210 Best Sights in Tuscany, Italy

The Duomo's 14th-century Gothic Baptistery was built to prop up the apse of the cathedral. There are frescoes throughout, but the highlight is a large bronze 15th-century baptismal font designed by Jacopo della Quercia. It's adorned with bas-reliefs by various artists, including two by Renaissance masters: the Baptism of Christ by Lorenzo Ghiberti (1378–1455) and the Feast of Herod by Donatello.

This lovely Gothic baptistery, which faces the Duomo's facade, is best known for the pulpit carved by Nicola Pisano (circa 1220–84; father of Giovanni Pisano) in 1260. Every half hour, an employee will dramatically close the doors, then intone, thereby demonstrating how remarkable the acoustics are in the place.

This pristine, beautiful beach in the Scarlino nature reserve takes its name from the tiny quartz grains of sand that sing like the strings of a violin when you walk along its shores. It's open to only 700 visitors a day during the season, and you can book your spot online. Arrive early to snag a spot in the parking area, which is a 1.6-km (1-mile) walk or bike ride from the beach. Amenities: food and drink; parking (fee); toilets. Best for: swimming; walking.

This family-run wine estate specializes in Vernaccia di San Gimignano, Tuscany's best-known white wine, and has a history dating to the 10th century (though its current owners took it over more recently, in 1977). A one-hour visit includes a tour and tasting of four to six wines. The property also includes three apartments inside a former convent.

According to legend, the cemetery—a walled structure on the western side of the Piazza dei Miracoli—is filled with earth that returning Crusaders brought back from the Holy Land. Contained within are numerous frescoes, notably The Drunkenness of Noah, by Renaissance artist Benozzo Gozzoli (1422–97), and the disturbing Triumph of Death (14th century; artist uncertain), whose subject matter shows what was on people's minds in a century that saw the ravages of the Black Death.

Rocky, hilly, unspoiled Capraia has only one sandy beach, Cala della Mortola, on its northern end. The rest of the coast is a succession of cliffs and deep green coves with pretty rock formations. The 2½-hour ferry trip departs from Livorno and docks at the town of Capraia Isola, dominated by the Fortezza di San Giorgio up above. Nearby, an archway leads to an area that was once a prison.

Some 10 km (6 miles) south of La Verna on SR54 is the small hilltop town where Michelangelo Buonarroti, sculptor, painter, architect, and poet, was born on March 6, 1475. During two weekends in mid-October, Caprese Michelangelo's very lively Sagra della Castagna (Chestnut Festival) takes place. Among the many delights that feature in the fair, the freshly made castagnaccio (a typically Tuscan dessert made with chestnut flour, pine nuts, olive oil, and rosemary) is a must-try.

Pontormo's Visitation is in this small village a short drive from Poggio a Caiano. The Franciscan church of San Michele, dedicated in 1211, houses the work. The painting dates from 1527–30, and it may well be Pontormo's masterpiece. The luminous colors, flowing drapery, and steady gaze shared between the Virgin and St. Elizabeth are breathtaking. The church's small cloister, shaded by olive trees, is always open, and offers a quiet place to sit.

Giorgio Vasari (1511–74), the region's leading Mannerist artist, architect, and art historian, designed and decorated this house after he bought it in 1540. He ended up not spending much time here, since he and his wife moved to Florence in 1554. Today, the building houses archives on Vasari, as well as works by the artist and his peers. In the first room, which Vasari called the "Triumph of Virtue Room," a richly ornamented wooden ceiling shows Virtue combating Envy and Fortune in a central octagon.

Caterina Benincasa, born here in 1347, had divine visions and received the stigmata, but she is most famous for her words and her argumentative skills. Her letters—many of which are preserved in the Biblioteca Comunale—were dictated because she did not know how to write. She is credited with convincing Pope Gregory XI (1329–78) to return the papacy to Rome after 70 years in Avignon and French domination, ending the Western Schism. Caterina died in Rome in 1380 and was canonized in 1461.

In subsequent centuries, the rooms of the house, including her cell and the kitchen, were converted into a series of chapels and oratories and decorated by noteworthy artists with scenes from Caterina's life. In 1939, she was made a patron saint of Italy, along with St. Francis of Assisi. In 1970, she was elevated to Doctor of the Church, the highest possible honor in Christendom. She has been named a patron saint of Europe but, strangely enough, never of her hometown.

Lucca's most famous musical son was born in this house. It includes the piano on which Puccini composed Turandot, as well as scores of important early compositions, letters, costumes and costume sketches, and family portraits.

No one knows the precise location of Leonardo da Vinci's birthplace, but this typical 15th-century Tuscan house is in the general vicinity and probably shares much in common with the house where he was born. It's in Anchiano, 3 km (2 miles) from Vinci, and can be reached easily on foot or by car. It has a primitive interior—it hasn't been gussied up for tourists. Note the printed inventory of Leonardo's library. His tastes in literature were wide-ranging, from the ancient to contemporary (15th-century) authors.

Outside Saturnia, the hot, sulfurous waters cascade over natural limestone shelves at the Cascate del Mulino, affording bathers a sweeping view of the open countryside. The falls are on public land and can be enjoyed 24 hours a day. They get extremely crowded—day and night—during August.

This structure near Santa Maria delle Carceri is formidable. The (Sicilian) Holy Roman Emperor Frederick II (1194–1250) built the seat of his authority in Tuscany in this somewhat unlikely spot. Frederick's castles were designed to echo imperial Rome, and the many columns, lions, and porticoes testify to his ambition. This is the only castle he built outside southern Italy (other examples may be found in Sicily and Puglia).

At this small enoteca on Piazza della Cisterna, you can sample and purchase the fine wines, olive oil, and flavored vinegars made by Castello di Volpaia. Booked in advance, tours in English of the winery and olive press are also available.

This beautiful cathedral, which practically abuts the Museo Nazionale Etrusco, is thought by many to be among the oldest churches in Tuscany; parts of it date from the mid-6th century. It houses the remains of Santa Mustiola, the patron saint of the city. It has very little artificial light inside, so you can get a pretty good idea of how people experienced this space over the centuries.

Prato's Center for Contemporary Art Luigi Pecci contains works of artists from around the world completed after 1965. The exhibitions constantly change, and often feature debut presentations.

Follow SP19 past Sarteano and continue on SP21 to reach this delightful village. Time may seem to have stopped as you walk along the quiet, narrow, medieval lanes and back alleys. Peer through the locked gate for a glimpse of the privately owned castle, and take in splendid views of olive orchards, cypress groves, and the quiet wooded slopes of Mt. Cetona from the town's terraced streets.

This walled medieval town, 3 km (2 miles) northeast of Chianciano Terme, is best known for its proximity to the nearby spas. Nevertheless, the well-preserved center has an appeal all of its own.

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.

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).

The 13th-century Collegiata church has three majestic portals, one possibly the work of Giovanni Pisano (circa 1245/48–1318). Behind the high altar are some fine examples of inlaid woodwork by Antonio Barilli (1482–1502). In the floor of the left aisle, look for the tomb slab of Henry of Nassau, a pilgrim knight who died here in 1451.

The Collegiata di Sant'Andrea is a jewel of a museum, filled with terra-cotta sculptures from the della Robbia school, including one by Andrea della Robbia. There's also a magnificent 15th-century fresco pietà by Masolino (circa 1383–1440), as well as a small work by Fra Filippo Lippi (1406–69) and a wonderful tabernacle attributed to Francesco Botticini (circa 1446–97) and Antonio Rossellino (1427–79). On Sunday afternoon, entrance to the museum is free.

In 1211 St. Francis founded the Convento di San Francesco, which contains two cloisters and an ornate wooden choir. For a dose of monastic living, you can stay overnight.

The Convento e Chiesa di Santi Jacopo e Lucia is also oddly known as the church of San Domenico, which refers to the fact that the Dominicans took over the church in the 14th century. Most of the interior suffers from too much baroque, but there is a lovely sculpted tomb by Bernardo Rossellino for Giovanni Chellini, a doctor who died in 1461. You'll find it on the right-hand nave close to the high altar.

Dedicated to St. Andrew, this is the first medieval church built entirely of marble, most of it quarried in the area. It was constructed between the 11th and 14th centuries, so its facade is an intriguing mix of Romanesque and Gothic. Of particular note are the human figures and animals on Corinthian capitals.

Dedicated to St. Peter, the Duomo was begun in the 11th century and was reconstructed in the early 1500s. Inside is a crucifix dating from the 14th to 15th century. There's also an early-16th-century terra-cotta attributed to the school of the della Robbia.

Cortona's cathedral stands on an edge of the city, next to what's left of the Etruscan and medieval walls. Built on the site of a Romanesque church, the present Renaissance church was begun in 1480 and finished in 1507. An arcade along the outside wall was erected in the 16th century. The interior, a mixture of Renaissance and baroque styles, features an exquisite 1664 baroque tabernacle on the high altar by Francesco Mazzuoli.

The central Piazza Garibaldi, dating from the 13th to the early 14th century, contains this Romanesque cathedral, with sculptures of the life of patron saint Cerbone above the door.