792 Best Sights in Italy

A tortuous road leads up to Anacapri, the island's "second city," about 3 km (2 miles) from Capri Town. To get here you can take a bus either from Via Roma in Capri Town or from Marina Grande (both €2), or a taxi (about €30 one-way; agree on the fare before starting out). Crowds are thick down Via Capodimonte leading to Villa San Michele and around Piazza Vittoria, the square where you catch the chairlift to the top of Monte Solaro. Via Finestrale leads to the noted Le Boffe quarter, centered on the Piazza Diaz. Le Boffe owes its name to the distinctive domestic architecture prevalent here, which uses vaults and sculpted groins instead of crossbeams. Elsewhere, Anacapri is quietly appealing. It's a good starting point for walks, such as the 80-minute round-trip journey to the Migliara Belvedere, on the island's southern coast.

An imposing bishop's palace holds this unique museum of Etruscan objects. Although there are many beautiful pieces displayed in an intelligent and well-documented fashion, the almost complete roof and pediment from a 5th-century BC Etruscan house stand out as rare and precious. The so-called Cowboy of Murlo, a large-hatted figure from the same roof, is the star of the collection but anyone interested in ancient Etruscan culture will be well rewarded by a visit here. The museum is named after the nearby site from which most of the artifacts were excavated.

Originally named by the Greeks after the Mermaid Parthenope (who slew herself after being rejected by Odysseus, at least in the poet Virgil’s version), it's only fitting that Naples should have established one of Europe's first public aquariums in 1874. At the time—when, not so incidentally, the public imagination was being stirred by Jules Verne’s Captain Nemo and Hans Christian Andersen’s Little Mermaid—technological innovations came into place to funnel seawater directly from the bay into the aquarium tanks, which showcase fish and marine plants from the Bay of Naples, with a tank devoted to tropical fish. Officially named the Stazione Zoologica, founded by the German scientist Anton Dhorn, and housed in a Stile Liberty building designed by Adolf von Hildebrandt, the aquarium quickly became the wonder of Naples for children and art-exhausted adults. Reopened in 2021 after a six-year major overhaul, the foundation added the Museo Darwin-Dohrn (Da-DoM) a few steps away in the leafy Villa Comunale—the 19th-century naturalist and Dohrn were regular correspondents. The highlight is the skeleton of a sperm whale washed up in Ischia in 2018, in a room opening up to the bay.

This pristine monument sits inside one of Rome's newer architectural landmarks: a gleaming, rectangular, glass-and-travertine structure designed by American architect Richard Meier. It overlooks the Tiber on one side and the ruins of the marble-clad Mausoleo di Augusto (Mausoleum of Augustus) on the other and is a serene, luminous oasis right in the center of Rome.

This altar itself dates from 13 BC and was commissioned to celebrate the Pax Romana, the era of peace ushered in by Augustus's military victories. When viewing it, keep in mind that the spectacular reliefs would have been painted in vibrant colors, now long gone. The reliefs on the short sides portray myths associated with Rome's founding and glory; those on the long sides display a procession of the imperial family. Although half of his body is missing, Augustus is identifiable as the first full figure at the procession's head on the south-side frieze; academics still argue over exact identifications of most of the figures. Be sure to check out the small downstairs museum, which hosts rotating exhibits on Italian culture, with themes ranging from design to film.

This stunning structure is simpler and less imposing, but also more graceful, than the triumphal arches in Rome. Built in the 1st century by the architect Lucius Vitruvius Cerdo to celebrate the accomplishments of the patrician Gavia family, it was highly esteemed by several Renaissance architects, including Palladio.

From the middle of the 11th century, Amalfi's center of shipbuilding, customs houses, and warehouses was the Arsenale, today the only (partially) preserved medieval shipyard in southern Italy. Ships and galleys up to 80-feet long, equipped with up to 120 oars, were built at this largest arsenal of any medieval maritime republic. Two large Gothic halls here now host the Museo della Bussola e del Ducato Marinaro di Amalfi (Museum of the Compass and Maritime Duchy of Amalfi) with exhibitions and artifacts from Amalfi's medieval period, including paintings, ancient coins, banners, and jeweled costumes. The highlight is the original 66-chapter draft of the code of the Tavole Amalfitane, the sea laws and customs of the ancient republic, used throughout the Italian Mediterranean from the 13th to the 16th century. The Tavole established everything from prices for boat hires to procedures to be followed in case of a shipwreck. Long one of the treasures of the Imperial Library of Vienna, the draft was returned to Amalfi after more than 500 years. Ten of the arsenal's original 22 stone piers remain; the others were destroyed by storms and changes in the sea level on this ever-active coast.

By day, you can lose yourself in the maze of white alleyways in Bari Vecchia, the old town stretching along the harbor, now humming with restaurants, cafés, and crafts shops. Residents tend to leave their doors wide open, so you catch a glimpse into the daily routine of southern Italy: matrons hand-rolling orecchiette, their grandchildren home from school for the midday meal, and workers busy patching up centuries-old arches and doorways. Back in the new town, join the evening passeggiata on pedestrian-only Via Sparano, then, when night falls, saunter out among the outdoor bars and restaurants in Piazza Mercantile, past Piazza Ferrarese at the end of Corso Vittorio Emanuele.

At the oldest winery on Etna, the expansive terrace shaded by oak trees looks out over vineyards and down to the sea. The staff offers friendly and informative tours (with excellent English) followed by a tasting of five wines with food pairings or a more formal lunch. Reservations are required. There are also four charming guest rooms overlooking the vineyards for overnight stays.

The highlight here is the spectacular 3rd- to 4th-century mosaic covering the entire floor of the basilica and the adjacent crypt, which make up one of the most important early Christian monuments. Theodore, the basilica's first bishop, built two parallel basilicas (now the north and the south halls) on the site of a Gnostic chapel in the 4th century. These were joined by a third hall, forming a "U." The complex later accumulated the Romanesque portico and Gothic bell tower. The mosaic floor of the basilica is the remains of the floor of Theodore's south hall.

In his north hall, Theodore retained much of the floor of the earlier Gnostic chapel, whose mosaics represent the ascent of the soul, through the realm of the planets and constellations, to God, who is represented as a ram. (The ram, at the head of the zodiac, is the Gnostic generative force.) This integration of Gnosticism into a Christian church is interesting, since Gnosticism had been branded a heresy by early church fathers.

The 4th-century mosaics of the south hall (the present-day nave) represent the story of Jonah as prefiguring the salvation offered by the Church. Down a flight of steps, the Cripta degli Affreschi contains 12th-century frescoes.

The famous Piero della Francesca frescoes depicting The Legend of the True Cross (1452–66) were executed on the three walls of the Capella Bacci, the apse of this 14th-century church. What Sir Kenneth Clark called "the most perfect morning light in all Renaissance painting" may be seen in the lowest section of the right wall, where the troops of Emperor Maxentius flee before the sign of the cross. Reservations are required and can be made online.

The 11th-century Basilica di San Nicola, overlooking the sea in the città vecchia (old city), houses the bones of St. Nicholas, the inspiration for Santa Claus. His relics were stolen from Myra, in present-day Turkey, by a band of sailors from Bari and are now buried in the crypt. Because St. Nicholas is also the patron saint of Russia, the church draws both Roman Catholic and Russian Orthodox pilgrims; souvenir shops in the area display miniatures of the Western saint and his Eastern counterpart side by side.

The world's largest church, built over the tomb of St. Peter, is the most imposing and breathtaking architectural achievement of the Renaissance (although much of the lavish interior dates to the Baroque period). No fewer than five of Italy's greatest artists—Bramante, Raphael, Peruzzi, Antonio da Sangallo the Younger, and Michelangelo—died while striving to erect this new St. Peter's.

The history of the original St. Peter's goes back to AD 326, when the emperor Constantine completed a basilica over the site of the tomb of St. Peter, the Church's first pope. The original church stood for more than 1,000 years, undergoing a number of restorations and alterations, until, toward the middle of the 15th century, it was on the verge of collapse. In 1452, a reconstruction job began but was abandoned for lack of money.

In 1503, Pope Julius II instructed the architect Bramante to raze all the existing buildings and build a new basilica, one that would surpass even Constantine's for grandeur. It wasn't until 1626 that the new basilica was completed and consecrated.

Highlights include the Loggia delle Benedizioni (Benediction Loggia), the balcony where newly elected popes are proclaimed; Michelangelo's Pietà; and Bernini's great bronze baldacchino, a huge, spiral-columned canopy—at 100,000 pounds, perhaps the largest bronze object in the world—as well as many other Bernini masterpieces. There are also collections of Vatican treasures in the Museo Storico-Artistico e Tesoro and the Grotte Vaticane crypt.

For views of both the dome above and the piazza below, take the elevator or stairs to the roof. Those with more stamina (and without claustrophobia) can then head up more stairs to the apex of the dome.  The basilica is free to visit, but a security check at the entrance can create very long lines. Arrive before 8:30 or after 5:30 to minimize the wait and avoid the crowds.

The octagonal church of San Vitale was built in AD 547, after the Byzantines conquered the city, and its interior shows a strong Byzantine influence. The area behind the altar contains the most famous works, depicting Emperor Justinian and his retinue on one wall, and his wife, Empress Theodora, with her retinue, on the opposite one. Notice how the mosaics seamlessly wrap around the columns and curved arches on the upper sides of the altar area. School groups can sometimes swamp the site from March through mid-June.

Thousands of faithful make the pilgrimage here each year to pray at the tomb of St. Anthony, while others come to admire works by the 15th-century Florentine master Donatello. His equestrian statue (1453) of the condottiere Erasmo da Narni, known as Gattamelata, in front of the church is one of the great masterpieces of Italian Renaissance sculpture. It was inspired by the ancient statue of Marcus Aurelius in Rome's Campidoglio. Donatello also sculpted the series of bronze reliefs in the imposing interior illustrating the miracles of St. Anthony, as well as the bronze statues of the Madonna and saints on the high altar.

The huge church, which combines elements of Byzantine, Romanesque, and Gothic styles, was probably begun around 1238, seven years after the death of the Portuguese-born saint. It underwent structural modifications into the mid-15th century. Masses are held in the basilica almost constantly, which makes it difficult to see these artworks. More accessible is the restored Cappella del Santo (housing the tomb of the saint), dating from the 16th century. Its walls are covered with impressive reliefs by important Renaissance sculptors.

Ample swimming and clean, fine-grained sand make Gallipoli's beaches a good choice for families. The 5-km (3-mile) strand reaches from Punta Pizzo to Lido San Giovanni and is divided among a series of bathing establishments, all of which provide sun beds, umbrellas, showers, changing facilities, and snack bars. Parco Gondar hosts a fun fair and music events. Water-sports equipment can be bought or rented at the waterfront shops in town. Amenities: food and drink; lifeguards; parking (fee); showers; toilets; water sports. Best for: partiers; snorkeling; sunset; swimming; walking; windsurfing.

If practicalities and time allow, make the short trip toward Capo Rizzuto just down the coast for some of the most fabulous bathing and snorkeling in the region. Among its bays and protected marine reserve waters is Spiagge Rosse, whose orange-red sand beach and crystalline waters make it the most alluring on this stretch of coast. Amenities: food and drink; lifeguards; parking (no fee); showers; toilets. Best for: snorkeling; swimming.

The spatial depth, emotional intensity, and naturalism of the frescoes illustrating the lives of Mary and Jesus in this world-famous chapel broke new ground in Western art. Enrico Scrovegni commissioned these frescoes to atone for the sins of his deceased father, Reginaldo, the usurer condemned to the Seventh Circle of the Inferno in Dante's Divine Comedy. Giotto and his assistants worked on the frescoes from 1303 to 1305, arranging them in tiers to be read from left to right. Opposite the altar is a Last Judgment, most likely designed and painted by Giotto's assistants.

To preserve the artwork, doors are opened only every 15 minutes. A maximum of 25 visitors must spend 15 minutes in an acclimatization room before making a 15-minute chapel visit (20 minutes in certain months). Tickets should be picked up at least one hour before your reservation. It's sometimes possible to buy admission on the spot. A good place to get some background before visiting the chapel is the multimedia room.

In 1508, the redoubtable Pope Julius II commissioned Michelangelo to fresco the more than 10,000 square feet of the Sistine Chapel's ceiling. (Sistine, by the way, is simply the adjective form of Sixtus, in reference to Pope Sixtus IV, who commissioned the chapel itself.) The task took four years, and it's said that, for many years afterward, Michelangelo couldn't read anything without holding it over his head. The result, however, was the greatest artwork of the Renaissance. A pair of binoculars helps greatly, as does a small mirror—hold it facing the ceiling and look down to study the reflection.

More than 20 years after his work on the ceiling, Michelangelo was called on again, this time by Pope Paul III, to add to the chapel's decoration by painting the Last Judgment on the wall over the altar. By way of signature on this, his last great fresco, Michelangelo painted his own face on the flayed-off human skin in St. Bartholomew's hand. The chapel is entered through the Musei Vaticani, and lines are much shorter after 2:30 (reservations are always advisable)—except free Sundays, which are extremely busy and when admissions close at 12:30.

In antiquity, the Casa dei Cervi was one of the first houses that visitors to the town would have passed as they entered the city from the seaward side. As in most top-notch town residences, however, the entranceway is plain and leads into a vestibulum, a small vestibule, that opens onto an open courtyard called a peristylium. The showpiece in this particular house is the garden area, surrounded by a so-called cryptoporticus embellished with fine still life frescoes and terminating in a partially reconstructed gazebo. Of course, prior to the eruption, the house would have had a fine view over the Bay of Naples.

The ruin of this house takes its name from the mosaic in back that still sports its bright blue coloring and adorns the wall of the small, secluded nymphaeum-triclinium (a dining room with a fountain). The mosaic depicts the following scene: according to legend, in the time-honored fashion of the Olympians, Neptune (or Poseidon) saw Amphitrite dancing with the Nereids on the island of Naxos, carried her off, and married her. The adjacent wall, in similar mosaic style, has a hunting scene of a stag being pursued by a dog. Annexed to the same house is a remarkably preserved wine shop, where amphorae still rest on carbonized wooden shelves.

Crowning an isolated hill 1,778 feet above sea level in the heart of the Alta Murgia National Park, this enigmatic octagonal fortress, built by Frederick II in the first half of the 13th century, has puzzled historians and researchers for centuries. Rooms are arranged in a seemingly illogical sequence through eight towers around a central courtyard. Recent interpretations suggest it was an elaborate cultural center conceived by Frederick to study various scientific disciplines of the Western and the Arabic worlds. Umberto Eco used it as his inspiration for riddles in The Name of the Rose.

Known to locals as Maschio Angioino, in reference to its Angevin builders, this imposing castle is now used more for marital than military purposes—a portion of it serves as a government registry office. A white four-tiered triumphal entrance arch, ordered by Alfonso of Aragon after he entered the city in 1443 to seize power from the increasingly beleaguered Angevin Giovanna II, upstages the building's looming Angevin stonework. At the arch's top, as if justifying Alfonso's claim to the throne, the Archangel Michael raises his right arm to slay a demon.

Across the courtyard within the castle, up a staircase, is the Sala Grande, also known as the Sala dei Baroni, which has a stunning vaulted ceiling 92 feet high. In 1486, local barons hatched a plot against Alfonso's son, King Ferrante, who reacted by inviting them to this hall for a wedding banquet, which promptly turned into a mass arrest. (Ferrante is also said to have kept a crocodile in the castle as his pet executioner.) You can also visit the Sala dell'Armeria, where a glass floor reveals recent excavations of Roman baths from the Augustan period, with resin plaster casts of the skeletons also found here (the originals are in storage in the Museo Archeologico Nazionale). In the next room on the left, the Cappella Palatina, revolving exhibitions (some free) adorn the walls along with a few tiny remaining fragments of the famous Giotto pictures described by Petrarch.

Before climbing to the castle's first-floor gallery, with its beautiful Renaissance-era masterpieces, check out the magnificent 16th-century Cappella delle Anime del Purgatorio and its richly decorated gold-plated altar.

At the back of the courtyard are giant photographs of three Roman ships, wood amazingly intact, unearthed during recent digging of the nearby metro station and now hidden away for restoration. A few tour itineraries are offered, including one of the underground prisons and the terrace with its unrivaled views of Piazza Muncipio's Roman excavations.

This Gothic castle was restored in the 19th century and now serves as a museum that celebrates more than 250 years of tourism in South Tyrol. But the real draw is the expansive garden, where exotic flora is organized by country of origin. The castle is about 2 km (1 mile) southeast of town on the Sentiero di Sissi; you can walk in about 45 minutes from the center of Merano on Sissi's Path, or take Bus No. 4 or 1B from the Merano train station.

The hilltop castle (construction began in 1517) has panoramic views extending to Monte Nero (7,360 feet) in neighboring Slovenia, but head inside to see Udine's civic museums of art and archaeology, with myriad collections that can detain you for hours. On the ground floor are the Museo del Risorgimento (tracing the history of Italian unification) and Museo Archeologico; the third floor is the Museo della Fotografia, with fascinating 19th- and 20th-century images of the Friuli. Particularly worthwhile is the national and regional art collection in the Galleria d'Arte Antica, which has canvases by Venetians Vittore Carpaccio (circa 1460–1525) and Gianbattista Tiepolo, the recently restored (2020) Il San Francesco Riceve le Stimmate (St. Francis Receiving the Stigmata) by Caravaggio, and carefully selected works by lesser known but still interesting Veneto and Friuli artists. The museum's small collection of drawings includes several by Tiepolo; some find his drawings even more moving than his paintings.

The position and size of this stronghold of the prince-bishops made it easier to defend than the Palazzo Pretorio. Look for the evolution of architectural styles: the medieval fortifications of the Castelvecchio section (on the far left) were built in the 13th century; the fancier Renaissance Magno Palazzo section (on the far right) wasn't completed until 300 years later. The 13th-century Torre dell'Aquila (Eagle's Tower) is home to the castle's artistic highlight, a 15th-century ciclo dei mesi (cycle of the months). The four-wall fresco is full of charming and detailed scenes of medieval life in both court and countryside.

The best-preserved medieval fortress in Valle d'Aosta, this many-turreted castle was built in the mid-14th century. The 15th-century courtyard surrounded by wooden balconies is elegantly decorated with well-preserved frescoes. Inside you can see the kitchen, with an enormous fireplace that provided central heat in winter; the armory; and the spacious, well-lighted rooms used by the lord and lady of the manor.

This family-run, 160-acre wine estate produces wine from seven vineyards in the Langhe region. Barbaresco is their star wine, and they also make fine barbera and dolcetto. Visitor tours, by appointment only, include a look inside their 18th-century castle, including the wine cellars, as well as a tasting of three wines.

The Baroque castle of Rivoli now houses a fascinating museum of contemporary art. The building was begun in the 17th century and then redesigned, but never finished, by architect Filippo Juvarra in the 18th century; it was finally converted into a museum in the late 20th century by the minimalist Turin architect Andrea Bruno.

The former seat of Este power, this massive castle dominates the center of town, a suitable symbol for the ruling family: cold and menacing on the outside, lavishly decorated within. The public rooms are grand, but deep in the bowels of the castle are dungeons where enemies of the state were held in wretched conditions. The prisons of Don Giulio, Ugo, and Parisina have some fascinating features, like 15th-century graffiti. Lovers Ugo and Parisina (stepmother and stepson) were beheaded in 1425 because Ugo's father, Niccolò III, didn't like the fact that his son was cavorting with his stepmother.

The castle was established as a fortress in 1385, but work on its luxurious ducal quarters continued into the 16th century. Representative of Este grandeur are the Sala dei Giochi, painted with athletic scenes, and the Sala dell'Aurora, decorated to show the times of the day. The terraces of the castle and the hanging garden have fine views of the town and countryside. You can traverse the castle's drawbridge and wander through many of its arcaded passages whenever the castle gates are open.

In all of Sicily there may be no spot more scenic than atop Castello Normanno, reached by a set of steep staircases rising out of the town center. From here you can gaze upon two coastlines, smoking Mount Etna, and the town spilling down the mountainside. The area was fortified by the Byzantines in the 9th century and was later rebuilt by the Normans, but all that stands today are the remains of the 16th-century castle walls. Come during daylight hours to take full advantage of the vista.