Art & Culture in Italy

Vittore Crivelli (c. 1440 – 1501 or 1502) was an Italian painter active during the Early Renaissance. Born in Venice, he came from a family of artists—his father Giacomo and his brother Carlo Crivelli were also painters. He initially worked alongside his brother but later pursued an independent career. The two were among the most refined interpreters of 15th-century painting, deeply influencing the art of the Marche region. They were active along the waterways that, for a long time, connected the Gulf of Venice, Dalmatia, and the Marche through a vibrant artistic exchange. A few years younger than his brother Carlo, Vittore likely followed him to Zadar after Carlo was forced to leave Venice due to legal troubles. Vittore, however, remained in the Dalmatian city longer—at least until 1476. In Zadar, which maintained strong commercial and cultural ties with the Adriatic coast of the Marche, he produced a remarkable number of works. Today, these pieces are preserved in museums around the world (New York, Zagreb, Vienna, Moscow, and throughout Italy). They reflect the influence of the Paduan-Mantegna style, which, like his brother, he absorbed by studying the works of Squarcione’s pupils—filtered into the Venetian Lagoon through the flourishing workshop of the Vivarini family. In 1481, Vittore relocated to the Marche, settling in the town of Fermo, where he created numerous works. He established a successful workshop that produced altarpieces and polyptychs for a wide area spanning the provinces of Fermo and Macerata. His commissions came from both major religious orders and important patrons, as well as from parish churches and small religious communities. In the Marche region, Crivelli’s painting took on a more sumptuous, decorative character, often infused with a nostalgic echo of the styles of Vivarini and Giovanni d'Alemagna. His works are marked by lavish use of gold and painstaking attention to detail—hallmarks of the International Gothic style. His figures closely resemble those of his older brother Carlo, though they are generally less dynamic and expressive. One recurring theme in Vittore’s work—absent from Carlo’s—is the depiction of the Virgin Mary adoring the Christ Child, a popular 15th-century motif inspired by the visions of Saint Bridget. Among the many works preserved in the Fermo area, two particularly captivating and expressive examples are the polyptychs of Sant’Elpidio a Mare and Torre di Palme.

The Marche region, in addition to being famous for its breathtaking landscapes and traditional cuisine, has become a truly open-air space for urban art, with its murals that decorate streets, squares and facades of ancient houses. That’s an experience that enchants and tells stories using colors and creativity. Each mural in the Marche has its own story to tell and is a mix of history, nature and culture. The murals are not simply colorful graffiti, but real visual messages that witness culture, traditions and social challenges of a community. From small villages to lively centers, murals become a means to rediscover ancient legends, celebrate the figure of a local character or reflect on modern age. Walking through the streets of towns and villages, you come across unexpected corners where murals embellish urban landscape. What makes the murals of the Marche unique is not only the artistic quality, but also the message of inclusiveness that can convey. Many of the murals were created in collaboration with local communities, giving voice to young artists and citizens who actively participate in changing the places where they live. This process helps create a sense of belonging and identity, where every corner becomes a collective canvas. Inclusivity is actually one of the the mural’s content: from civil rights to the fight for the environment, from social challenges to gender equality. The murals of the Marche thus become a form of expression for those who can’t find space in traditional art, but can show their talent in urban art. Murals in the Marche are growing both in number and popularity; many towns are now organizing festivals dedicated to urban art and attract artists from all over the world. The Marche region has become one of Italy’s most remarkable capitals of urban art. The colorful itinerary among architecture, sea, piers and walls can be done in two days: the first day includes the murals in Ancona and Cacciano, a small hamlet of Fabriano; the second day you can admire the murals along the coast, with a first stop in Civitanova Marche and then in San Benedetto del Tronto.

The “Salone Internazionale del Libro di Torino” (International Book Fair in Torino) is the most important italian fair in the publishing world. It is a cultural festival that takes place for three days in Torino, at Lingotto Fiere, to celebrate reading, books and ideas. During the 2025 edition, that will be held from 15 to 19 may, more than 1000 publishers will have the opportunity to meet, show and sell their new publications. The Exhibition will be the meeting point of the whole industry of book: librarians, booksellers, authors, translators, journalists and influencers. It will be a journey with books, authors and stories. There will be many off events in the town and its surroundings to celebrate culture, creativity and experimentation.

uscany is an open-air museum. The whole territory is dotted with archaeological sites that tell the story of the Etruscan people. Places collected and protected by archaeological areas and parks that have made this precious and immense heritage usable. From the coast to the hinterland, from north to south, below are the main Etruscan archaeological areas and parks in Tuscany.

The new exhibition 1932-1942 Murano Glass and the Venice Biennale, curated by Marino Barovier, will run at LE STANZE DEL VETRO until 23 November 2025. The second chapter dedicated by LE STANZE DEL VETRO to the history of Murano glass at the Venice Biennale examines the time period from 1932 to 1942 – that is, from the 18th to the 23rd Biennale, a time span corresponding respectively to the inauguration of the Venice Pavilion (1932) and to the last edition of the Biennale before the interruption caused by the Second World War. Since 1932, Murano glass was featured at the Biennale in a dedicated space, the Venice Pavilion, built specifically for the decorative arts on the initiative of the ‘Istituto Veneto per il Lavoro’. The value and quality of the so-called minor arts were thus officially recognized, and a selection of them was chosen to be presented to the general public at the Venice Art Biennale. Thanks to the recurrent staging of this prestigious event, such exhibits had a profound effect on Murano, which over the course of successive editions took the opportunity to present its best glass works, making the most of the impetus provided by the Biennale. The Venice Biennale not only served as an outstanding showcase, but through its artistic vibrancy and international reach it provided fruitful exposure to glassworks and the world of artistic glass in all its complexity. Among the furnaces, Venini stood out thanks to the collaboration with Carlo Scarpa, while Barovier Seguso Ferro, later Seguso Vetri d’Arte, availed itself of the partnership with Flavio Poli; the painter Dino Martens first collaborated with Salviati and Successori Rioda, and then with Aureliano Toso. Other glassworks that,in those years, exploited the potential of the glass medium are AVEM, the historic furnace Barovier, Cirillo Maschio, Ulderico Moretti, S.A.I.A.R. Ferro Toso, Fratelli Toso, VAMSA and S.A.L.I.R. 1932-1942 Murano Glass and the Venice Biennale, accompanied by a catalogue edited by Marino Barovier and Carla Sonego, aims to show the works that were on display in those editions and to illustrate them through period documents.

From April 4 to July 13, 2025, Scuderie del Quirinale will host “Global Baroque. The World in Rome in Bernini's Century,” organised with Galleria Borghese in Rome in collaboration with prestigious national and international institutions and museums. The exhibition recounts a cosmopolitan Rome, at the heart of a complex network of travel and relationships that cross national and cultural boundaries. It will be possible to admire masterpieces by Baroque masters such as Gian Lorenzo Bernini, Pietro da Cortona, and Nicolas Poussin, revealing a multiethnic and multicultural world, capable of fostering dialogue, at the court of the Popes, between Japan and Persia and between Congo and the New World.

A few kilometres from the Queen of the Dolomites San Vito di Cadore stands at an altitude of about 1,000 metres in the province of Belluno, surrounded by two UNESCO World Heritage giants: Monte Antelao, behind, and Monte Pelmo, in front. It is the perfect mountain village, both in winter, with its Ski Area slopes and the NeveSole Park, and in summer, with high-altitude trekking, mountaineering and mountain biking itineraries. Bathed by the splendid Mosigo Lake, a stunning artificial basin, San Vito di Cadore is an outstanding destination not only for its scenic beauty, but also its historical and artistic heritage. As you stroll through the streets of the centre, you will come across two churches next to each other. The first is the Archdeaconry dedicated to Saints Vito Modesto and Crescenza, vaguely Tyrolean but actually ancient, founded in the early 13th century, and rich in frescoes and wooden statues. The second is the late-Gothic-style Church of the Madonna della Difesa. Finally, don’t miss the Ethnographic Museum, which explains the culture and traditions of San Vito, featuring everyday objects, scale reproductions of bridges and mills, and historical photographs.

A small medieval village in the province of Viterbo Dating back to Etruscan times, as evidenced by tombs from the 8th century BC, the medieval village of Roccalvecce experienced its heyday between the 13th and 14th centuries, passing under the control of several powerful families in the area. Examples of this flourishing period include the Costaguti Castle, overlooking Piazza Umberto I: besides being one of the historic residences of the Lazio region, it is the most important monument in the village. Divided over three floors, the residence contains numerous rooms decorated with frescoes, stuccoes and many works of art dating back to the 17th and 19th centuries. At the foot of Roccalvecce, the 17th century garden of the Vignaccia is part of the castle complex and allows for short walks surrounded by flowers and plants, some of which are particularly rare. Wandering around the narrow streets of the village is a must-see experience. In fact, it is not difficult to find several vantage points overlooking the surrounding countryside of the province of Viterbo.

A hilltop village in the heart of the Castelli Romani, among history and nature On the outskirts of Rome, in the heart of the Castelli Romani Regional Park, the village of Rocca di Papa rises up over the surrounding area at a height of 680 metres above sea level, amid houses clinging to the rock, ancient churches and the impressive Cathedral. At the top of the town, you can admire the remains of the papal fortress, the first evidence of which dates back to 1181. Strolling through the town’s steep alleyways, be sure to visit the Church of Santa Maria Assunta, built in 1664, and the Sanctuary of the Madonna del Tufo. The area around Rocca di Papa also includes over 1,400 hectares of forest, which over the years have become an ideal place for hikers, mountain bikers and horse riders. This is due not only to the lush nature, but also to the archaeological sites of great importance dotted around the forest, including the ancient Roman Republic-era Via Sacra and the necropolis, with Bronze Age cave tombs. For an outdoor picnic or horse ride, you can head to the Pratoni del Vivaro, an endless green expanse just minutes from the centre of Rocca di Papa.

A profound harmony has always reigned between the village of Loano and the sea, linked by an endless interweaving that has accompanied the village since the dawn of time. In fact, its maritime tradition is strong, linking the growth of the town to the activities of shipyards, fishermen and sailors. Sea as history, therefore, but also as a natural resource of great importance, to be enhanced and protected. Loano safeguards its maritime environment thanks to an artificial reef, an important work at European level, which contributes to the development of ecological conditions that favour the repopulation of marine flora and fauna. Loano with its Marina, with its beaches, with its enchanting sunsets over the sea and with its shops offering typical products and local handicrafts. And a place of transit that is also a place of identity, is the port, which symbolically represents sea voyages, the life of fishermen, exchanges and intertwining. Everything on the sea, everything thanks to the sea.

Piedmont at a slow pace An infinite mosaic of landscapes, villages, traditions and flavours. To be discovered slowly, stage by stage along the Strada Romantica delle Langhe e del Roero, an exciting route that will allow you to explore one of Piedmont's most beautiful territories. Whether you are looking for the perfect solo trip or are with family or friends, this itinerary will surprise you. We set off from Vezza d'Alba, having recharged our batteries with traditional flavours and a glass of the finest wines. Magliano Alfieri, Neive, Treiso, Trezzo Tinella, Benevello, Sinio, Cissone, Murazzano, Mombarcaro, up to Camerana, the final stage of an approximately 130-kilometre journey. No need to rush and don't overlook the viewpoints dotted along the route. On top of a hill or on the summit of an ancient tower, surrounded by nature or among the alleys of a village with a medieval flavour: give yourself a break to get in touch with the spirit of this beautiful area.

Numana: between the blue sea and the Rosso Conero Numana is a colourful fishing village on the Conero Riviera with large, easily accessible beaches. This village is in the Marche region and in its lively historic centre there is a fascinating Antiquarium museum, which documents the very ancient origins of the Picentes settlements on this coast. Excursions by boat or canoe can be organised from the little port of Numana, while the green hills invite you to discover the hinterland along the Rosso Conero wine route with its thousand scents. What to see in Numana A stroll through Numana invites you to discover a pleasant historic centre that runs along the Costarella, a gentle flight of steps that connects the village on the slope to the beaches and the sea. At the top of the promontory, above the harbour, you will see the Arco di Torre, what remains of the bell tower of a church or watch tower destroyed in an earthquake in 1930, next to which is a bronze monument dedicated to fishermen. The belvedere is where you will want to go on summer days to enjoy the breeze that is always blowing there and the view of the coast. Not to be missed is a visit to the Antiquarium, a small museum documenting a major archaeological discovery: the trousseau of the Tomb of the Queen of Sirolo (6th century B.C.) found in Sirolo in the I Pini archaeological area. In the Sanctuary of the Crucifix, you can admire a cedar wood crucifix, a Byzantine work from the 13th century. Also of interest is the Town Hall, housed in a building dating from 1773, which was the summer residence of the bishops of Ancona. For beaches, you can choose between the two bays close to the cliff (the Spiaggiola and the Spiaggia dei Frati), or the large beach south of the harbour that extends to the hamlet of Marcelli, with bathing facilities and toilets for families. Numana’s turtle cove For several years, the municipality of Numana has been collaborating with the Riccione Cetacea Foundation to ensure the rescue, care and rehabilitation of sea turtles. A “turtle cove” has been created in Numana: once the turtles have recovered from injuries or accidents, they are placed in a fenced-off area in the sea near the harbour. Here they continue to be observed and monitored by marine biologists and volunteers to assess if and when they are finally fit to return to the sea. The moment of releasing them into the wild is always filled with emotion. The Rosso Conero wine route Numana is surrounded by vineyards which make good starting points for exploring the Rosso Conero wine route. This winds its way from Ancona to Osimo, between the towns of Numana, Sirolo, Camerano, Offagna and Castelfidardo, between the cliffs and the countryside. Here, some twenty wineries produce Rosso Conero DOC and Rosso Conero Riserva DOCG, wines made from Montepulciano and Sangiovese grapes that are influenced by the presence of the sea, the limestone soil of the promontory and the micro-climate of the coast. Full-bodied and fragrant, Rosso Conero wine is ideally paired with meat dishes. Find out more: www.turismonumana.it/en

The Arab-Norman church with the red domes In the historic center of Palermo, just below the walls of the Royal Palace, stands San Giovanni degli Eremiti, a monumental complex founded by Roger II in 1132 that includes the Church, the "Arab Hall" and the Cloister. Its name comes from the ancient monastery of St. Ermete, which stood, in the time of Gregory the Great in the very same place. The church was designed according to Arab-Norman canons. The outside has a bare curtain wall but recalls eastern elements, cubic structures topped by hemispherical domes in a square-circle pattern representing earth and sky, a common theme in Islamic and Byzantine culture. In contrast to the outside, the church interior is sober with a standard structure and in a "commissa" cross layout. From inside the church, a small passageway leads to the "Arab Hall," probably dating back to a pre-existing Islamic mosque. Attached to the Church is the square-shaped Cloister, with double columns and adorned by a garden that retains a quiet sacredness.

In the heart of baroque Palermo Piazza Villena, called Piazza dei Quattro Canti by the people of Palermo, was created in 1600 Palermo at the intersection of the opening of the new Via Maqueda with the pre-existing Via Vittorio Emanuele (the Cassaro). The creation of this intersection led to the division of the city into four parts, known as “Mandamenti”. The decoration of the "cantos" of each of the monumental buildings on the square, was completed in 1621 and develops in four overlapping façade orders, in a pattern that tells the story of the transition from earth to heaven from bottom to top. At the street level there are fountains representing the four rivers that flowed through the city long ago. The allegories of the four seasons are on the upper level topped by statues of four Spanish rulers, while the statues of the four patron saints of each mandament Agata, Ninfa, Oliva, and Cristina, before the advent of Santa Rosalia and Benedetto da San Fratello, are on the top level. The Square of the Four Songs is also known as the Theater of the Sun because at least one of the sides is bathed in sunlight throughout the whole day. Another name for the square is Theatre of the City because in past centuries it hosted important events, from festivals to executions. With its location and architectural features, it is an ideal starting point for learning about the history of the city and its oldest neighborhoods.

The must-see spot for all lovers The house of Juliet, protagonist of William Shakespeare's tragedy, is one of the must-see spots when visiting the city of Verona. To get there you go through a passageway whose walls are totally covered with love notes, signatures and lovers’ comments. As you come out of this short tunnel, you find yourself in the courtyard of the house, overlooked by the famous balcony where Romeo and Juliet met on that fateful moonlit night. There is also a statue of Juliet in the courtyard. It is a copy of the original work by Nereo Costantini, built in 1969 and kept inside the house. According to tradition, touching the statue's right breast brings good luck. Juliet's House dates back to the 13th century and was owned by the Cappello family, whose coat of arms is carved on the inner arch of the courtyard. Legend has it that this was the house of the Capulets. The medieval-style house was in fact restored by Antonio Avena in the mid-1930s and is now a museum.

Viterbo, a place for popes and spa centres Viterbo is a beautiful place of art that offers a journey back in time through the halls of the elegant Papal Palace, through intact medieval alleys, monumental fountains, and Renaissance patrician palaces. An ancient land that preserves fascinating Etruscan vestiges, such as the Cava di Sant'Antonio and the necropolis of Castel d'Asso, rich in thermal springs immersed in nature where you can enjoy hot baths in an enchanting landscape. 10 things to see in Viterbo Every visit to Viterbo begins at the papal palace, with its beautiful columned loggia with pointed arches, built from 1257 onwards to provide the pontiff with a safer seat than Rome, scene of bitter disputes back in the day: here is what has gone down in history as the Sala del Conclave (from the Latin cum clave, under lock and key) where the cardinals, divided over the name of the new pontiff, were segregated until an agreement was reached. It took 33 months for Gregory X to be elected and since then the term conclave has been used to refer to the meeting of cardinals called to elect a new pope. The Papal Palace is located in the elegant Piazza San Lorenzo, which is overlooked by the 12th-century cathedral, which should be seen together with the Museo Colle del Duomo. The visit to Viterbo goes on through the alleys of the evocative San Pellegrino district, a walk in the Middle Age, among the characteristic 'bridge' houses connected at first or second floor level, between which there are evocative covered passageways, most being accessed by stairways, locally called “profferli”: the most beautiful one is the Alessandri house, with its internal staircase flanked by a parapet. The neighbourhood is also home to the Museum of the Sodalizio dei Facchini di Santa Rosa, the porters in the city's most heartfelt and deep-rooted festival, who on the 3 September carry in procession the very heavy (5100 kg!) Macchina di Santa Rosa, a sort of 30-metre high tower: the museum allows visitors to enter into the spirit of a popular festival that has been recognised by Unesco as an intangible World Heritage Site. The Museo della Ceramica della Tuscia is lovely, housed on the ground floor of Palazzo Brugiotti, a splendid 16th-century residence, with frescoes and beautiful fountains in the atrium and garden. After all, Viterbo is a city of water: the Fontana Grande, in the so-called square, is just one of the many monumental fountains that spring from every square in the historic centre. Just a few more steps and you end up in the square of the Palazzo dei Priori, which once was the symbol of the city's power, with large frescoed rooms, such as the Palatine Chapel painted by Filippo Cavarozzi and Marzio Ganassini. The city's most ancient origins can be explored at the National Etruscan Museum at Rocca Albornoz, dedicated to Etruscan archaeology, following with a visit to the spectacular necropolis of Castel d'Asso, with its tombs carved into the rock in the hot springs area. Among the Etruscan vestiges is the Cava di Sant'Antonioalong the Signorino road: this is a very narrow path carved into the tufa that joins the Signorino district to the Faul gate, one of the many hollow streets that the Etruscans built for defensive or sacred purposes, which remains a mystery. In Viterbo, surrounded by thermal springs and pools in the countryside If you love soaking in warm thermal waters, no matter the season, Viterbo is definitely for you. Around the city there are several springs where you can take warm baths in natural places, and free of charge! Pilgrims on the Via Francigena encounter on their route the Bagnaccio thermal baths, a pleasant park run by an association that allows free admission for those who only use the pools, while a modest contribution is required to access the services. On the Terme road, 2.5 km from the town, there are the Carletti pools pretty pools in the green with vast lawns next to them where you can lie down and sunbathe. On the road to the Bullicame you will find the so called thermal spring, mentioned by Dante in Inferno, which gushes from a small natural crater (you cannot get close, but you can see it through a transparent parapet) to feed large pools in an idyllic landscape. Of course, there is no shortage of spa centres in Viterbo with all kinds of services and treatments: the Terme dei Papi offers a' huge pool, a natural grotto and a path with hot and cold pools, ideal for reactivating circulation. On the table acquacotta and pignataccia Viterbo offers a peasant cuisine that draws on the products of its generous land: here in winter, you can try a hearty chestnut and chickpea soup or the lighter acquacotta a minestrone with a few vegetables enriched with an egg and bread croutons. On the occasion of the feast of Santa Rosa, however, you cannot miss the pignattaccia a dish made of tripe and other poor cuts of meat with potatoes, flavoured with herbs and slowly baked.

The Aqueduct Park on the Appian Way the place that holds the imposing arches of the water pipes built by the ancient Romans that have made the Roman landscape unique. Six of the 11 aqueducts that supplied Rome flowed into this area between the neighbourhoods of Cinecittà and Quarto Miglio, which today can be visited on foot or by bicycle on one of the city's most spectacular green slopes, dominated by the crowns of maritime pines. 6 Roman aqueducts and one Renaissance aqueduct Grand Tour travellers, Romantic painters, archaeologists, lovers of Roman ruins and civil engineering: they all appreciated and loved this strip of Roman countryside to the south-east of the city, which preserves the remains of six Roman aqueducts, as well as one Renaissance aqueduct, with their imposing geometric arches interrupted by the roundness of the canopies of maritime pines. The Aqueduct Park was included in the Appian Way Park in 1988 to protect a landscape of great historical and architectural value. We owe it to the initiative of a civic committee if today we can walk among such beauty, in an area rescued from degradation and for the purpose of constructing speculation. Anio Vetus, the oldest From 312 BC and for several centuries, Rome's springs were supplied with clean and safe water through the construction of imposing pipelines that brought into the city water drawn from the Latium mountains. The water of the Tiber was not adequate to respond to the needs of an increasingly populated city: hence the need to supply further afield, met thanks to these impressive hydraulic engineering works that characterised the history of the Roman Empire. The remains of the aqueducts that flow into the area are those of Anio Vetus (underground, it is the oldest and has a length of 64 km), Aqua Marcia, Tepula, Julia, Claudio and Anio Novus, which partly overlap, and Felice, built by Pope Sixtus V between 1585 and 1590 to supply some Roman neighbourhoods that had run dry due to the decay of the older aqueducts during the Middle Ages; the latter is still used to irrigate the countryside. The water of the aqueducts mostly flowed underground, but when it had to cross a valley, the pipes had to be supported by masonry arches. Picnics, drinking fountains and bicycles The vast 240-hectare area of the Aqueducts Park is closed to traffic and criss-crossed by various paths that can be walked or cycled every day. In the area there are picnic areas (but barbecuing is prohibited), drinking fountains, a bicycle rental service (open on Sundays), as well as a few bars and restaurants. The park can also be reached from the centre of Rome by metro, from Porta Furba stop, where there is an information point, and at the following stops, up to Cinecittà. In Rome, do as the Romans do, who go there at sunset, when the grazing light illuminates the arches with a magical glow.

Fossanova Abbey, a jewel of Cistercian architecture In the Agro Pontino stands one of the most important religious monuments of the Middle Ages, Fossanova Abbey, the first Cistercian monastic complex built in Italy. It is also the place where Thomas Aquinas died. Despite its troubled history, marked by periods of deterioration, looting and misuse, the abbey has reached the modern day relatively intact. Today, its church, thanks to its wonderful acoustics, hosts music concerts for the Pontine Festival. Simplicity and strictness Consecrated in 1208, Fossanova Abbey is the oldest example of a Cistercian monastic complex built in Italy. It is in the open countryside, south of Priverno (LT), on terraces sloping towards the Amaseno river. Monks from Clairvaux, France, probably suggested the canons to be followed in its construction, with the abbot strictly adhering to the Monastic Rule, which, following the indications of Bernard of Clairvaux, imposed an austere style, without frills or even artwork that might distract the monks from their duties. Fossanova is one of the clearest examples of the simplicity and purity of form required by Cistercian religion, also displayed in the nearby Casamari Abbey in Verole (Frosinone). Today, we can appreciate the plain lines of the church façade, made of travertine, with its beautiful entrance overlooked by a large rose window, simple and majestic just like the interior, with elegant cross vaults supported by pillars decorated by suspended half-pedestals. The church houses the empty tomb of Thomas Aquinas, who died there in 1274: his body was moved to Toulouse at the end of the 14th century, when the abbey had fallen into disgrace. Its centrepiece is the beautiful cloister, with small arches supported by smooth double columns: among the four sides, three are Romanesque, while the fourth, built later, is Gothic. The cloister is surrounded by the refectory, the dormitory, the chapter house, a pilgrim guesthouse, the infirmary and a small cemetery. The decline of a hard-working community For at least two centuries, Fossanova was a hard-working community and place of learning. By the 15th century, it began to decline when it was entrusted to commendatory abbots, who cared little about its management. Napoleon's troops looted it, then closed it down, appropriating most of its property, including the historical archive. Later, the structure was even used as a buffalo enclosure until, when it was sold to a Borghese prince, it witnessed the succession of various religious orders. Today, it is run by the Religious Family of the Incarnate Word. The tumultuous history of the abbey is documented in the museum located in the guest quarters – a large building that mirrors the design of the church, illustrating the construction phases of the complex and the daily life of the monks. A second section of the museum is located in the municipality of Priverno, at Palazzo Valeriani-Guarini.

Villa Beatrice, intitolata alla Beata Beatrice II d’Este (1226 circa-1262), è un edificio che si erge su un sito, un tempo occupato da un piccolo cenobio abitato da eremiti. La Beata discendeva dalla nobile casata degli Estensi, signori di Este e di parte del territorio padovano prima di trasferirsi a Ferrara. Beatrice entrò in convento al piccolo monastero di Santa Margherita di Salarola tra Monte Cero e Monte Castello e, dopo un anno e mezzo, si spostò a Gemola dove visse insieme alle sue compagne fino alla morte. La sua fama di santità si diffuse rapidamente nella regione e il monastero ricevette numerose offerte e lasciti. Nel 1576 le religiose vennero trasferite a Padova e le spoglie di Beatrice traslate nella Chiesa di Santa Sofia. Intorno al 1657, il convento venne acquistato da un mercante veneziano che lo trasformò in villa. Successivamente, l’area cimiteriale fu modificata a causa della costruzione della barchessa (edificio rurale di servizio, tipico dell’architettura della villa veneta). Negli anni Settanta e Ottanta, il monumento venne restaurato grazie alle ricerche condotte da Enti Pubblici, che hanno permesso di intravedere, all’interno della villa, alcuni elementi riconducibili all’antico monastero. Oggi alcuni locali del pianterreno sono adibiti a Museo naturalistico che presta particolare attenzione alla flora e alla fauna del territorio dei Colli e della pianura circostante.

Collocata su un rilievo alto trecentosessantacinque metri s.l.m., la fortezza medioevale, commissionata nel XIV secolo dagli Acquaviva d’Atri, è interamente aperta al pubblico ed ospita il Museo Multimediale "La Fortezza nel Tempo". Il centro storico,invece, ospita, in una casa tipica, il Museo della Pajarolail Museo della Pagliarola, dove sono esposti cesti, utensili da cucina, bambole realizzati con intrecci di paglia, vimine e altri materiali naturali, tipici dell’artigianato locale.

Villages, villas, palaces, churches, castles, museums and libraries open their doors to reveal themselves like never before. March marks the return of the FAI Spring Days, the most famous and important annual event dedicated to Italy's cultural heritage and landscape when the FAI, Fondo Ambiente Italiano, will open more than 750 usually inaccessible or little-known natural and artistic treasures in over 400 locations for visits. Use this incredible opportunity to organise your out-of-town trips to new destinations. Ancient and fascinating palaces await you in Matera, in Calabria you enter magnificent temples of spirituality, in Apulia stroll through a historic garden: FAI guides are ready to unveil unique stories and hidden details linked to each site. Here is where to go for the FAI Spring Days, the perfect opportunity to discover the hidden beauties of the most beautiful country in the world.

Situato all’interno del Palazzo Vitelleschi, costruito tra il 1436 ed il 1439 sotto il pontificato di Eugenio IV e per volere del cardinale Giovanni Vitelleschi e utilizzato, tra le altre cose, come residenza principesca dei pontefici, il Museo Archeologico Nazionale di Tarquinia è stato inaugurato nel 1924 dopo l’acquisto, nel 1900, da parte del Comune di Tarquinia che, nel 1916, lo ha ceduto a titolo di uso perpetuo allo Stato. Nella sua storia, il museo è stato arricchito con materiali provenienti dagli scavi condotti nell’area dell’antica città etrusca e delle sue vaste necropoli. Dal 1980, inoltre, è in corso una ristrutturazione di molti ambienti del museo e una revisione dei vecchi allestimenti. Al piano terra è possibile ammirare le sculture funerarie in pietra, tra cui i preziosi sarcofagi dell’età ellenistica. Al primo piano sono esposte suppellettili da ricche necropoli cittadine, oltre al celebre altorilievo fittile con coppia di cavalli alati dal frontone del grande tempio dell’Ara della Regina. Al secondo piano, invece, sono state ricollocate le pitture di alcune tombe dipinte, asportate negli anni ’50 per motivi di conservazione e rimontate su telai che permettono la suggestiva ricostruzione della camera funeraria. Infine, il Museo Archeologico Nazionale di Tarquinia adesso appartiene al Parco Archeologico di Cerveteri e Tarquinia, un Istituto dall’importanza nazionale dotato di autonomia speciale.

Costruita da papa Giulio III tra il 1550 e il 1555, Villa Giulia rappresenta un’incantevole struttura in stile rinascimentale, nata come residenza suburbana, così come molti altri edifici cinquecenteschi di Roma e dintorni. Sin dalla fase progettuale e poi in quella dell’effa costruzione, vide coinvolti i più illustri artisti del periodo: Giorgio Vasari, Jacopo Barozzi da Vignola e Bartolomeo Ammannati. Dal 1889 accoglie il Museo di Villa Giulia che, istituito come Museo delle Antichità preromane, falische nello specifico, è diventato nel tipo e ancora oggi, il maggior raprresentante del Museo Etrusco, che raccoglie numerosi reperti prelevati nel territorio tra il tevere e il mar Tirreno nell’alto lazio, ovvero quello che un tempo era l’Etruria Meridionale. Nel museo sono esposte alcune delle più importanti testimonianze artistiche etrusche insieme a creazioni e manufatti dell’antica Grecia di altissimo livello, che arrivarono in Etruria per importazione e risalenti ai secoli VIII e IV a.C. L’itinerario museale segue un criterio topografico: accanto ai grandi centri etruschi quali Vulci, Cerveteri, Veio, sono raccontati anche località minori dell’Italia preromana (Agro falisco, Latium vetus, Umbria). La collezione vanta anche grandi raccolte antiquarie composte dal nucleo del seicentesco museo Kircheriano, dai materiali delle Collezioni Barberini, Bermann e Gorga e soprattutto dalla ricchissima raccolta Castellani, formata da ceramiche, bronzi con opere degli stessi Castellani, tra gli orafi più conosciuti e illustri a Roma nella seconda meta del XIX secolo. Infine, custodisce alculi elementi famosi anche a livello internazionale, come il Sarcofago degli Sposi da Cerveteri (VI a.C.), la statua di Apollo in terracotta da Veio (VI sec. a.C.), l’altorilievo e le lamine d’oro in lingua etrusca e fenicia da Pyrgi (V sec. a.C.), l’Apollo dello Scasato da Falerii (IV sec. a.C.), il Centauro in nenfro da Vulci (sec. VI a.C.), i complessi orientalizzanti da Palestrina (sec. VII a.C.).

Le Gallerie Nazionali di Arte Antica sono una struttura composta da un museo e due gallerie, ovvero Palazzo Barberini e la Galleria Corsini, che custodiscono più di 5000 opere d’arte, tra dipinti, sculture, bozzetti e arti decorative, databili dal Duecento al Settecento. La collezione delle Gallerie è sorta nel 1883, grazie alla donazione della raccolta Corsini, collocata all’epoca nell’omonimo palazzo, che in seguito si è arricchita di opere provenienti da famose raccolte romane. Di fatto, nel 1949 lo Stato italiano ha acquistato Palazzo Barberini, aprendovi nel 1953 la nuova sede delle Gallerie. La Galleria Corsini contiene unicamente opere della collezione Corsini ed è l’unica raccolta settecentesca rimasta a Roma nella sua configurazione originaria, il palazzo acquisito dalla famiglia nel 1736 durante il pontificato di Clemente XII Corsini. La recente ristrutturazione del museo ha riposizionato le opere in base all’inventario delle sale del 1771, in modo tale da consentire ai visitatori di entrare nei saloni di un cardinale del Settecento, compresa la celebre Alcova di Cristina di Svezia, e di ammirare capolavori come il San Giovanni Battista di Caravaggio, il Prometeo di Salvator Rosa, il San Sebastiano di Rubens o il misterioso Trono Corsini.

Valcamonica holds one of the largest collections of petroglyphs in the world and was the first of the Italian sites on the UNESCO World Heritage List thanks to fits timeless enchantment. The “Valley of Signs” is an unprecedented plunge into the past, and beyond. An excursion that means culture but also nature. If you head towards the North on the left side of the valley, you will come to Adamello Park. Acknowledged as a UNESCO Global Geopark, its rare geological and morphological heritage is of great scientific interest. It is home to no fewer than 1,300 different species of plants and flowers of rare beauty, numerous wild animals, both small and large, glaciers, coniferous forests and many Alpine lakes. Lastly, ski enthusiasts should put Valcamonica on their to-do list of places to visit in winter. Stopping at Ponte di Legno, you can take advantage of the fantastic slopes of the Ponte di Legno-Tonale ski area.

Discovering Mantua: 48 hours to experience the magnificent city of the Gonzaga family, a Unesco heritage site with an unmistakable skyline.

Between history and nature, in the heart of Canavese Ivrea lies along the Dorea Baltea and is considered the centre of Canavese. The village is located 50 kilometres from Turin, along the road leading to Valle D'Aosta, on the ancient Via Francigena. In the old town, where the traditional “Battle of the Oranges” is held every year at Carnival, the Cathedral of Santa Maria Assunta, built on the remains of a Roman temple, is worth a visit. A few steps away is the Bishop's Palace and the medieval tower known as the “Torrione del Vescovo”. Not to be missed is Ivrea Castle, a fortress built by Amedeo VI of Savoy in the 15th century, now an exhibition venue. Inextricably linked with the history of Olivetti, the city hosts the Laboratorio-Museo Tecnologic@mente where many specimens of calculators, typewriters and personal computers are on display. A ten-minute drive away is the forested area of the Five Lakes. The best known is the swimmable Lake Sirio. A network of paths connects it to the other lakes: Lake Nero, Lake Cascinette, Lake San Michele and Lake Pistono. Where Lake Coniglio once stood arethe so-called Terre Ballerine-Dancing Lands, so called because as you walk through them, the pressure of the footsteps makes the shrubs that grow there tremble. Lastly, we recommend the 16th-century Masino Castle, now a FAI property, surrounded by an immense park where the historic “Three Days for the Garden” horticultural exhibition-market is held twice a year.

But what are the most romantic destinations to answer "Yes" to that fateful question, or to spend wonderful days basking in love? From Verona to Lake Como, to Venice, Tuscany, Campania, Sicily and Sardinia: here are all the most beautiful destinations for an Italian style getaway for two.

The town of Arona is a splendid jewel on the Piedmont shore of Lake Maggiore, in the province of Novara From the lakeside you can enjoy poetic views of Lake Maggiore, and by boat you can reach the characteristic Borromean Islands. The old town centre is a riot of ancient palazzi, churches in a variety of styles and other places of interest such as the Archaeological and Mineralogical Museum in Piazza San Graziano. The heart of medieval Arona is Piazza del Popolo, where the Palazzo del Podestà and the baroque-style Church of Santa Marta (or Church of the Madonna di Loreto) dominate. Those who wish to combine spirituality and contact with nature can make a stop at the Sacro Monte of Arona, dedicated to St Charles Borromeo. A giant statue, the 'San Carlone', which can also be seen from the other side of the lake, is also dedicated to the archbishop of Milan. The municipality is home to the Lagoni di Mercurago Nature Park, a protected area established in 1980 and included among the 'Prehistoric Pile Dwellings around the Alps', declared a UNESCO World Heritage Site in 2011. Find out more: https://www.prolocoarona.it/

A small jewel in the heart of the Monferrato Casalese, in the province of Alessandria, Ozzano Monferrato is situated in a panoramic position, with a little-beaten historical centre, cosy with the houses perched on the hill and 'dominated' by the church and castle. The town lies between the plains and the hills of Monferrato cultivated with vineyards, which can be discovered with pleasant walks, either on foot or by bicycle. In the Lavello area, moreover, there is a rich heritage of industrial archaeology touched by a network of local and regional trails that recall a mining past also recounted by the small 'Cavatore' museum. In 2015, Ozzano was included among the nine municipalities in the Core Zone of the UNESCO site "Piedmont's winegrowing landscapes" as part of "Il Monferrato degli Infernot", "chambers" dug underground and used to store wine. Local gastronomic and craft traditions include biciulant d'ausan, an Easter sweet, and tatting embroidery.

The first authentic outdoor opera amphitheater Located in the historical center and an iconic symbol of the city, the Arena di Verona hosts a large number of events and shows every year. A famous tourist destination boasting a structure that is 31 meters high and holding 30,000 seats, the amphitheater is imposing, majestic and dominates the center of Piazza Bra, offering a truly unique open air entertainment experience, surrounded by the magical setting of the Arena with its beauty and history. From opera to ballet, symphony concerts, choral performances and more, the Arena di Verona confirms itself as one of the richest and liveliest artistic hallmarks ever. In addition to its architectural beauty, the location is known for the Opera Festival, an event that began in 1913 with the first performance of Verdi's Aida, and still today, with the historical event of opera music held during the summer months. It is possible to visit the historical monument of Verona, to learn about its history and admire its beauty.

The most important theater in Venice, reborn twice from its ashes The Teatro La Fenice is the most important theater in Venice and today, it is still one of the world’s top destinations for opera and classical music shows. The theater has hosted some of the greatest artists and musicians in history. It is located in the Sestiere of San Marco, in campo San Fantin, near Piazza San Marco. Built between 1790 and 1792, it was destroyed by a fire in 1836 and restored with an adaptation of the original design. In 1996, another fire destroyed it completely and it was reopened to the public on December 14, 2003. Since January 1, 2004, to celebrate the rebuilding of the theater, La Fenice hosts the New Year's Concert.

The Stories of the Paladins of France at the Puppet Theatre PROCLAIMED INTANGIBLE CULTURAL HERITAGE BY UNESCO IN 2001, the Opera dei Pupi is a typical Sicilian form of performance still carried out according to tradition at the Carlo Magno Enzo Mancuso Theatre in Palermo. Son of an ancient dynasty of puppeteers, Enzo Mancuso has passionately devoted himself to the creation of characteristic puppets, according to ancient techniques, also staging the memorable exploits of the Paladins of France, since the age of 13. The exploits are inspired by the Carolingian Cycle, spanning the historical period between the death of Pepin the Short and that of Emperor Charlemagne and includes 'The Story of Hector and his Descendants', 'The Royals of France from Constantine to Charlemagne', 'The Story of the Paladins of France' and 'Saint Guido and the Descendants of Charlemagne'. Christian knights, Saracen fighters, ladies and pages: each character has his or her own costume, including ornamental robes and armour, where the insignia identifying the roles is fixed. Legs, arms and face are still made by hand, in wood, held together by an iron core, the movements are entrusted to cords. Animated by the voice of the puppeteer, they are the joy of young and old alike.

It lies along the upper valley of the Cesano River on a wide terrace at the confluence with the Cinisco. Testifying to Pergola's glorious past are the famous Golden Bronzes from Cartoceto di Pergola from the Julio-Claudian period, discovered in 1946. The ensemble constitutes one of the very few large gilded bronze equestrian sculptural groups from Roman antiquity that have come down to us, and can be seen in the dedicated museum at the former convent of San Giacomo. The museum also houses an art gallery with paintings and wooden works and a contemporary art section with graphic works by master Walter Valentini. The ancient Ducal Palace, the Malatesta Palace and the 18th-century Angelo Dal Foco Theatre, recently restored after years of neglect, are worth a visit. Pergola's most prized product is the truffle, to which the National Fair of the Pergola Prized White Truffle and Typical Products is dedicated in autumn. In addition to its excellent red wines, Pergola DOC and Colli Pesaresi DOC, Pergola is famous for its Visciole wine.

With its magnificent Art Nouveau façade, the theatre is one of the best-known stage venues, even to non-Romans. It was built between 1906 and 1909 by theatre impresario Giuseppe Jovinelli to provide the city with a modern variety theatre, with ventilation and heating systems and electric lighting. It hosted comedians and quick-change artists, dancers and acrobats and was an instant success. In the years between the two wars, all the great artists of the era performed here, including Raffaele Viviani and Ettore Petrolini. Between 1919 and 1920, Totò made his debut there, presenting himself as an impersonator and, by popular acclaim, earned a permanent place for the whole of the following year. From then on, the Ambra Jovinelli went through a series of ups and downs until a fire in 1982 finally forced it to close. In 1996, a group of artists and intellectuals began to campaign for its restoration, organising theatre performances and exhibitions to raise awareness. The theatre was restored and today it has once again become a national landmark of comedy theatre.

Teatro della Concordia: a small 18th-century pearl near Perugia Miniature jewel of art, indeed the smallest in the world with 99 seats between boxes and stalls: the Teatro della Concordia rises from the heart of Montecastello di Vibio, in the province of Perugia, not far from Todi, in a town that stands out on the right side of the Tiber Valley. Its name is not accidental and, in the 19th century, the time of its construction, it was intended to draw attention to the ideals of the French Revolution: liberty, equality and fraternity. Did you know that... There are even smaller theatres around the world. One example is the little theatre in the castle of Valvasone (PN). The Concordia theatre, however, is the oldest of those still in operation, unique architectural testimony of the 18th century Italian theatre in Goldonian style. Goldoni imposed strict rules for the construction of the ideal theatre, like using wood as the only element for the boxes and the bell-shaped floor plan for adequate acoustics. In fact, it is the smallest active historical theatre in the world. The Società del Teatro della Concordia, set up to manage the building, is now committed to keeping it open, offering performances and guided tours to the public. The story of this little wonder In the midst of the Napoleonic period, a group of nine illustrious local families set out to bring art to all, without sacrificing the best architectural details and the great artists of the time. Thus, the interior of the Teatro della Concordia in Montecastello di Vibio is particularly precious, enriched by frescoes decorating the boxes and vaulted ceiling: all by Cesare Agretti and his 15-year-old son Luigi. The latter made his mark with his paintings. Celebrities and curiosities The Teatro della Concordia has hosted great artists throughout its history. Think of the young soprano Antonietta Stella from Todi, who performed here in 1929, remembered as one of the best interpreters of Verdi's repertoire. Gina Lollobrigida, who made her debut as a young actress here in 1945 in Santarellina, by playwright Eduardo Scarpetta. The Teatro della Concordia, past to present In 1951, the hall was closed. A few years later the roof collapsed. The inhabitants of the area considered the theatre too important to lose it and thought of self-taxing in order to finance the restoration work, then completed by the Region, thanks to EU funds. In 1993, the restoration was completed and today the theatre is also used for conferences, meetings and civil weddings. From the smallest to the largest In 1997, the smallest theatre in the world twinned with the largest theatre in the world, the Teatro Farnese in Parma, seating approximately 3,000. For more information, the reference website is: www.teatropiccolo.it.