Art & Culture in Italy

From December 4, 2024 to June 29, 2025, the Mo.C.a Civic Gallery - Montecatini Contemporary Art in Montecatini Terme will host the exhibition “Joan Miró in Montecatini Terme”. Since its opening in 2012, the civic gallery has housed Dona Voltada d'un Vol d'Ocells, one of the five largest works in the world created by the surrealist master. The exhibition tells the fascinating story of the creation of this work, conceived specifically for the city of Montecatini, in 1980, on the occasion of Maggio Miró, the largest cultural event ever organized in Montecatini, conceived by Carlos Franqui. The exhibition delves into these events, which involved numerous international artists who created works inspired by the figure and work of the great surrealist, and will clarify why Miró, a highly anticipated guest of honor, never made it to the city. The exhibition displays works by painters from around the world, along with a selection of lithographs of Miró, autographed documents of the Master, photographs, posters and other unpublished material, made available by private individuals and heirs of those who participated in the event. The exhibition will also offer an opportunity to celebrate 45 years of the presence of Miró's Woman (Dona Voltada d’un Vol d’Ocells) in Montecatini.

From November 22, 2024 to February 24, 2025, the Stefano Bardini Museum in Florence will host the exhibition Officina Bardini: The Art of Wood, a fascinating journey through the wood craft tradition that characterized the workshops led by Stefano Bardini, the so-called “prince of antiquarians,” and his son Ugo between the late 19th century and the first half of the 20th century. The exhibition presents the second project dedicated to the famous antiquarian, following the event organized in 2022 for the centenary of his passing. This edition focuses on the craftsmanship and production that made the Bardini workshops famous, true centers of excellence in woodworking and restoration. Here, “stylish objects and furnishings” were created and restored, which fascinated an international commissioning body attracted by the dream of the Italian Renaissance. On display is a unique selection of original tools, drawings and artifacts from the collections of Palazzo Mozzi Bardini, in dialogue with the civic collections of the Stefano Bardini Museum. Visitors will be able to admire refined wooden inlays, fronts of chests dated between the 16th and 17th centuries, paper patterns, furniture and single elements intended to shape the Renaissance style, as well as the workshops' original workbench, restored for the occasion.A reconstruction of the Bardini woodworking shop will then be presented, as well as the set of tools that belonged to Florentine cabinetmaker Orlando Chiarugi, founder of a workshop still active in wood restoration. Also participating in the project was the European Restoration Center, whose students, coordinated by Simone Beneforti, restored the Renaissance caisson fronts on display. Guided tours, for youngs and adults, are held on Saturday afternoons. Information and reservations: ph. +39 055 2768224 - info@musefirenze.it

It was in 1271 that a young man named Marco Polo left Northern Italy for China to accompany his father on a trading expedition. The long journey to the East, on the so-called "Silk Road", lasted more than three years due to bad weather, wars and disease, whereas his stay in Asia was 25 years long: during this period of time, the Venetian man was able to win the Mongol Emperor's trust to such an extent that he became one of his most trusted advisor and high officials. Born in Venice in 1254 into a family of merchants, Marco Polo certainly was one of the best-known figures in the history of the Serenissima. With his extraordinary exploits between reality and myth, which are narrated in the book known in Italian as "Il Milione" (in English is commonly referred to as "The Travels of Marco Polo"), he gave the first reliable and complete account of the East, and the first contribution to mutual understanding between Asia and Europe. In particular, the book gave an accurate descriptions not only of China and the Asian continent, but also, and for the first time, of the vast world of islands, from Japan to Madagascar. Marco Polo's journey alongside his father and uncle began in Venice and spanned across Turkey, Persia, Afghanistan and the Gobi Desert. In 1275, the three travellers arrived in Katai, a region in Northern China, part of the Grand Khan of the Mongols. The Great Khan Kublai, the Mongol emperor who at the time was ruling over China, considered Marco well-versed in languages and a brilliant young man: it was for this reason that he decided to entrust the Venetian with the task of managing the administration in various parts of his Empire. After living seventeen years in China and another six or seven travelling across the world then known, Marco Polo returned to Venice. It was in 1295 and he was 40. Shortly afterwards, while taking part in a naval battle between the Maritime Republics of Venice and Genoa, he was held prisoner by the enemies of the Serenissima. It was on this occasion that he recounted his memoirs to Rustichello da Pisa, an Italian romance writer. This was the birth of "Il Milione", a masterpiece of travel literature and one of the first geographic encyclopaedias, a historical and geographical treatise, a book of exploration which, for its relevance, is still considered a pillar of Italian literature. Marco Polo's "Il Milione" has come a long way, and will continue to do so, because scholars have not yet finished studying its many curiosities. To him, the Venetian traveller par excellence, main characters of the Serenissima Republic, on the occasion of the 700th anniversary of his death, which occurred on the 8th of January 1324, the City of Venice will dedicate a year of widespread events, to continue writing the pages of an imaginary tale that has never ended, full of adventures and emotions. The City Council, which promotes and coordinates the programme related to the celebrations, intends to flank to the initiatives promoted directly and to those prepared by stakeholders in the Venice area, other projects chosen by subjects operating within Italy or abroad.

Monet, Bonnard, Boudine, Corot, Courbet, Villon, Renoir, Delacroix... These and many others are featured in the major exhibition “Impressionists in Normandy” held at the Museo degli Innocenti in Florence to mark 150 years since the birth of Impressionism. From November 21, 2024 to May 4, 2025, in one of the most symbolic monuments of the Renaissance, more than 70 works created by the most celebrated names of the most beloved art movement will be on display. Guest star: Water Lilies by Monet, iconic and fundamental work, part of his first series of 8 water lilies. Alongside this, the other works recount the Impressionist current from its beginnings, closely linked to Normandy, a French region that became a must-see destination for artists, thanks to its landscapes, colors and light. A meeting place for Parisian artists and a true workshop, where they experimented with the suggestions and forms of this new painting. Along the exhibition route, the highlights of the artistic current are traced through five sections: The Saint-Siméon Farm; By the Sea: leisure, vacation; By the Sea: work; Normandy Land; Along the Seine. The exhibition focuses mainly on the holdings of the Peindre en Normandie Collection, flanked by loans from the Musée d'art moderne in Le Havre and private collections.

In March 1944, Arturo Martini began writing his famous text “Scultura Lingua Morta” (Sculpture Dead Language) which was published in Venice in fifty copies in 1945. The work is a heartfelt declaration about the inability of sculpture to be alive and universal. During the terrible years of World War II, Martini, as Italy’s foremost sculptor of his time, criticizes sculpture and questions its potential to be redemptive. A dialogue emerges – almost a face-off – between Giorgio Andreotta Calò, a Venetian artist recognized as one of the most authoritative voices in contemporary Italian art, and the city of Venice, renowned for its rich plasticity and physicality. This conversation comes from Martini’s reflections, as a founding member of the group of artists who gathered around the first director of Ca’ Pesaro, Nino Barbantini, in the early 20th century. The current, small but valuable, exhibition represents a journey into the lingua morta (dead language) through masterpieces created by Calò over more than twenty years. From the renowned Clessidre, Pinne Nobilis, Carotaggi to an extraordinary series of Meduse, including the one that entered the civic collection of Ca’ Pesaro thanks to the PAC2021 – Plan for Contemporary Art, promoted by the General Directorate of Contemporary Creativity of the Ministry of Culture. An unpublished Medusa, very dear to the Venetian artist, is presented in an intimate dialogue with Martini’s Testa di Medusa, a piece from the deposits of Ca’ Pesaro – International Gallery of Modern Art.

Eva Jospin (Paris, 1975) completed her academic studies in Paris in 2002 and was a pensioner of the Académie de France in Villa Medici, Rome in 2016-2017. Eva Jospin’s research has always drawn inspiration from nature in all its semantic and visual articulations, that is, captured as much in its original state as in the multiple iconographic and iconological interpretations that have been offered of it over time. Through the use of poor materials – cardboard, plant-based elements and fibers, metal portions, fabric – she gives life to plastic compositions, even of great volume, and strong scenic impact, which evoke or recreate, in their own way, the world that is at the center of her interests: landscapes, trees, plants, branches, leaves, geological formations, pieces of vegetation, architectural structures. They have a fairy-tale tone, at times mysterious, almost magical, and lead to reflection on various themes: intellectual processes of creation through which she expresses herself today as in the past, ecological and environmental issues, as well as the perception of the venue, which Eva Jospin’s works significantly alter both on intellectual and physical levels.

Leverano stands in the Ionic-Salentine hinterland, surrounded by expanses of vineyards and olive groves. The heart of the village is characterised by its narrow streets paved with ancient cobblestones, which lead to its elegant churches and to the symbol of the area's history: among the town's small houses stands the 28-metre-high Tower of Frederick II, built at the behest of the Swabian emperor to protect the coast from pirate attacks. The tower was abandoned for a long time, but in the mid-19th century, thanks to the efforts of some Salento scholars, it was renovated and restored to its former glory.

Ischitella is a village that rises on the Gargano promontory, overlooking the sea, to which it has always entwined its history and traditions. From the village, the view sweeps across the wide open space of the sea, touching the Tremiti Islands and even reaching the Croatian coast. The village, in its most historical part, is as if divided in two: while the Terra Vecchia quarter has narrow streets and terraced houses reminiscent of the medieval past, the Rione Ponte district recounts the style of the 18th century, with its elegant and regular lines. It was an ancient fortress, Ischitella, that had to defend itself from attacks coming from the sea, and today the gates to the centre and the castle remain of these fortifications. Finally, splendid is the Lago di Varano, a lagoon that is now protected thanks to the establishment of a nature reserve.

Faeto is the highest village in the Daunia hills, is located on the border between Puglia and Campania, on the slopes of Mount Chilone, surrounded by beech forests. Together with Celle di San Vito, it represents the only Franco-Provençal island in the region and the origins of its particular linguistic identity can be traced back to the 13th century, the era of Saracens and paladins, when a garrison of Provençal soldiers stopped in nearby Lucera, leaving a deep imprint on the local language as the legacy of this interweaving. The peculiarity of the local language is contrasted by the silence of the nature that guards the village: Faeto offers a 150-hectare forest of beeches, oaks, turkey oaks and broad-leaved trees, where, while strolling, one can come across splendid windmills.

Celle di San Vito is the smallest town in Puglia in terms of number of inhabitants. It is a village immersed in nature, surrounded by large expanses of green: beech, oak, ash, pine, poplar and willow forests are the area's natural treasure, a treasure chest where you can encounter splendid animals such as foxes and squirrels. But what most distinguishes Celle from the surrounding area is the presence of an ancient language, the result of the stay of the French soldiers of Charles of Anjou near the village in the 13th century. This encounter has meant that the beautiful sounds of Franco-Provençal speech can still be heard in the village today: together with Faeto, in fact, Celle San Vito is the only Franco-Provençal minority in Apulia. A language that becomes wealth, a legacy of sounds and cadences that enchant like an ancient melody.

Land of the roe deer The Nebrodi Mountains constitute that portion of Appennino Siculo that falls mainly in the province of Messina. The highest peak is Mount Soro, with its 1847 meters. From here you can enjoy an unparalleled view that embraces the Aeolian Mountains, the King's Greenhouse, Mount Etna, the Peloritan Mountains, the Erei Mountains and the Madonie Mountains. A real joy for the eyes. The vegetation is lush – with verdant forests, lakes and dizzying waterfalls - and the summer weather is not overly hot. The Parco dei Nebrodi is a must-see. The ancient Greeks called thisarea "the land of roe deer" and it is precisely from nebros, roe deer, that the name of the park derives. Hiking enthusiasts here will find trails that they will remember for a long time. For example, the Rocche del Crasto trek, which starts from San Marco d 'Alunzio and extends for about 10 kilometers, touching prestigious natural attractions such as the Catafurco Waterfall, the Mistretta Falls, the Bosco della Tassita, Monte Soro, Lake Biviere and Lake Maulazzo. Nature, finally, here goes hand in hand with art, history and folklore. Among the villages to visit there are definitely Bronte, Randazzo, Raccuja and the medieval village of Novara di Sicilia.

Walking suspended in time, between majestic trees and endangered species The Bosco di Malabotta is one of the oldest and most evocative natural attractions in Sicily. Entering this oasis of biodiversity in the province of Messina you will find beeches, maples, holm oaks, willows, chestnuts and other beautiful trees. The atmosphere here is really refreshing. Train well before departure: inside the forest you walk a lot, from 5 to 15 kilometers. The effort, however, will be well rewarded. You will come across many free animals such as goats, cows, black pigs and, if you are lucky, even foxes. Also to be admired along the streams are the Sicilian trout, an endangered fish species. Among the most renowned routes there is undoubtedly the Path of the Patriarchs, characterized by centuries-old wrecks of oak trees. You can also admire an oak tree with a royal bearing, able to reach 40 meters in height. There are also panoramic points with views of Etna and the Alcantara Valley. Another curiosity: the Malabotta Forest contains one of the most mysterious sites in the region. These are the Rocks of Argimusco, known as the "Stonehenge of Sicily". Once through the woods, you can complete the itinerary with a visit to the historic center and the castle of Montalbano Elicona.

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.

Acquapendente and the Cathedral of the Holy Sepulchre Acquapendente, a pretty town in northern Lazio, is called the “Jerusalem of Europe” because of the presence, in the cathedral's admirable crypt, of a shrine that recalls the Holy Sepulchre in the holy city, where some stones bathed in the blood of Christ brought by the crusaders are said to be kept. An important stop along Via Francigena, Acquapendente is located in a fascinating naturalistic area, the Monte Rufeno Reserve. The Crypt of Wonders The Cathedral of the Holy Sepulchre in Acquapendente houses one of the most important Romanesque crypts in Italy dating back to the 11th century, a particularly evocative and cosy environment with 24 columns dividing the space into nine naves covered by barrel vaults. The columns are adorned by capitals with zoomorphic figures juxtaposed with a wide variety of birds, plant forms and ram's heads. In the centre of the crypt, a double flight of steps carved into the rock allows you to reach the sacellum, which is very similar in shape to that of the Holy Sepulchre in Jerusalem and houses the sacred relics. From the 9th century onwards, the custom of creating small chapels commemorating Christ’s burial place became widespread in Europe. But why is the oldest one in Acquapendente? The legend has it that Matilda of Westphalia (895-968 AD), mother of Emperor Otto I, on her way to Rome to build a church dedicated to the Holy Sepulchre, was forced to stop in Acquapendente when the mules carrying a load of gold to finance the undertaking did not want to move on. The following night Matilda dreamt that there was the place to build the church. Acquapendente, land of water and castles Pilgrims on the Via Francigena have been kneeling in the Acquapendente crypt for centuries and the influx continues to this day. Near the cathedral, The House of the Pilgrim still welcomes the faithful along the road to Rome. In the city, you can admire some elegant fountains, such as the Rugarella fountain and the Rigombo (or Mascheroni) fountain, where the waters of the area flow from. The very name Acquapendente refers to the presence of small waterfalls that flow into the Paglia river. You can see the City Museum, spread over three locations, the most interesting of which is the Palazzo Vescovile (Bishop's Palace) where a section dedicated to the Via Francigena is housed, and the curious Cordeschi amphitheatre (1938), reminiscent of an Elizabethan open-air theatre, is very active during the summer. To make the most of the beautiful countryside, it is worth visiting Torre Alfina, a hamlet 12 km from Acquapendente, one of the most beautiful villages in Italy for its conspicuous castle of medieval origin but renovated in neo-Gothic style by the Sienese architect Giuseppe Partini (it has recently been opened for visits) and for the village of stone houses that emerges like a vision from the Bosco del Sasseto, rightly called the “fairy forest”. Monte Rufeno Reserve The Julia de' Jacopo tower in the historic centre of Acquapendente houses the visitor centre of the Monte Rufeno Natural Reserve, one of the first reserves in Lazio and well equipped for various types of excursions, with many trails in the state forests. Accommodation can be found in farmhouses restored by the park's management body. The Sentiero dei Briganti (Trail of the Brigands) begins from the reserve, rounds Lake Bolsena, and descends into the Latium Maremma. With its decentralised geographic location and low human population, the reserve has allowed various species to reproduce continuously. Today, it is a place where deer, badgers, porcupines, squirrels, martens, various birds of prey and even wolves can be seen in the wild. A place of serene beauty and naturalistic value, less than two hours from Rome.

The heart of the Catholic world, St. Peter's Basilica is the most majestic basilica in Christianity, built on the site where St. Peter was buried. Covering an area of 22,067 square metres, it is 218 metres long (including the portico) and 136 metres high from the ground to the cross on the dome. The ancient imperial basilica was built by Constantine on the burial site of the apostle Peter. Like many other early Christian churches, it was left in a state of decay until the 15th century when, first by the decision of Nicholas V and then under the pontificate of Julius II, reconstruction work began in 1506, following a design by Bramante. Following Bramante's death, other famous architects followed, including Michelangelo, commissioned at the age of 72 in 1547, who simplified Bramante's original design and created what was to be his absolute architectural masterpiece: the dome. Unfortunately, Michelangelo died before seeing it finished, and it was left to Giacomo della Porta and Domenico Fontana to complete it. The façade of the basilica, made by Carlo Maderno in 1614, can now be seen in its original colours after careful restoration in 1999. Preceded by a three-tiered staircase, it is divided by eight columns and pillars that support a trabeation crowned by a balustrade. The central balcony above the portico is the Loggia of Blessings, where the pope blesses the city and the election of the new pontiff is announced. Michelangelo's dome is an immense double-shell structure covered in mosaics. Five bronze doors serve as the entrance to the basilica: the last on the right is the Holy Door, which is only opened in Jubilee years, the middle door has magnificent panels taken from the Constantinian basilica, created by Filarete (1439-45). The doors in the other entrances are modern; the last one on the left (the Door of Death) is by Giacomo Manzù. In the central nave, near the door, is the disc where Charlemagne and the other emperors knelt to be crowned by the pope. The bronze statue of St Peter, probably from the 13th century, ushers in the grandiose area below the luminous Michelangelo dome, supported by four pillars, at the base of which stand the statues commissioned by Urban VIII. Above, four Bernini balconies hold precious relics of the Church. An ideal view of the interior and the perception of space and proportions can be captured well from here, near the papal altar. In the middle, above the altar, rises the bronze Baldachin by Bernini (1624-33), who, according to popular opinion, melted down the Pantheon bronzes to make it. Francesco Borromini also collaborated on the architectural features of the majestic structure (29 metres in height). Barberini's bees rest among the tendrils of the twisted columns, while above, four angels hold festoons and four volutes are joined to support a golden globe surmounted by the cross. Behind the altar, in the apse, the background is occupied by the Chair of St Peter, by Bernini (1656-65), which is a large gilded bronze throne supported by four 5 m tall statues of the church fathers. To the right of the throne is the monument of Urban VIII by Bernini (1627-47) and to the left, that of Paul III by Guglielmo della Porta (1551-75). In the passage between the third and second chapels in the left nave, stands the gilded bronze tomb of Innocent VIII by Pollaiolo (1498), which was moved from the ancient basilica in 1621. In the left transept, in the Madonna delle Colonne Chapel, a marble altarpiece by Alessandro Algardi (The Meeting of Leo the Great and Attila, 1646–50) stands above the altar with the pope's relics. In the next arch is the funeral monument of Alexander VII (1672–78), a lavish work by Bernini in polychrome marble. Halfway down the nave, the Presentazione Chapel houses two of the basilica's most recent works: monuments to John XXIII by Emilio Greco (right) and to Benedict XV by Pietro Canonica (left). Under the next arch are monuments to the Stuarts, designed by Filippo Barigioni, and a somewhat erotic memorial stone by Canova in the form of a stele (1817–19). The lid of an ancient porphyry sarcophagus, possibly belonging to tomb of Hadrian and later to that of Otto II, forms the basin of the baptistery. In the first chapel of the right nave we find the beautiful and touching marble group of Michelangelo's Pietà, which has continued to impress for centuries and is the only work that bears Michelangelo's signature (you will find it on the band across the Virgin's chest). It is a youthful work by Michelangelo (1498-99): he was only 23 when he created it, but already in full possession of his technical virtuosity and expressive maturity. On the pillar immediately after the Pietà is the funeral monument to Christina of Sweden by Carlo Fontana. Continuing on, you arrive at the chapel of San Sebastiano, which houses the tomb of Pope John Paul II and, then, to the opulent baroque Blessed Sacrament Chapel with works by Bernini, Borromini and Pietro da Cortona. Beyond the chapel, near the imposing monument of Gregory XIII, Camillo Rusconi, you will find the tomb of Gregory XIV. In the right transept, the monument to Clement XIII (1784–92), with the statue of the pope kneeling in prayer, is one of the most accomplished pieces of work by Antonio Canova.

Cuore del Parco Nazionale del Gargano la Foresta Umbra si estende su un’area di oltre 10.000 ettari ed è caratterizzata da una varietà di piante tale da rendere la luce del sole una rarità in molti punti. Da qui il suo nome (Umbra). La Foresta si compone di pinete che a quote più alte si trasformano in boschi di Cerro, Roverella e Leccio. Man mano che si sale, si incontrano faggete e foreste di tassi verso Monte Sant’Angelo. Il centro visitatori della Foresta Umbra funge da base logistica e qui è possibile visitare il Museo Naturalistico, la ricostruzione di un’antica casa del taglialegna e le aree faunistiche del daino e del muflone. Il Corpo Forestale dello Stato ha predisposto 14 sentieri, da alcuni dei quali è relativamente semplice osservare gli animali selvatici presenti nella foresta, come caprioli, cinghiali, tassi, daini e faine, in particolare nei pressi delle sorgenti Sfilzi e dei Cutini. Inoltre, la Foresta Umbra è disseminata di selci di grande bellezza.

All’interno del Castello svevo di Manfredonia, che nel XIII secolo venne edificato su volontà di Manfredi di Svevia, figlio dell’imperatore Federico II, è ospitato il Museo Archeologico Nazionale. In esso sono conservati gli oggetti di maggior importanza storico-archeologica del territorio della Capitanata e dell’area garganica, tra cui le famose stele daunie. Durante l’epoca angioina le mura del maniero acquisirono una fisionomia organica ed un impianto ben più complesso, caratterizzato da un’alta cortina muraria a pianta quadrangolare. In seguito gli Aragonesi provvidero la struttura di una seconda cinta muraria esterna, collegata agli spigoli da quattro torrioni circolari. Nel XVI secolo, uno di questi, posto a ovest, fu inglobato in un bastione a pianta pentagonale, prendendo il proprio nome da un bassorilievo raffigurante una scena dell’Annunciazione, visibile ancora oggi sulle mura esterne.

Nel corso degli anni Cinquanta del Novecento, a seguito della rivalutazione della chiesetta di S. Maria foris portas nel 1944 e dei risultati ottenuti con il disboscamento dell’area delle chiese nel castrum e i saggi di scavo eseguiti sulla sua superficie, è stato istituito il Parco Archeologico di Castel Seprio.Quest’ultimo conserva i resti del castrum (insediamento fortificato) e del borgo dell’antica Sibrium, con importanti reliquie religiose di epoca paleocristiana, longobarda e medioevale. Le tracce di frequentazione di questo sito risalgono alla tarda età del Bronzo/prima età del Ferro, ma il suo ruolo divenne particolarmente rilevante in epoca tardoromana in quanto, grazie alla sua posizione strategica, permetteva il controllo della strada proveniente dal Canton Ticino e collegava l’area transalpina con la fertilità della pianura dell’Italia settentrionale. Durante l’età longobarda e carolingia, Castel Seprio si affermò come centro di una certa importanza, fino a quando non venne distrutto dai Visconti nel 1287. All’interno del parco è visitabile l’Antiquarium, che si trova nell’ex conventino di S. Giovanni e che conserva affreschi di età rinascimentale nell’abside della chiesa conventuale. Qui vengono esposti reperti che testimoniano la storia e la vita quotidiana del luogo dalla pre-protostoria fino al XVI secolo.

The Museo del Territorio "Casa Pezzolla" took its name from Dr Giacomo Pezzolla, who lived in the late 1700s and was a personal physician to the counts Acquaviva of Aragon. The complex shows an evolution of architectural culture. In this group of buildings, there are two types: one of recent construction, developed on two floors, with a high and narrow façade surmounted by a triangular tympanum; the other, which represents the oldest part, consists of simple and small organisms, usually single-celled, equipped with those elements attributable to the trullo construction. Unlike the modern part, the walls of these areas were formed by non-square stones arranged randomly. In 1986, the complex was purchased by the Municipality of Alberobello and, between 1993 and 1997, restored to its original state. This Museo del Territorio, consisting of 15 communicating trulli, is the only one protected by UNESCO.

Exploring the history and tradition of puppet theatre Founded in 1975 by the Association for the Conservation of Folk Traditions, the International Puppet Museum was created with the aim of preserving the art of puppet theatre. Antonio Pasqualino, founder of the Association, was a surgeon who dedicated much of his time and research to rediscovering this tradition, starting with the customs and traditions belonging to his homeland, Sicily. In fact, it was a collection of Sicilian puppets that first went on display in the museum. Today, inside the former Hotel de France in Palermo, it houses over 5,000 pieces, including marionettes, puppets and stage equipment from all over the world. As well as exhibiting various collections, the museum is also home to the Giuseppe Leggio Library, with numerous volumes on puppetry, a bookshop and a room for theatre productions. The latter is always able to put on innovative shows, thanks to the Association’s ongoing research, which allows shows to strike the perfect balance between tradition and modernity.

The oldest prehistoric pile-dwelling settlement in the Alpine Arc Near the western shore of Lake Varese, in the municipality of Biandronno, you can visit the impressive Prehistoric Museum of Isolino Virginia. The area, which is included in the UNESCO list of “Prehistoric pile-dwelling sites in the Alps”, is rich in artefacts documenting human presence since ancient times and offers visitors an educational trail with the Prehistoric Museum. Although small in size, the museum allows visitors to take an in-depth leap back in time, starting with the room on the ground floor, which welcomes guests with a film on the long history of Isolino Virginia, the oldest prehistoric pile-dwelling settlement in the Alpine Arc. The exhibition is complemented by explanatory panels, reconstructive drawings and artefacts stored in glass cases, allowing us to reconstruct the daily life of our ancestors. There is also a fascinating reconstruction of a Neolithic dwelling, a life-sized hut, full of bows, arrows and pottery.

The result, for all to see, is that the Garden, a UNESCO World Heritage Site with over 3,500 species, hosts more than 180,000 visitors from all over the world every year.

Maupassant wrote that “Sicily is the land of oranges, of flowering soil whose air, in spring, is all perfume”. Prove him right while strolling through the mythical land that everyone wanted to conquer for its beauty and wealth. One of the treasures to be discovered are Sicilian blood oranges. They are cultivated exclusively on the Catania Plain and in parts of Enna and Siracusa and were awarded the PGI mark by the European Union. An inimitable taste combined with very special nutritional properties: these fruits are full of goodness!

The capital of the trulli, extraordinary testimonies of dry-stone construction with conical or pyramid-shaped roofs, will enchant you with an expanse of more than 1,500 trulli that have been on the UNESCO World Heritage List since 1996. The entire Itria Valley is characterised by the presence of these picturesque constructions finding their roots in the prehistoric era, but it is in Alberobello that the highest concentration of the best-preserved examples can be found. The Mediterranean climate, excellent accommodation and unparalleled architectural harmony make this town the ideal destination for visitors in search of an atmosphere that has not been affected by the passage of time. Do you feel like setting out to discover these wonders?

Here we introduce you to the best trails in Italy's UNESCO heritage sites. Paths immersed in nature and beauty, inviting you to take invigorating walks. It is not only about UNESCO World Heritage cities; the challenge is to explore all of the natural surroundings. Taking 10,000 steps through Italy's rich and varied forest heritage will be good for the spirit as well as the heart. So, are you ready for a bit of exercise and beauty?

It was Le Corbusier, the famous French naturalised Swiss architect, town planner, painter and designer, who called them “the most beautiful architectural work in the world”. A paradise for those who love sport, untouched nature, uncompromising mountains and traditional flavours: the Dolomites, the legendary mountain range of the Eastern Alps, a UNESCO World Heritage List site. The so-called “pale mountains” are distributed over three regions, Trentino Alto Adige, Veneto and Friuli Venezia Giulia. An absolutely unique habitat in which to enjoy breathtaking views.

Discover the charm of Verona, the city of love with a history spanning more than 2000 years. Verona is not only the city of Romeo and Juliet, but also the “Gateway to Italy”, because it showcases and foreshadows all of Italy’s beauty and cultural wealth to visitors arriving from the north. The Venetian city is enthralling thanks to an atmosphere that is rich in history and priceless beauty.

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.