210 Best Sights in Tuscany, Italy

The older town, Montecatini Alto, sits atop a hill nearby, and is reached by a funicular from Viale Diaz. Though there isn't much to do once you get up there, the medieval square is lined with restaurants and bars, the air is crisp, and the views of the Nievole, the valley below, are gorgeous.

The most famous visitor to this island, about 50 km (30 miles) south of Elba, was fictional: Alexandre Dumas's legendary count. Today, the island is a well-protected nature preserve with wild Montecristo goats and vipers, peregrine falcons, and rare Corsican seagulls who make their home amid rosemary bushes and stunted pine trees. Scientific-research teams are given priority for permission to land on the island, and an annual quota of 1,000 visitors strictly limits even their number.

A tiny hilltop hamlet, about 2 km (1 mile) west of Greve in Chianti, Montefioralle is the ancestral home of Amerigo Vespucci (1454–1512), the mapmaker, navigator, and explorer who named America. (His cousin-in-law, Simonetta, may have been the inspiration for Sandro Botticelli's Birth of Venus, painted sometime in the 1480s.)

This sleepy town, sitting on a small knoll about 15 km (9 miles) south of Sansepolcro, would probably attract little attention if not for the fact that, in the 1450s, Piero della Francesca painted one of his greatest masterpieces—the Madonna del Parto, a rare image of a pregnant Virgin Mary—here. It's now on display in Sansepolcro's Museo della Madonna del Parto.

If you're heading northwest to Siena, stray 9 km (5½ miles) west of the Via Cassia to Vescovado and then follow the signs 2 km (1 mile) south to this tiny fortified medieval borgo (village) that has been completely restored.

The Archaeological Museum in the Convento di San Bernardo, just outside the Anfiteatro Romano, exhibits a fine collection of Etruscan bronzes. The ticket allows admission to the Anfiteatro Romano.

The 13th-century Palazzo Pretorio, on Piazza Garibaldi, is home to this fascinating museum with plenty of Etruscan artifacts. A number of displays reconstruct the nature of daily life for the Etruscans who once inhabited the hills in this area.

Opened in 1964 to honor the 400th anniversary of Michelangelo's death, this museum displays photographs, plaster casts, and documents relating to the artist's work.

The Palazzo del Comune, begun around 1295, houses the Museo Civico, containing works by local artists from the 13th to 19th century. The courtyard (which is free) houses an equestrian sculpture by native son Marino Marini: it takes awhile to figure it out, and it's worth taking the time to do so.

Piero della Francesca is the star at this small provincial museum, where his works include the reassembled altarpiece of the Misericordia (1445–62) and frescoes depicting the Resurrection (circa 1460), Saint Julian, and the disputed Saint Louis of Toulouse, which is possibly the work of a close follower of the artist. Other works of interest are those by Santi di Tito (1536–1603), also from Sansepolcro, and Pontormo's San Quintino (1517–18).

The impressive civic museum occupies what was the "new" Palazzo del Popolo; the Torre Grossa is adjacent. Dante visited San Gimignano for only one day as a Guelph ambassador from Florence to ask the locals to join the Florentines in supporting the pope—just long enough to get the main council chamber named after him.

Upstairs, paintings by famous Renaissance artists Pinturicchio (Madonna Enthroned) and Benozzo Gozzoli (Madonna and Child), and two large tondi (circular paintings) by Filippino Lippi (circa 1457–1504) attest to the importance and wealth of San Gimignano.

This museum contains Etruscan and Roman sculpture and pottery excavated from around the area. According to cognoscenti, the Etruscan collection is one of the best in Italy.

This fine museum is in a building that belonged to Augustinian friars in the 13th-century. The ticket booth is in the glorious refurbished cloister, and the sacred art collection, gathered from churches throughout the region, is displayed on two floors in former monastic quarters. Although the art here might be called B-list, a fine altarpiece by Bartolo di Fredi (circa 1330–1410), the Coronation of the Virgin, makes dazzling use of gold. In addition, there's a striking 12th-century crucifix that originally adorned the high altar of the church of Sant'Antimo. Also on hand are many wood sculptures, a typical medium in these parts during the Renaissance.

Even with all the decoration in the Collegiata, the fine collection of religious articles in the church museum, across the pretty courtyard, is still worth a look. The highlight is a Madonna and Child by Bartolo di Fredi. Other pieces include several busts, wooden statues of Christ, the Virgin Mary, and the angel Gabriel, and several illuminated songbooks.

Today, quiet Buonconvento is worth a stop for a look at its tiny museum, a two-room picture gallery with more than its fair share of works by Tuscan artists such as Duccio and Andrea di Bartolo. A triptych with the Madonna and Saints Bernardino and Catherine by Sano di Pietro stands out amid other gems by Sienese painters of the 14th and 15th centuries, and Donatello tops a list of the Renaissance sculptors also represented.

Preserved in the Museo del Tessuto is what made this city a Renaissance economic powerhouse. The collection includes clothing, fabric fragments, and the machines used to make them—all dating from the 14th to the 20th century. Check out the 15th-century fabrics with pomegranate prints, a virtuoso display of Renaissance textile wizardry. The well-designed museum (objects are clearly labeled in English) is within the medieval walls of the city in the old Cimatoria, a 19th-century factory that finished raw fabrics.

At the end of the 11th century, the bishop of Pistoia began construction on this palace. One thousand years later, it houses several collections. The Museo della Cattedrale di San Zeno contains spectacular items from Pistoia's cathedral, including ornate pieces in gold, rings with jewels the size of small eggs, and solemn, powerful statuary. The Museo Tattile lets you touch various local buildings built to scale. The Percorso Archeologico contains Roman, medieval, and Etruscan archaeological finds uncovered during a 1970s renovation. Its treasures are showcased with simple elegance in a warren of corridors and caves below and austere rooms above. Note that a guide accompanies you while you wander the complex.

At the southeast corner of the sprawling Piazza dei Miracoli, this museum holds a wealth of medieval sculptures and the ancient Roman sarcophagi that inspired Nicola Pisano's figures.

A sculpture by Donatello (circa 1386–1466) that originally adorned the Duomo's exterior pulpit is now on display in the Museo dell'Opera del Duomo. The museum also includes such 15th-century gems as Fra Filippo Lippi's Madonna and Child, Giovanni Bellini's (circa 1432–1516) Christ on the Cross, and Caravaggio's (1571–1610) Christ Crowned with Thorns.

The cathedral museum exhibits many items too precious to be in the church, most notably the finely worked golden decorations of the Volto Santo, the Byzantine crucifix that remains in the Duomo.

The Museo della Ceramica has some 3,000 pieces of majolica, a type of glazed pottery made in this region since the early 14th century. The museum is beautifully lighted, and objects dating from the early 14th century to the late 18th century are well labeled and arranged, providing a good overview of the region's ceramics-making history. There's also an interesting display of the coats of arms of important Renaissance families such as the Medici and Strozzi.

Not surprisingly, only one painting is displayed here, Piero's Madonna del Parto (circa 1455), a fresco depicting the expectant Virgin flanked by two angels. Originally painted for the small chapel of Santa Maria a Momentana in Monterchi's cemetery, the work was restored in 1992–93 and moved, shortly thereafter, into the museum. The iconography of the image is extremely rare and, emphasized by its static atmosphere and studied symmetry, the fresco achieves an extraordinary sense of enigmatic and monumental spirituality.

The well-arranged museum on the south side of the Piazza del Duomo holds the sinopie (preparatory drawings) for the Camposanto frescoes. Though the exhibits are mostly of interest to specialists, some audiovisual material provides a good introduction to the whole religious complex.

The museum, housed in the Palazzo Orsini, has several rooms featuring paintings by Zuccarelli, who was born in Pitigliano in 1702. Other works include a Madonna carved in wood by Jacopo della Quercia (1371/74–1438), a 14th-century crucifix, period furniture, and a numismatic collection.

In the converted convent church of San Pietro all'Orto, this museum houses a large number of medieval paintings and sculptures gathered from churches in and around Massa Marittima. Perhaps the most important piece, Ambrogio Lorenzetti's early-14th-century Maestà, was discovered in the storage room of the church in 1866.

Housed in part of the original cathedral structure, this nine-room museum has an impressive number of large, splendid paintings by native son Luca Signorelli (1445–1523), as well as a delightful Annunciation by Fra Angelico (1387/1400–55). The church was built between 1498 and 1505 and restructured by Giorgio Vasari in 1543. Frescoes depicting sacrifices from the Old Testament by Doceno (1508–56), based on designs by Vasari, line the walls.

Although the Museo Diocesano is small, its modest collection incorporates a number of subtle and pleasant local works of art. Note the rather odd Crucifixion by Lorenzo Lippi, Il Redentore, probably by a follower of Verrocchio (1435–88), and the small but exquisite Education of the Virgin by Tiepolo (1696–1770).

This museum, which sits to the left of Pienza's Duomo, is small but has a few interesting papal treasures and rich Flemish tapestries. The most precious piece is a rare mantle that belonged to Pope Pius II: it's woven in gold and embellished with pearls and embroidered religious scenes.

The religious art collection housed in the Bishop's Palace was collected from local churches and includes an unusual reliquary by Antonio Pollaiolo with the head of St. Octavian in silver resting on four golden lions. There's also a fine terra-cotta bust of St. Linus by Andrea della Robbia (1435–1525/28). Two paintings are noteworthy: Rosso Fiorentino's (1495–1540) Madonna di Villamagna and Daniele da Volterra's (1509–66) Madonna di Ulignano, named for the village churches in which they were originally placed.

Museo Leonardiano, atop the castle belonging to the Guidi family in the historic center of Vinci, has replicas of many of Leonardo's machines and gadgets. The stunning country views most likely influenced the artist, as some of his painted backgrounds suggest the hills of Vinci.