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.

Militello Val di Catania has been chosen as the most important village of Italy in 2025 by the tv program called "Borgo dei Borghi. Famous for being one of the most beautiful villages in Italy, Militello is fascinating for its monumental route that was partly rebuilt after the earthquake of 1693. Infact the town is included in the UNESCO World Heritage List among the Late Baroque Towns of the Val di Noto. The historical centre is a mix of art and beauty with more than twenty churches and noble palaces, such as the former Abbey of San Benedetto, the third most important Benedictine monastery in Sicily, and the Church of Santa Maria la Vetere (1090), located in a valley of scenic and archaeological interest. In the surrounding countryside there are corners of paradise such as the Oxena waterfalls. Among the culinary specialities: cassatelle della zia monaca, mostarda di fichidindia celebrated in october with the Sagra of the same name, 'scacciate' of wild vegetables and blood oranges.

Its favourable position, at the foot of the Montefeltro hills, not far from San Marino, makes Morciano di Romagna the reference centre of the Conca area. A stroll through its centre reveals a 19th-century atmosphere, characterized by urban rigour and chequered streets. The presence of the river has always influenced the surrounding area where, over time, many mills have sprung up, making the area particularly well-known for the production of flour and thus pasta. Many mills were also built in Morciano, and today several of great historical interest remain, including the Casarola Mill, the Malatesta Mill, and the Valle Mill. Every year, in March, the important San Gregorio fair is held to celebrate the arrival of spring.

The history of the village of Morimondo has been intertwined since its origins with that of the Cistercian monks: the village owes its birth to the foundation of the abbey of the same name, built in the 12th century, when the first monks arrived from Morimond, in France, and from here they left to spread their beliefs throughout Europe. Morimondo Abbey is the first Cistercian abbey in Lombardy and tells the story of the monks' philosophy in its architecture: the simplicity of the exposed bricks and the absence of decorations recall the essentiality of monastic life, the light that filters in from above seems to narrate the sense of spirituality that pervades everything, while the slightly asymmetrical elements of the façade remind visitors and pilgrims of the imperfection of man compared to divine perfection.

The Sole Cycle path is part of the EuroVelo network: a 7,400-kilometre-long cycle path from the North Cape to Malta via Norway, Finland, Sweden, Denmark, Germany, the Czech Republic, Austria and Italy. The Mirandola - Bologna section crosses the Bolognese plain with a flat cycle path suitable for everyone. Equipped with lay-bys and well signposted, it features some special stages for young cyclists.

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.

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.

The Sole Cycle path is part of the EuroVelo network: a 7,400-kilometre-long cycle path from the North Cape to Malta via Norway, Finland, Sweden, Denmark, Germany, the Czech Republic, Austria and Italy. The Mirandola - Bologna section crosses the Bolognese plain with a flat cycle path suitable for everyone. Equipped with lay-bys and well signposted, it features some special stages for young cyclists.

Il Castello di Châtillon, che domina la vallata, ospita una collezione d’arte moderna e contemporanea della Regione Autonoma Valle d’Aosta. Il percorso espositivo è stato accuratamente selezionato da Rosanna Maggio Serra e comprende 150 pezzi tra pitture, sculture, installazioni, collezioni grafiche e fotografiche, spaziando dall’Ottocento fino ai giorni nostri. All’interno delle mura del castello c’è un parco ricco di vegetazione, la maggior parte della quale composta di alberi sono stati piantati all’epoca della sua costruzione; tuttavia, vi è anche una sequoia gigante proveniente dalla California, risalente al 1888.

Il visitatore può riscoprire la ricchezza del patrimonio artistico di Genova attraverso le raccolte di opere che l’aristocrazia cittadina raccolse nei palazzi tra XVI e XVII secolo. La mostra ospita, in particolare, dipinti di scuola genovese del Cinquecento e del primo Seicento, pregevoli opere della collezione di Palazzo Rosso, capolavori di scuola veneta del Cinquecento e l’importante Ecce Homo di Caravaggio, nonché le opere dei pittori ispirati a Caravaggio dei primi anni del Seicento. Il percorso di visita è organizzato in modo tale da essere seguito in un ordine circolare e unidirezionale.

Dal 983, anno in cui l’imperatore Ottone II donò al patriarca di Aquileia il castrum di Udine, la prima notizia scritta sulle origini del castello è stata registrata. Alla fine del XII secolo, la parte più alta del colle è stata destinata a palazzo patriarcale con una torre triangolare. Durante questo periodo, esso era ancora utilizzato come dimora per il patriarca d’Aquileia, il quale risiedeva a Cividale. Nel XIII secolo, sotto il patriarcato di Raimondo della Torre, una nuova struttura più grande e lussuosa è stata costruita più a nord. In essa era presente una cappella privata e un salone o caminata, destinato a ospitare i membri della nobiltà, del clero e delle comunità, ovvero il parlamento della Patria del Friuli. Tuttavia, nel 1976, il castello è stato gravemente danneggiato a causa di un terremoto e, soltanto nel 1980, è stato riaperto con un nuovo allestimento. Attualmente, esso è la sede dei Civici Musei, ed è composto da una sala con sculture lignee della Collezione Ciceri, un museo archeologico suddiviso tra piano terra e mezzanino, una pinacoteca al piano nobile, un salone del Parlamento, una galleria di disegni e stampe al terzo piano, oltre che il Museo Friulano della Fotografia. Nel 1906, il castello è stato trasformato in museo, ed oggigiorno ospita una biblioteca d’arte ed una fototeca, oltre che ospitare occasionalmente delle esposizioni temporanee.

Nel 1738 Carlo di Borbone affidò a Giovanni Antonio Medrano l’incarico di erigere una nuova reggia sulla collina di Capodimonte, con l’obiettivo di ospitare il ricco patrimonio artistico che aveva ereditato dalla madre Elisabetta Farnese. Tale compito fu portato a termine da Antonio Niccolini durante il regno di Ferdinando II, nel 1830. Nel 1920 il palazzo fu assegnato al demanio nazionale e, conclusi alcuni lavori di ristrutturazione e dopo il trasferimento delle collezioni d’arte medievale e moderna del Museo Archeologico Nazionale di Napoli, nel 1957 fu inaugurato come museo. La struttura, dall’aspetto austero, presenta una pianta rettangolare e tre cortili interni. All’interno sono presenti circa 20.000 oggetti, distribuiti su tre piani.Nell’ala sud del piano nobile è situato l’Appartamento storico, che riflette il gusto dei sovrani che si sono succeduti al trono di Napoli, arricchito con mobili francesi ed articolato in sale monumentali ed ambienti più intimi come il Salottino di Porcellana e la Camera da letto alla pompeiana. Nell’ala opposta si trova la Galleria Farnese, che raccoglie la collezione di dipinti, sculture, disegni e preziosità artistiche in 23 sale organizzate cronologicamente. Il percorso procede con la Galleria delle Porcellane, che conserva bellissimi esemplari provenienti dalle Reali Fabbriche di Capodimonte e di Napoli, dall’Armeria Farnese e dall’eclettica Collezione De Ciccio di fine Ottocento. In mostra anche maioliche, porcellane, vetri veneziani, avori, smalti, paramenti sacri, tessuti, argenti, bronzi, pastori siciliani e reperti archeologici. La Galleria Napoletana al secondo piano custodisce opere d’arte provenienti da diverse parti di Napoli e provincia. Quattro sale sono dedicate alla collezione d’Avalos, ricca di dipinti, arazzi, ricami, miniature, stampe e armi. La Galleria dell’Ottocento conserva anche opere d’arte provenienti da altre parti dell’Italia meridionale dopo l’Unità, oltre ad alcuni dipinti e sculture di artisti stranieri. Il Museo d’Arte Contemporanea si trova al secondo e terzo piano. Ha iniziato a collezionare arte nel 1978, quando Alberto Burri ha lasciato un suo quadro (il Grande Cretto nero) a cui altri artisti hanno aggiunto le loro opere. Questa collezione comprende pezzi di artisti famosi come Warhol, Kounellis, Paladino, Sol Lewitt, Michelangelo Pistoletto e Daniel Buren, solo per citarne alcuni. Il cortile meridionale conduce al Gabinetto dei Disegni e delle Stampe con 2.500 fogli e 25.000 stampe, provenienti dal nucleo originario dei Farnese, oltre a disegni di autori emiliani, fiorentini, genovesi, veneti, romani e napoletani, per finire con i capolavori della collezione di opere grafiche (che ammonta a circa 20.000 stampe).Il Parco di Capodimonte è una vasta area ricca di diversi tipi di piante (circa 400 entità vegetali classificabili in 108 famiglie e 274 generi). All’interno dei confini del parco si trovano sedici edifici, tra residenze, logge, fabbriche di artigiani, magazzini e chiese. Sono inoltre presenti fontane e statue, dispositivi per la caccia, orti e frutteti e un cimitero. La storia del parco inizia con l’ascesa al trono di Carlo di Borbone nel 1734. Carlo desiderava un luogo in cui vivere vicino alla città, e scelse Capodimonte perché era alto e ventilato e si poteva vedere da gran parte del città. Il perimetro della tenuta di caccia era già completato nel 1736. L’accesso al parco avveniva dalla Porta di Mezzo, che immetteva nel grande emiciclo da cui partiva il ventaglio dei viali. La tradizione storiografica ha sempre assegnato il progetto di questo impianto scenografico a Ferdinando San Felice e Domenico Antonio Vaccaro, ma ipotesi più recenti lo attribuiscono al romano Antonio Canevari. Nel 1738 iniziarono i lavori per la costruzione del Real Palazzo nella zona più panoramica del sito, denominata “Spianato”.Nel corso del tempo Reggia e Bosco divennero un unico complesso. Nel 1809 fu aperta la nuova strada che collegava direttamente l’area museale con Capodimonte, attraversava con un ponte la valle della Sanità e la montagna Spaccata con la scenografica soluzione del Tondo, realizzata dal Niccolini. Nel Parco, Ferdinando I fece costruire nel 1817 l’Eremo dei Cappuccini e iniziò il primo ridisegno "all’inglese" delle aree verdi per adeguarle al nuovo gusto che già da qualche decennio aveva invaso tutta l’Europa. I Savoia ripristinarono l’attività venatoria nei boschi e modificarono il disegno delle aree adiacenti alla Reggia e al Casino dei Principi.

La CariPrato ha predisposto l’allestimento della Galleria al fine di rendere la sua ricca collezione di opere d’arte accessibile al pubblico. Tale raccolta comprende un nucleo di arte fiorentina barocca, una varietà di rilievi dello scultore neoclassico pratese Lorenzo Bartolini e diversi capolavori indiscussi come i dipinti di Filippo Lippi, Giovanni Bellini e Caravaggio. Aperta al pubblico dal 1983, la Galleria è stata rimodernizzata nel 2005.

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.