Rosa among others. The Biblioteca Estense here is a huge collection of illuminated manuscripts, of which the best known is the beautifully illustrated Bible of Borso d'Este (1455–61). 

This massive white Beaux-Arts building, built for the 1911 World Exposition in Rome, contains one of Italy's leading collections of 19th- and 20th-century works. It's primarily dedicated to the history of Italian modernism, examining the movement's development over the last two centuries, but crowd-pleasers Monet, Rodin, Van Gogh, and Warhol put in appearances, and there's also an outstanding Dadaist collection. You can mix coffee and culture at the mid-century-inspired Caffè delle Arti in a columned alcove.

The region's most comprehensive art gallery is housed on the fourth floor of the Palazzo dei Priori. The collection includes work by native artists—most notably Pintoricchio (1454–1513) and Perugino (circa 1450–1523). In addition to paintings, the gallery has frescoes, sculptures, and some superb examples of crucifixes from the 13th and 14th centuries.

Housed in the restored Manica Nuova (new wing) of the Palazzo Reale, the gallery displays some of the most important paintings from the vast collections of the house of Savoy. The collection is particularly rich in Dutch and Flemish paintings: note the Stigmate di San Francesco (St. Francis Receiving the Stigmata) by Jan van Eyck (1395–1441), in which the saint receives the marks of Christ's wounds while a companion cringes beside him.

Mortola Inferiore is the site of the world-famous Hanbury Botanical Gardens, one of the largest and most beautiful in Italy. Planned and planted in 1867 by a wealthy English merchant, Sir Thomas Hanbury, and his botanist brother, Daniel, the terraced gardens contain species from five continents, including many palms and succulents.

From the terraces of this beautiful public garden, you can see the village of Marina Piccola below—restaurants, cabanas, and swimming platforms huddle among the shoals—and admire the steep, winding Via Krupp, actually a staircase cut into the rock. Friedrich Krupp, the German arms manufacturer, loved Capri and became one of the island's most generous benefactors.

Two kilometers (1 mile) north of Forio is one of the most famous gardens in Mediterranean Italy, La Mortella. The garden was a labor of love designed in 1956 by the landscape architect Russell Page for Sir William Walton and his Argentine-born wife, Susana. The garden was created within a wide, bowl-shape, rocky valley, originally not much more than a quarry, overlooking the Bay of San Francesco and with spreading views toward Monte Epomeo and Forio. Lady Walton, who passed away in 2010, was a talented gardener in her own right, and first planted the trees of her childhood here (jacaranda, silk trees, erythrina, brugmansia) and then added tree ferns, palm trees, cycads, and rare bromeliads. Native wild plants were encouraged in the upper reaches of the gardens, with dainty vetches and orchids as well as myrtle, from which the garden got its name, La Mortella. Considering the volcanic valley out of which the gardens were sculpted, they are appropriately threaded with pathways of rocks hewn from Vesuvius. In homage to the hot springs of the island, the centerpiece is an elliptical pond with three small islands adorned with the immense boulders that once littered the grounds. Below, underground cisterns were excavated to catch natural drinking water.

Besides some soothing strolls among the well-labeled flower beds and landscaped rock gardens, try to spend some time in the museum dedicated to the life and works of the late English composer, William Walton. The gardens have excellent facilities, with a shop selling Sir William's music, a teahouse for light refreshments, and a theater that hosts a concert series on most weekends; book well in advance for these tickets.

The main entrance to these gardens is from the right side of the courtyard of Palazzo Pitti. The landscaping began to take shape in 1549, when the Pitti family sold the palazzo to Eleanor of Toledo, wife of the Medici grand duke Cosimo I. Stone paths lead to vine-covered pergolas and grand staircases, and a walk here also affords excellent views.

The path to the island's main crater, the Gran Cratere, starts just south of Porto di Levante, and the entire climb takes about an hour. While the ascent itself is easy(ish), the path is a slippery mix of sand and stones, so wear good, sturdy shoes. Just be aware that it's a fully exposed climb, with no shade trees anywhere on the path, just smatterings of yellow-blossomed gorse bushes, so plan to go early or late in the day to avoid the full beatdown of the sun. But the climb is truly worth it: the rim of this crater is the only place in the Aeolians where you can see the whole archipelago in one glance. 

Although the line to peek through the keyhole of a nondescript green door in the Gran Priorato, the walled compound of the Knights of Malta, sometimes snakes around Piazza dei Cavalieri di Malta, the enchanting view is worth the wait. Far across the city, you'll see the dome of St. Peter's Basilica flawlessly framed by the keyhole and tidily trimmed hedges that lie just beyond the locked door. The priory and the square are the work of Giovanni Battista Piranesi, an 18th-century engraver who is more famous for etching Roman views than for orchestrating them, but he fancied himself a bit of an architect and did not disappoint.

Founded in the Holy Land during the Crusades, the Knights of Malta is the world's oldest and most exclusive order of chivalry. The knights amassed huge tracts of land in the Middle East and were based on the Mediterranean island of Malta from 1530 until 1798, when Napoléon expelled them. In 1834, they established themselves in Rome, where ministering to the sick became thelr raison d'être.

Selinunte was one of the most important colonies of ancient Greece, recently discovered to have been home to the largest industrial quarter found in any ancient European city. Founded in the 7th century BC, the city became the rich and prosperous rival of Segesta, making its money on trade and manufacturing ceramics. When in 409 BC Segesta turned to the Carthaginians for help in vanquishing their rival, the Carthaginians sent an army to destroy Selinunte. The temples were demolished, the city was razed, and 16,000 of Selinunte's inhabitants were slaughtered. Archaeologists recently discovered pots with the remains of food inside, proof that some were in the middle of eating when the attackers arrived. The remains of Selinunte are in many ways unchanged from the day of its sacking—burn marks still scar the Greek columns, and much of the site still lies in rubble at its exact position of collapse. The original complex held seven temples scattered over two sites separated by a harbor. Of the seven, only one—reconstructed in 1958—is whole.  This is a large archaeological site, so you might make use of the private navetta (shuttle) to save a bit of walking. Alternatively, if you have a car, you can visit the first temples close to the ticket office on foot and then drive westward to the farther site. Be prepared to show your ticket at various stages.

At the base of a sheer cliff, the pounding sea has carved an entrance to a vast fantastic cavern filled with stunning water pools, stalactites, and stalagmites. The dramatic cave and coves, discovered by fishermen in the 18th century, are popular tourist attractions for their sheer natural beauty. You must visit with a guide; tours start on the hour. It's possible to reach the caves by boat or by land. Between April and November, boat trips depart regularly from the port of Alghero for €17 round-trip (admission to the grotto is extra). To reach the grotto by land, you can descend the 654 dizzying steps of Escala del Cabirol ("Goat Steps"), which are cut into the steep cliff here. By public bus or, in summer, the Beach Bus from Alghero's Via Catalogna, the trip to the top of the stairway takes about 50 minutes. Allow 15 minutes for the descent by foot. Visitors arriving by land must book beforehand by telephone or online at  www.algheroexperience.it.

This 2½-acre garden is a place to get lost while navigating stepping stones over lily ponds, climbing rock formations, and walking across wooden bridges. The treasures to be found are nearly 100 different Alpine, subtropical, and Mediterranean plant species and 30 modern art installations by the likes of Roy Lichtenstein, Joan Mirò, and Auguste Rodin. A former vineyard, Heller Garden was first cultivated in 1903 by Austrian dentist and botanist Arthur Hruska, and bought in 1988 by artist Andrè Heller (although he is no longer the owner).

Lying more than 50 feet below the present-day town of Ercolano, the ruins of Herculaneum are set among the acres of greenhouses that make this area an important European flower-growing center. In AD 79, the gigantic eruption of Vesuvius, which also destroyed Pompeii, buried the town under a tide of volcanic mud. The semiliquid pyroclastic surge seeped into the crevices and niches of every building, covering household objects, enveloping textiles and wood, and sealing all in a compact, airtight tomb. Excavation began in 1738 under King Charles of Bourbon, using tunnels after a series of chance finds, most famously when in 1709 locals digging a well inadvertently discovered the city's theater. Digging was interrupted but recommenced in 1828, continuing into the following century. Today less than half of Herculaneum has been excavated. With contemporary Ercolano and the unlovely Resina Quarter sitting on top of the site, progress is limited. From the ramp leading down to Herculaneum's well-preserved edifices, you get a good overall view of the site, as well as an idea of the amount of volcanic debris that had to be removed to bring it to light. The city's grid layout consists of cardi and decumani (north-south and east-west orientated streets), which define six blocks known as insulae. 

About 5,000 people lived in Herculaneum when it was destroyed, many of them fishermen and craftsmen. Among the recent poignant discoveries of human remains was that of the blood-stained skeleton of a 40-something man found on the old beach in 2020. Experts believe he may have been trying to escape the 750°F--950°F atomic-bomb-like blast. He is clutching a small leather bag with a wooden box, from which a ring is protruding.

Although Herculaneum had only one-third the population of Pompeii and has been only partially excavated, what has been found is generally better preserved. In some cases you can even see the original wooden beams, doors, and staircases. Unfortunately, the Villa dei Papiri (Villa of Papyri) is currently closed to the public—this excavation outside the main site was built by Julius Caesar's father-in-law (with a replica built by Paul Getty in Malibu almost 2,000 years later). The building is named for almost 2,000 carbonized papyrus scrolls dug up here in the 18th century, leading scholars to believe that this may have been a study center or library. Also worth special attention are the carbonized remains within the Casa del Tramezzo di Legno (House of the Wooden Partition). Although open sporadically for a separate fee—for hard-hat and torchlit guided tour only (check the website for latest schedule)—the Teatro Antico makes for a dank and atmospheric subterranean visit, where you can explore a Roman theater and view graffiti scrawled by 19th-century grand tourists. The MAV museum, housed outside the excavations near the main entrance, uses multimedia and virtual technology to bring Roman Herculaneum and the eruption to life.    

Be sure to stock up on refreshments beforehand; there is no food at the archaeological site. At the entrance, pick up a free map showing the gridlike layout of the dig, which is divided into numbered blocks, or insulae. Splurge on an audio guide app via  www.ercolano.tours (€10; adult and children's versions): the standard audio guide (€9 for one, €14 for two) may be available for those without a smartphone. You can also join a group with a local guide (around €20 per person). Most of the houses are open, and a representative cross section of domestic, commercial, and civic buildings can be seen. Check the website for the latest openings and news of recent excavation discoveries.

Not far from Termini is the hamlet of Buonfornello, a fascinating archaeological site that includes the remains of the ancient city of Himera, founded by Greek settlers in 648 BC. Hannibal later destroyed ancient Himera in 409 BC, and the surviving population moved to the nearby thermal springs, which later became Termini Imerese. The outdoor archaeological area houses the ruins of many Roman temples and buildings. The more important items recovered from the excavations are housed in the on-site museum and in another rather neglected museum located across the SS113 road. Artifacts include bronze and ceramic vases and intricate artworks made with other precious metals.

Few landscapes set more artists dreaming than that of the famous Faraglioni—three enigmatic, pale-ocher limestone colossi that loom out of the sea just off the Punta Tragara on the southern coast of Capri. Soaring almost 350 feet above the water, the Faraglioni have become a beloved symbol of Capri. The first rock is called Faraglione di Terra, since it's attached to the land; at its base is the famous restaurant and bathing lido Da Luigi. The second is called Faraglione di Mezzo, or Stella, and little boats can often be seen going through its picturesque tunnel. The rock farthest out to sea is Faraglione di Scopolo and is inhabited by a wall lizard species with a striking blue belly.

Most of the hotels are along the beach in the part of town called Ischia Ponte, which gets its name from the ponte (bridge) built by Alfonso of Aragon in 1438 to link the picturesque castle on a small islet offshore with the town and port. For a while the castle was the home of Vittoria Colonna, poetess, granddaughter of Renaissance Duke Federico da Montefeltro (1422–82), and platonic soulmate of Michelangelo, with whom she carried on a lengthy correspondence. The Castello Aragonese itself is a fascinating place to explore, a citadel with atmospheric corners and various exhibition spaces including the stylish Lo Studio art space/craft shop. There are wonderful views amid battlements, gardens, former places of worship and a Napoleonic prison. Plus there's the panoramic Il Terrazzo café and the lofty Il Monastero hotel-café-restaurant. It's all run by the Mattera family who bought the abandoned fortress from the State in 1912: "25,000 lire for 25 centuries of abandoned history" they say. Expect lots of steps but there's a lift if you prefer to avoid the climb. The surrounding area has countless cafés, shops, and restaurants, and a 1-km (½-mile) fine-sand beach.