792 Best Sights in Italy

Affectionally called Idda (or "she" in Sicilian dialect), Etna is basically always active, and occasionally there are airspace closures due to the spewing ash. But for the locals who live in her shadow, Etna is not some ever-present doomsday reminder. She's a living part of the dynamic landscape, loved and revered.

In 387 BC, Plato sailed in just to catch a glimpse of it; in the 9th century AD, the first granita of all time was shaved off its snowy slopes; in 1669, it erupted continuously for four months and lava flows reached Catania; and in the 21st century, the volcano still grabs headlines on an annual basis. Significantly notable eruptions have occurred in the modern era, such as in 1971 (when lava buried the Etna Observatory), in 1981 (when the village of Randazzo narrowly missed destruction), in 2001 (when there was a large flank eruption), in 2002 (when a column of ash spewed that could be seen from space), and in 2008 (when the eruption lasted 417 days and triggered some 200 earthquakes). In February and March 2021, she erupted 11 times in a matter of three weeks, scattering windblown ash throughout the towns below, including Catania. Traveling to the proximity of the crater depends on Mount Etna's temperament, but you can walk up and down the enormous lava dunes and wander over its moonlike surface of dead craters. The rings of vegetation change markedly as you rise, with vineyards and pine trees gradually giving way to birch forests and growths of broom and lichen.

Extending over six floors, in a 41,000-foot space, this interactive science museum, designed by Renzo Piano, encourages families of all ages to explore science and nature. As befits the region, mountain imagery plays a big part in the displays and is used to investigate the Dolomites’ history and even life on earth. There’s also a sensory experience room for younger kids up to five years old.

Usually visited along with the neighboring Cappella degli Scrovegni, this former monastery houses a rich array of exhibits and has wonderful cloister gardens with a mix of ancient architectural fragments and modern sculpture. The Pinacoteca displays works of medieval and modern masters, including some by Tintoretto, Veronese, and Tiepolo. Standouts are the Giotto Crucifix, which once hung in the Cappella degli Scrovegni, and the Portrait of a Young Senator, by Giovanni Bellini (1430–1516). Among the archaeological finds is an intriguing Egyptian section, while the Gabinetto Fotografico is an important collection of photographs. Set aside at least 60–90 minutes to appreciate the scope of this fabulous museum complex.

Other than the pope and his papal court, the occupants of the Vatican are some of the most famous artworks in the world. The Vatican Palace, residence of the popes since 1377, consists of an estimated 1,400 rooms, chapels, and galleries. The pope and his household occupy only a small part; most of the rest is given over to the Vatican Library and Museums.

Beyond the glories of the Sistine Chapel, the collection is extraordinarily rich: highlights include the great antique sculptures (including the celebrated Apollo Belvedere in the Octagonal Courtyard and the Belvedere Torso in the Hall of the Muses); the Stanze di Raffaello (Raphael Rooms), with their famous gorgeous frescoes; and the Old Master paintings, such as Leonardo da Vinci's beautiful (though unfinished) St. Jerome in the Wilderness, some of Raphael’s greatest creations, and Caravaggio’s gigantic Deposition in the Pinacoteca ("Picture Gallery").

For those interested in guided visits to the Vatican Museums, tours start at €35, including entrance tickets, and can also be booked online. Other offerings include a regular two-hour guided tour of the Vatican gardens; call or check online to confirm. For more information, call  06/69884676 or go to  www.museivaticani.va. For information on tours, call  06/69883145 or  06/69884676; visually impaired visitors can arrange tactile tours by calling  06/69884947.

Built within the walls of the Pisan castle erected in the early 1300s, Cagliari's archaeological museum is the world's foremost authority on Sardinia's ancient Nuraghic civilization, named after the curious stone towers, or nuraghi, that are unique to the island. Archaeologists date most of these enigmatic structures to about 1300–1200 BC, the same time the ancient Israelites were establishing themselves in Canaan. Among the highlights on display are bronzetti (bronze statuettes) from nuraghic towers and tombs, displayed in the basement, and the much-celebrated Giganti di Mont'e Prama, giant nuraghic stone statues representing warriors and boxers, unearthed in the 1970s and only recently restored and displayed to the public, on the top floor.

The same entry ticket also allows you to visit the Spazio di San Pancrazio, a new exhibition space located within the thick city walls opposite the museum, showing a motley collection of lapidary monuments and majolica and azulejos tiles.

The Castle of Baia, which commands a 360-degree view eastward across the Bay of Pozzuoli and westward across the open Tyrrhenian, provides a fittingly dramatic setting for the Archaeological Museum of Campi Flegrei. Though the castle's foundation dates to the late 15th century, when Naples was ruled by the House of Aragon and an invasion by Charles VIII of France looked imminent, the structure was radically transformed under the Spanish viceroy Don Pedro de Toledo after the nearby eruption of Monte Nuovo in 1538. Indeed, its bastions bear a striking resemblance to the imposing Castel Sant'Elmo in Naples.

The museum has been reorganized to describe in detail the history of Cumae, Puteoli, Baiae, Misenum, and Liternum. Sculptures, architectural remains, pottery, glass, jewelry, and coins are displayed in the ex-dormitories of the soldiers. Of the various exhibitions, the first on the suggested itinerary consists of plaster casts from the Roman period found at the Baia archaeological site. This gives valuable insights into the techniques used by the Romans to make copies from Greek originals in bronze from the Classical and Hellenistic periods. Pride of place goes to the sacellum, or small sanctuary, transported from nearby Misenum and tastefully displayed inside the Aragonese tower, the Torre Tenaglia. Standing about 20 feet high, the sacellum has been reconstructed, with two of its original six columns (the rest in steel) and a marble architrave with its dedicatory inscription to the husband-and-wife team who commissioned the sanctuary's restoration in the 2nd century AD. The beneficent couple is depicted above this. Another highlight is the marble splendor of the Ninfeo Imperiale di Punta Epitaffio, or Nymphaeum of Emperor Claudius, which was discovered in 1969 some 23 feet below the waters of the Bay of Pozzuoli. Note that although this museum is poorly maintained and staffed it's well worth visiting, given that it's not often you find yourself alone among such fascinating ancient artifacts.

This museum has gained international fame for Ötzi, its 5,300-year-old iceman, discovered in 1991 and the world's oldest naturally preserved body. In 1998 Italy acquired it from Austria after it was determined that the body lay 100 yards inside Italian territory. The iceman's leathery remains are displayed in a freezer vault, preserved along with his longbow, ax, and clothing. The rest of the museum relies on models and artifacts from nearby archaeological sites, and exhibitions change regularly. An English audio guide leads you not only through Ötzi's Copper Age, but also into the preceding Mesolithic and Neolithic eras, and the Bronze and Iron Ages that followed.

Also known as MANN, this legendary museum has experienced something of a rebirth in recent years. Its unrivaled collections include world-renowned archaeological finds that put most other museums to shame, from some of the best mosaics and paintings from Pompeii and Herculaneum to the legendary Farnese collection of ancient sculpture. The core masterpiece collection is almost always open to visitors, while seasonal exhibitions feature intriguing cultural events, collaborations, and contemporary artists. Some of the newer rooms, covering archaeological discoveries in the Greco-Roman settlements and necropolises in and around Naples, have helpful informational panels in English.

This vast, multibuilding museum is terrific, with an intelligently arranged collection of prehistoric finds—some dating as far back as 4000 BC—from various sites in the archipelago, as well as Greek and Roman artifacts, including an outstanding collection of Greek theatrical masks, and even interesting information on volcanoes. Basic descriptions about the exhibits are provided in English and Italian, though more comprehensive information is in Italian only. That said, there is so much to see, the museum is worth at least a few hours of your time.

The most significant cultural monument in the Asolo area is this museum dedicated to the work of the Italian neoclassical sculptor Antonio Canova (1757–1822), whose sculptures are featured in many major European and North American cultural institutions. Set up shortly after the sculptor's death in his hometown, the village of Possagno, the museum houses most of the original plaster casts, models, and drawings made by the artist in preparation for his marble sculptures. In 1957 the Museo Canova was extended by the Italian architect Carlo Scarpa.

The dazzling funerary chapel of the Sangro di Sansevero princes combines noble swagger, overwhelming color, and a touch of the macabre—which expresses Naples perfectly. The chapel was begun in 1590 by Prince Giovan Francesco di Sangro to fulfill a vow to the Virgin if he were cured of a dire illness. The seventh Sangro di Sansevero prince, Raimondo, had the building modified in the mid-18th century and is generally credited for its current Baroque styling, the noteworthy elements of which include the splendid marble-inlay floor and statuary, including Giuseppe Sanmartino's spine-chillingly lifelike Cristo Velato (Veiled Christ).

To the left of the Duomo, the entrance to this private museum is through the tempting shop CAMO, and both are the creation of master-craftsman-in-residence Giorgio Filocamo. The museum celebrates the venerable tradition of Italian workmanship in coral, harvested in bygone centuries from the gulfs of Salerno and Naples and crafted into jewelry, cameos, and figurines. The fascinating collection, not confined solely to coral work, includes a painting of Sisto IV from the 14th century. Look also in particular for a carved Christ from the 17th century, for which the J. Paul Getty Museum offered $525,000 in 1987 (the offer was refused), and a tobacco box covered in cameos, one of only two in the world. There is also a statue of the Madonna dating to 1532. Giorgio has crafted coral for Pope John Paul II, the Clintons, and Princess Caroline, as well as numerous Hollywood stars.

At this lovely and informative museum dedicated to all things violin, even those not already enamored by the instrument will find something to appreciate. Historic violins made in Cremona by masters, including Stradivari, are presented as works of art; be sure to get the audio guide included with admission to listen to recordings as you stroll. An audio chamber lets you hear a musical performance in "3D audio"—and if you're lucky, there will be a live concert going on at the innovative on-site auditorium, where the seats wrap around the stage and musicians for an immersive experience.

No visit to this motor city would be complete without a pilgrimage to see the perfectly preserved Bugattis, Ferraris, and Isotta Fraschinis at this museum. Here you can get an idea of the importance of Fiat—and cars in general—to Turin's economy. There's a collection of antique cars from as early as 1896, and displays show how the city has changed over the years as a result of the auto industry.

Castelsardo is best known in Sardinia for its intricate and colorful basketwork, numerous examples of which can be seen in the stores lining the main road and on the walls of the old center. The Museo dell'Intreccio Mediterraneo, located in the formidable 13th-century castle that dominates the town, puts it all into context, displaying a diverse range of woven baskets, culinary equipment, fishing equipment, and even an example of fassonis, the reed-constructed fishing boats once used around Oristano. The well-preserved castle was the Sardinian base of the powerful Doria family in the Middle Ages and has replicas of armor, catapults, and other medieval weaponry on the walls; try to time your visit to be here at sunset for the unforgettable views. The castle stays open till midnight and beyond in July and August. Your entry ticket includes admission to a museum dedicated to Castelsardo and its Genoan origins, housed nearby in an old Franciscan convent and mainly consisting of panels and videos—from here, too, there are awesome panoramic views of the coast.

A seven-year restoration, completed in 2015, gave Florence one of its most modern, up-to-date museums. The exhibition space was doubled, and the old facade of the cathedral, torn down in the 1580s, was re-created with a 1:1 relationship to the real thing. Both sets of Ghiberti's doors adorn the same room. Michelangelo's Pietà finally has the space it deserves, as does Donatello's Mary Magdalene.

Uphill from town, the Valle dei Mulini (Valley of the Mills) was for centuries Amalfi's center for papermaking, an ancient trade learned from the Arabs, who learned it from the Chinese. Beginning in the 12th century, former flour mills were converted to produce paper made from cotton and linen. The paper industry was a success, and by 1811 more than a dozen mills here, with more along the coast, were humming. Natural waterpower ensured that the handmade paper was cost-effective. Yet, by the late 1800s the industry had moved to Naples and other more geographically accessible areas. Flooding in 1954 closed most of the mills for good, and many have been converted into private housing. The Museo della Carta (Museum of Paper) opened in 1971 in a 15th-century mill. Paper samples, tools of the trade, old machinery, and the audiovisual presentation are all enlightening. You can also participate in a paper-making laboratory.

The grandiose, 18th-century, neoclassical, Bourbon royal palace houses fine and decorative art in 124 rooms. The main galleries on the first floor are devoted to the Farnese collection, as well as work from the 13th to the 18th century, including many pieces by Dutch masters, as well as an El Greco and 12 Titian paintings. On the second floor look for stunning paintings by Simone Martini (circa 1284–1344) and Caravaggio (1573–1610).

The handsome Palazzo Patriarcale o Arcivescovile contains several rooms of frescoes by the young Gianbattista Tiepolo, painted from 1726 to 1732, which comprise the most important collection of early works by Italy's most brilliant 18th-century painter. The Galleria del Tiepolo (1727) contains superlative Tiepolo frescoes depicting the stories of Abraham, Isaac, and Jacob. The Judgment of Solomon (1729) graces the Pink Room. There are also beautiful and important Tiepolo frescoes in the staircase, throne room, and palatine chapel of this palazzo. Even in these early works we can see the Venetian master's skill in creating an illusion of depth, not only through linear perspective, but also through subtle gradations in the intensity of the colors, with the stronger colors coming forward and the paler ones receding into space. Tiepolo was one of the first artists to use this method of representing space and depth, which reflected the scientific discoveries of perception and optics in the 17th century.

The Museo Diocesano here features sculptures from Friuli churches from the 13th through 18th centuries; and don't miss the magnificent library, the Biblioteca Arcivescovile Delfiniana.

Udine's fine civic collection of modern and contemporary art is housed in the handsome and part-modernized 16th-century Casa Cavazzini, which retains some ornate apartment interiors. The first and second floors display the permanent collection: first-floor highlights include bold sculptural works by the three Udinese brothers Dino, Mirko, and Afro Basaldella, with a backdrop of 14th-century frescoes discovered during the 2012 refurbishing. There are also fine works by Giorgio Morandi, Renato Guttuso, and Carlo Carrà. Up a floor is the Collezione Astaldi, spanning the 1920s through the 1960s, and Collezione FRIAM, with '60s and '70s works. Worth seeking out are Giorgio de Chirico's I Gladiatori (1931) and pieces by 20th-century American icons Willem de Kooning, Roy Lichtenstein, and Sol LeWitt. Entry to themed temporary exhibitions costs extra.

Il Santuario di Hera Lacinia (Sanctuary of Hera Lacinia) was once one of the most important shrines of Magna Graecia. Only one column remains standing, but the site (known as Capo Colonna because of that single pillar) occupies a stunning position on a promontory 11 km (7 miles) south of the town of Crotone. The ruins are part of a vast park, which also contains a well-appointed museum documenting finds from prehistory to the Roman era. The sanctuary itself, which dates from the 7th century BC, is fenced off for safety reasons, but a walkway allows viewing.

The Egyptian Museum's superb collection includes statues of pharaohs and mummies and entire frescoes taken from royal tombs. The striking sculpture gallery, designed by the Oscar-winning production designer Dante Ferretti, is a veritable who's who of ancient Egypt. Look for the magnificent 13th-century BC statue of Ramses II and the fascinating Tomb of Kha. The latter was found intact with furniture, supplies of food and clothing, and writing instruments.

This ethnographic collection is a must for anyone interested in the cultural context of Sardinia's customs and traditions. Among the 8,000 items in the museum's collection, you can view domestic and agricultural implements, splendid jewelry, traditional musical instruments, and dozens of local costumes. Audio guides are available, and guided tours can be booked. The nearby park on Sant'Onofrio Hill affords magnificent views over Nuoro and the surrounding country. Entry to the museum is free on the first Sunday of the month.

This museum comprises the private collection of Baron Enrico Pirajno di Mandralisca, a member of a local aristocratic family. Throughout his life, he collected antiques, artwork, fossils, ancient ceramics, and various other geological and natural history objects to form this extensive collection. His library and other items were eventually donated to the town and became the Museo Mandaralisca. The most significant piece of art here has to be the Portrait of an Unknown Man by Antonello da Messina. Monikered as the Sicilian Mona Lisa, the mysteriously smirking man is one of the early Renaissance artist's masterpeices.

Reggio Calabria is home to one of southern Italy's most important archaeological museums. Its prize exhibit, of course, is the two ancient Greek statues known as the Bronzi di Riace, which were discovered by an amateur deep-sea diver off Calabria's Ionian Coast in 1972. After a lengthy but necessary conservation effort, these 5th-century-BC statues of two Greek warriors, thought to be the work of either Pheidias or Polykleitos, now take pride of place in their special temperature-controlled room, complete with earthquake-resistant bases. 

Housed in three magnificent buildings and partly remodeled by influential Italian architect Carlo Scarpa, the Revoltella provides a stimulating survey of 19th- and 20th-century art and decoration. Building on the bequeathment of the grand palazzo and art of Triestino collector-industrialist Pasquale Revoltella (1795–1869), the institution has continued to add important artworks from the Venice Biennale by the likes of Carrà, Mascherini, Morandi, de Chirico, Manzù, Fontana, and Burri. In contrast, a gorgeous cochlear staircase connects the three floors of the museum: its history and 1850–60 cityscapes are on the ground floor; 19th-century classical statuary, portraits, and historic scenes take up the first; while the third preserves opulent saloni.

The narrow promontory outside Pula was the site of a Phoenician, Carthaginian, and then, later, Roman settlement that was first inhabited some 2,800 years ago. Nora was a prime location as a stronghold and an important trading town; Phoenician settlers scouted for good harbors, cliffs to shelter their craft from the wind, and an elevation from which they could defend themselves. An old Roman paved road passes the temple ruins, which include baths, a Roman theater, and an amphitheater now used for summer music festivals. 

Dating from the 18th century but closed for most of the last four decades, the Palazzo Butera has been transformed by its gallerista owners, Massimo and Francesca Valsecchi, into one of Sicily’s (and Italy’s) most imaginative museum collections. Its labyrinthine rooms now display a heady mixture of old and new art. The collection’s strength lies in its bold juxtapositions, with works by an international roster of experimental modern artists of the likes of Gilbert and George, and David Tremlett, exhibited alongside classical landscapes and graceful Sicilian furniture from the 19th century. Painted ceilings remain from the palace's Baroque beginnings, some of them artfully peeled back to reveal the wooden construction behind them. Diverse temporary exhibitions displayed on the ground floor add to the mix. There’s a lot to take in, but if you need a break from all the hectic creativity, head for the terrace, accessed from the second floor, which provides benches and a walk around one of the two courtyards as well as views over the harbor. You can get even better views from the viewing platform reached from the roof, while further up, steps lead to a lofty view of the harbor, Monte Pellegrino, and, inland, the whole of the Conca d’Oro bowl in which the city sits.

This is a true rarity: a Baroque residence whose original furniture, paintings, drapes, and decorations are largely intact. The Italian film director Luchino Visconti used the villa, which sits just at the end of Ariccia's famous bridge, for most of the interior scenes in his 1963 film The Leopard. The rooms of the piano nobile (main floor)—which, unlike Rome's Palazzo Chigi, are open to the public, but only on guided tours—contain intricately carved pieces of 17th-century furniture, as well as textiles and costumes from the 16th to the 20th century.

The Room of Beauties is lined with paintings of the loveliest ladies of the day, and the Nuns' Room showcases portraits of 10 Chigi sisters, all of whom took the veil. You can get a close look (with a guide) at Le Stanze del Cardinale (Cardinal's Rooms), the suites occupied by the pleasure-loving Cardinal Flavio Chigi.

Rome's grandest private palace is a fusion of 17th- and 18th-century buildings that have been occupied by the Colonna family for more than 20 generations. The immense residence faces Piazza dei Santi Apostoli on one side and the Quirinale (Quirinal Hill) on the other—with a little bridge over Via della Pilotta linking to gardens on the hill—and contains an art gallery that's open to the public on Saturday morning or by guided tour on Friday morning.

The gallery is itself a setting of aristocratic grandeur; you might recognize the Sala Grande as the site where Audrey Hepburn meets the press in Roman Holiday. An ancient red marble colonna (column), which is the family's emblem, looms at one end, but the most spectacular feature is the ceiling fresco of the Battle of Lepanto painted by Giovanni Coli and Filippo Gherardi beginning in 1675. Adding to the opulence are works by Poussin, Tintoretto, and Veronese, as well as portraits of illustrious members of the family, such as Vittoria Colonna, Michelangelo's muse and longtime friend.

It's worth paying an extra fee to take the guided, English-language gallery tour, which will help you navigate through the array of madonnas, saints, goddesses, popes, and cardinals to see Annibale Carracci's lonely Beaneater, spoon at the ready and front teeth missing. The gallery also has a café with a pleasant terrace.