Art & Culture in Italy

The exhibition at Palazzo Strozzi (Florence) dedicated to the works of Helen Frankenthaler is a first for Italy: never before had a monographic exhibition been dedicated to this important American artist. "Painting Without Rules" is the subtitle, which defines the work of one of the most important American artists of the 20th century, who died in 2011. Born in New York City, to parents of German and Jewish origin, she was the only woman to achieve major breakthroughs in American abstract painting, thanks in part to her innovative technique, colour poured directly on the canvas, with suggestions similar to watercolour and an innovative use of colour. There are no figures, landscapes or objects in Frankenthaler's paintings, only colour that defines and creates emotions. In addition to her works, created between 1953 and 2002 and coming from the Helen Frankenthaler Foundation the rooms of Palazzo Strozzi will also display paintings by artists who were companions in life - such as Robert Motherwell - reference figures - such as Jackson Pollock - or developers of a style - such as Mark Rothko. Helen Frankenthaler's elegant and colourful paintings can be admired from 27 September 2024 to 26 January 2025.

The Vatican is the smallest sovereign state in the world. It is also the state with the world's most famous sacred and artistic treasures, first and foremost St Peter's Basilica. It is the very heart of global Catholicism, which in itself is already awe-inspiring. But we are also standing in front of the most magnificent and spectacular basilica in Italy, where everything is awe-inspiring, from the large square enclosed by Gian Lorenzo Bernini's colonnade, to the majestic façade crowned by Michelangelo's iconic dome. Both outside and inside, the St Peter's complex is both a huge museum of art, expressing the pontiffs' predilection for statues, paintings, furniture and architecture, and also a historic monument created by centuries of artistic genius, containing masterpieces by great names including Michelangelo and Bernini. Then there are the Vatican Museums, which we could define as "the most magnificent museum of the Eternal City": 7 kilometres of exhibition space filled with priceless treasures and sculptures, the Sistine Chapel, decorated by Michelangelo, the four rooms by Raphael and the beautifully-kept Italian Gardens. In the Jubilee years, St Peter's (together with the three papal basilicas of St John Lateran, St Mary Major and St Paul Outside the Walls) is one of the "major" churches, sites of the Holy Doors, which are only opened by the Pope for the duration of the entire Holy Year. St Peter's Basilica is also a station in the Pilgrimage of the Seven Churches, a religious journey started by St Philip Neri in the 16th century. This Jubilee tradition covers a route of 25 kilometres through Rome, passing through the Roman countryside, the Catacombs and some of the city's magnificent basilicas (St John Lateran, St Mary Major, St Paul Outside the Walls, St Lawrence Outside the Walls, Holy Cross in Jerusalem and St Sebastian Outside the Walls).

The Via Ostiense, the road that runs between Rome and the Lido di Ostia, was for centuries the umbilical cord of the City. Together with the Tiber, it had the task of guaranteeing the supplies of the largest metropolis of the ancient world by connecting it with the port of Ostia, a populous city of which today, in the Archaeological Park of Ostia Antica, ruins remain that are as vast as they are fascinating. Ships loaded with goods of all kinds landed in Ostia and salt was produced, a rare and precious commodity at that time: in the early Middle Ages, the very presence of the salt pans favoured the birth of a new town, the village of Ostia Antica, custodian of the relics of St. Monica and St. Aurea, and soon the seat of an important diocese. In the same period, the opening in the Aurelian Walls from which the Via Ostiense originates changed its name: from Porta Ostiensis it became Porta San Paolo. This development reveals that the Via Ostiense, once Rome fell, acquired importance mainly for the memories linked to the figure of St. Paul, his martyrdom and his burial, which took place in the Necropolis of Ostiense. On his tomb, already in the time of Emperor Constantine, the Papal Basilica of St. Paul Outside the Walls was founded, the second-largest church in Rome after St. Peter's in the Vatican, where one of the four Holy Doors that are opened during the Jubilee is located. Under the Papal Altar, the tomb of St. Paul was rediscovered, now visible to the faithful, a place of deep veneration. It was on the Via Ostiense, tradition has it, that St. Paul and St. Peter met for the last time as they were being led to martyrdom. A plaque at no. 106 on the Via recalls that the two apostles supposedly embraced at what is now the Centrale Montemartini, one of Rome's most fascinating museums, an example of a dialogue between industrial archaeology and ancient art. It is no coincidence that the church of EUR, the Roman quarter designed in the fascist era along the Via Ostiense in view of the 1942 Universal Exhibition, is dedicated to both saints. Even before the EUR took shape, the Via Ostiense, now insufficient to withstand the traffic between Rome and the Lido di Ostia, was flanked by new fast roads and even by a railway, the Roma-Lido, which also starts from Porta San Paolo and ends between the pine forest and the beaches of Castel Fusano. A little further south are the beautiful beaches of the Cancelli, perfect for regenerating body and spirit in contact with a still authentic nature.

Small in size, immense in architectural quality and importance in the history of the arts: the church of Sant'Ivo alla Sapienza designed by Francesco Borromini is considered one of the highest and most original expressions of Roman Baroque, and a reference point for generations of architects. Built between 1643 and 1660, the year of its consecration, the church is inserted into the structure of the Palazzo della Sapienza, closing off the view of the central courtyard at the end opposite the entrance. Borromini, who was appointed architect of La Sapienza in 1632, had to work in a restricted and quadrangular space that had already been defined by his predecessors. He radically transformed it by designing a church with a mixtilinear central plan, as fascinating as it is complex in its geometry. The plan of the church of Sant'Ivo is essentially a six-pointed star formed by two intersecting triangles, a double symbol of the Trinity; in the centre, the intersection of the triangles forms a hexagon. The walls are surmounted by an entablature with alternating concave, straight and convex sides, on which rests a six-segment dome with clear and bright ornamentation, anticipating the Rococo style. The floor is also the work of Borromini, who invented a design with black and white marble inlays. On the altar is a large altarpiece dedicated to St. Ivo Hélory, a work by Pietro da Cortona that remained unfinished when the master died in 1669 and was completed by his pupils. On the outside, the dome is enveloped by a lantern tower with convex sides, which, seen from the palace courtyard, contrasts with the concave exedra below. It is crowned by a stepped roof and a spiral lantern which, with its upward thrust, has become the icon of the entire Sapienza building.

According to tradition, the basilica of Sant'Eustachio was founded in the 4th century by the Emperor Constantine on the site of the saint's martyrdom. However, the church is not documented until the 8th century: the only certainty is that we are in the area of the Neronian-Alexandrine Baths, erected by Nero in around 62 and rebuilt by Alexander Severus in 227, from where the two ancient columns leaning against the side of the building, along Via di Sant'Eustachio, originate. We know that the basilica was restored and enlarged in 1196, when the Romanesque bell tower was built, featuring bifora windows that are partly walled in. The present-day appearance of Sant'Eustachio, however, is due to major restructuring, or rather, rebuilding in the first half of the 18th century, the period from which the bronze and polychrome marble high altar by Nicola Salvi and the baldachin above it, created by Ferdinando Fuga in 1746, also date. The work was essential to save the church from the infiltration of water and floods from the Tiber, which were frequent and dangerous. On the façade, towards the corner of Via di Sant'Eustachio, a plaque commemorates the level reached by the river during one of its worst floods, in 1495. The upper portion of the façade is crowned with a deer's head because, according to hagiography, Saint Eustace was converted during a hunting expedition, when he saw a glowing cross (or, according to other sources, the figure of Christ) between the antlers of a deer.

The façade of the Basilica of Sant'Agostino in Campus Martius is majestic and sober, but it has allowed itself two side volutes. It thus reveals both its Renaissance origin and the 18th-century evolution of the church, completed in 1420, rebuilt sixty years later by Giacomo da Pietrasanta and Sebastiano Fiorentino, who enlarged it and "raised" it above the road to protect it from the flooding of the Tiber, and then restructured in the 18th century. In all cases, the work was commissioned by the Order of St Augustine, which previously officiated in the church of San Trifone in Posterula; this explains the double title, "Basilica of San Trifone and Sant'Agostino", sometimes used to refer to this church. The façade, today one of the symbols of the Sant'Eustachio district, was made using travertine recovered from the Colosseum, or so it is said. The interiors, on the other hand, are the result of a mid-18th-century redesign by Luigi Vanvitelli, who, in the same period, added the two side volutes to the façade, rebuilt the dome and bell tower, and redesigned the convent annexed to the basilica, which is still the headquarters of the Order of St. Augustine. At least three masterpieces have survived from the basilica's first season of life: the Prophet Isaiah frescoed by Raffaello on the third left pillar, from 1512; below it, the Madonna with Child and Saint Anne, a contemporary sculpture by Andrea Sansovino; and the highly venerated statue of the Madonna del Parto by Jacopo Sansovino (1521), on the counter façade next to the main portal. Three other fundamental works preserved in this basilica date back to the 17th century: the high altar, designed by Gian Lorenzo Bernini in 1627 and made by Orazio Torriani, with a Byzantine Madonna from the church of Hagia Sophia in Constantinople; the altarpiece with St.Augustine between Saints John the Baptist and Peter the Hermit by Guercino (1637); and above all, the altarpiece of the Pilgrim's Madonna (or the Madonna of Loreto) by Caravaggio (1603–04, in the first left chapel), considered scandalous because of the appearance of the Virgin, who has the features of a model well known in Rome at the time for her courtesan activities, her popular clothing and the realism with which the adoring pilgrim, whose feet are bare and swollen, is depicted. Caravaggio is said to have donated this painting to the basilica as a personal thank you to the Augustinian convent: here, in fact, he had found hospitality after wounding a man out of jealousy in nearby Piazza Navona, thereby avoiding arrest.

Campigna, the small Emilian town with a big green heart Located between Florence and Forlì, a little higher up, immersed in one of the most interesting naturalistic parts of the Emilia Romagna region, Campigna is the smallest village in the Bidente Valley. Located on the border between Romagna and Tuscany. Campigna is a perfect destination in all seasons, for nature lovers. Whether during the summer, exploring the greenery and shaded areas going on walks discovering the local biodiversity or off horseback riding. In the autumn, to experience the beauty of when the colour of the leaves change to red-orange and gold, Campigna is an ideal location. Walking in nature The beating heart of the Natural Park of Casentinesi Forests Monte Falterona and Campigna, established in 1993. Here you'll find the first Italian integral Nature Reserve of Sasso Fratino, from 1959 and open only to scholars with prior authorization. It is easy to understand that this is an area of ​​great naturalistic value, a real paradise for lovers of the mountains and of outdoor living. The ideal starting point for excursions and walks in Campigna is from the Information Point of “La villetta” Park. From there, the Nature Trail starts through the fir trees and then the natural forest of beech trees, silver firs and mountain maples. If you are in Campigna with your family do not miss the educational path "Where the trees touch the sky" along the Cullacce road and the highly accessible equipped path known as "the path for all… the senses". With 600 km of trails, you can spend wonderful days walking in nature, while for those who love mountain biking, there are as many as 20 itineraries to juggle. Passion for skiing Campigna is also perfect in winter, with its ski resort that starts at an altitude of 1510 meters and goes up to 1650. An ideal place for both downhill and cross-country skiing and / or mountaineering. It is also fantastic for hiking and snowshoeing enthusiasts to enjoy the scenery through the white snow-covered trees. Campigna for food lovers After spending the day on the slopes, whether medium or strong difficulty, or on the bobsleigh and sled slopes, hunger will be calling. To restore your strength, Campigna brings the right mix of Romagna and Tuscany to the table, with porcini mushrooms, tasty meats, and renowned cheeses. Spa relaxation for everyone For those who are looking to relax, Campigna also has three thermal spas nearby. In Bagno di Romagna the waters reach 45 °. You can indulge in a restorative bath outdoors with a glorious view of the snow capped mountain peaks.

Grey like the ancient local stone, green like the shady and lush woods that surround it, blue like the clear sky that frames the landscape: these are the colours of Cornello dei Tasso, a village of medieval origin that is one of the most evocative and best-preserved in the region. The village rises sheer above the Brembo river and, due to its houses built in continuity on top of each other, is a small fortified settlement, where typically medieval narrow streets wind between the levels of the houses. The name of the village is linked to the Tasso family, famous above all for the literary work of Torquato Tasso, but also because some of its members founded and managed the European postal service: in fact, Cornello is home to the Tasso and Postal History Museum.

The village of Sestri Levante rises in a spectacular landscape and, with its peninsula dividing the 'two seas' of the Baia del Silenzio and the Baia delle Favole, is one of the most enchanting places people can choose as a destination for a trip. A city of art and culture, its beaches of fine sand are famous, but the beach that best encapsulates the village's soul is at Riva Trigoso: here, every day, fishermen set off to sea, repeating the same ancient gestures for centuries, like a prayer to the sea, so that it will be generous. And the sea is always at the heart of the activities that make travellers' stay special: sailing, windsurfing, canoeing, swimming, but also diving to discover the wrecks sunk during World War II off the coast of Sestri. Finally, the role of the village in literature should not be forgotten: Hans Christian Andersen, who loved this village of sea and traditions, often stayed here in the 19th century, and it is to the famous writer that the town has named an important literary prize linked to the world of children's fiction.

With the earliest evidence dating back to the 2nd millennium B.C., Oria can boast a very ancient origin, over the years growing in importance until it became the capital of Messapia. Frederick II was particularly fond of this town, and the Castle with its triangular plan, three towers, well-preserved walls and extensive parade ground is linked to his figure and myth. Enclosed within the walls, the historic centre can be accessed from Porta Taranto, also known as Porta degli Ebrei (in the 9th century, an important Jewish community settled there and played a fundamental role in the development of the city's literary and scientific fields) and from Porta Manfredi, beyond which one enters the heart of the centre. Amidst squares and narrow streets with a medieval layout, several stately palaces are worth a visit, such as the Sedile, Palazzo Martini Carissimo (home to the Messapian Documentation Centre, with archaeological finds from the area) and Palazzo Vescovile, which houses the Diocesan Museum. Nearby is the Cathedral, with its Baroque appearance, while the Sanctuary of Saints Cosimo and Damiano, not far from the centre, deserves special attention among the many churches that can be visited. There is a packed calendar of events proposed by the municipality: the most important is the Historical Procession of Frederick II and the Torneo dei Rioni, a historical re-enactment in August in which the four districts of the town (Castello, Judea, Lama and Santo Basilio) compete for the Palio.

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.

Relatively populous among the small municipalities of Montefeltro - although not even here do we reach two thousand inhabitants - Carpegna is located on the southern slopes of Monte Carpegna, in an area that is part of the Sasso Simone and Simoncello Interregional Park. In short, the area is excellent for hiking, mountain biking or horse riding, thanks to the many trails available. Climbing to an altiude of 1,204 metres on Sasso Simone, for example, not only offers remarkable views but also lets you reach the remains of a Benedictine abbey and a fortress built by Cosimo de' Medici in the second half of the 16th century. Palazzo Carpegna stands out in the town, with its façade embellished by architectural elements in grey stone and a beautiful two-flight staircase, built by Cardinal Gaspare Carpegna from 1674. Even more remarkable, a couple of kilometres outside the village along Provincial Road 18, is the Parish Church of San Giovanni Battista, of 14th-century origin. The local gastronomic pride is Carpegna ham, cured locally for at least thirteen months, protected by a denomination of origin, and appreciated for its delicate and fragrant flavour.

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.

The church known as "La Martorana" Located in the historic center of Palermo on Piazza Bellini, it was built in 1143 following the orders of George of Antioch, Grand Admiral of the Kingdom of the Two Sicilies under Roger II. It was later merged with the nearby Benedictine convent founded by Goffredo and Eloisa Martorana, hence the alternative name of the church, known as the “Martorana”. It is the most Byzantine monument in Palermo although it has clear Islamic elements. The church has a cross-in-a-square ground plan, oriented with the apse to the east and the facade to the west because people were to pray toward the east, following the typical ritual of Byzantine churches. The choir is supported by columns from earlier Norman buildings, and the upper part of the walls and the dome are entirely covered with Byzantine mosaics, the oldest in Sicily and some of the most important in the world. The Church belongs to the Eparchy of Piana degli Albanesi, a Catholic diocese of the Greek-Byzantine rite of the Byzantine Church in Sicily, and you can often attend liturgical celebrations in Albanian or ancient Greek.

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

Nel 1991 fu fondato il Museo dei Tasso e della Storia Postale, che si trova nei famosi edifici storici del borgo medievale di Cornello. In questo luogo, il cui nome è famoso in tutto il mondo a causa dell’opera letteraria di Torquato Tasso e dell’abilità imprenditoriale di alcuni suoi esponenti, è stato per secoli gestito il servizio postale europeo. Il Museo è composto da quattro spazi espositivi dedicati alla storia postale e alla famiglia Tasso, in cui sono conservati documenti riguardanti la loro attività nella gestione dei servizi postali. Tra di essi, una lettera del 1840 affrancata con il primo francobollo emesso al mondo, il celebre Penny Black.

The landmark of this town is undoubtedly the Torre delle Dodici. At 46 metres high, it dominates Sterzing right from the centre of the town. It was erected in the second half of the 15th century (but rebuilt at the end of the 19th century after a fire) above what was then the city gate, and enriched with a sundial. Next to the tower stands the Jöchlsthurn, a late Gothic residence that now houses the Mining Museum, and the Town Hall, whose splendid council chamber is well worth a visit . The Multscher Museum houses the valuable late Gothic altar panels made by Hans Multscher of Ulm for the parish church. The same building houses the Municipal Museum, while the Hunting and Fishing Museum moves on to Wolfsthurn Castle, one of the symbols of the Baroque in South Tyrol. On the surrounding fortresses stand castel Tasso, with its perfectly preserved rooms, and castel Pietra.

Along the Via Ostiense on the left bank of the Tiber, the Montemartini thermoelectric power station, opened in 1912, is an extraordinary example of the redevelopment of an industrial building into a museum, offering a truly remarkable sightseeing experience. Next to the machinery refurbished in shiny black metal, in the grandiose rooms with their Art Nouveau decorations, shine the ancient marbles of the collections from the Capitoline Museums, of which the plant is the second exhibition centre. More than 400 Etruscan, Hellenic and Roman sculptures are exhibited among colossal diesel engines and a steam boiler, masterpieces of ancient sculpture and precious artefacts found in excavations in the late 19th and early 20th century. The sculptures that once adorned the front of the temple of Apollo Sosianus at the Theatre of Marcellus are prominent. The Boiler Room, painted in an incredible blue green, contains one of the most interesting statues in the collection, that of the Muse Polyhymnia, and that of a resting satyr from the Hadrianic period. Another valuable piece in the room is the large mosaic with hunting scenes from S. Bibiana.

St Paul's gate is an imposing structure of Roman origin, isolated from the circle of the Aurelian wall for the sake of viability, framed within semicircular towers. It marked the beginning of the Via Ostiense and its name derives from its proximity to the basilica of St Paul outside the Walls. A plaque commemorates the fighting that took place there in September 1943, in resistance to the German occupation of Rome. Inside, there is the small Museum of the Via Ostiense, which illustrates the ancient Roman road by means of reliefs, prints and models of the archaeological area of Ostia.

Colosseum one of the 7 Wonders of the World The symbol of the Roman Empire recognized as one of the 7 Wonders of the World, the Flavian Amphitheatre - also known as the Colosseum - is a must-see for anyone visiting Rome. It is the largest amphitheatre in the world, telling the story of the magnificent deeds of gladiators and Ancient Rome. This imposing and evocative place is the most representative icon of Rome and Italy as a whole all over the world; having survived until now, it is a human masterpiece and has always stood out in all its splendour, ensuring unforgettable views and glimpses of the city. The Colosseum today is a dynamic and multi-function place and is used every year to host numerous temporary exhibitions and modern shows for its visitors.

Genoa is one of the most fascinating, unique and beautiful European cities, nestled between the Ligurian mountains and the azure blue sea. Not everyone knows that Genoa boasts the largest historic centre in Europe. It is enchanting to get lost among its maze of alleyways, and quite the workout with the hills. Then there are the monumental streets built by noble families of times gone by and the bustling, kilometre-long promenade, not to mention the unforgettable food.

Colosseum one of the 7 Wonders of the World The symbol of the Roman Empire recognized as one of the 7 Wonders of the World, the Flavian Amphitheatre - also known as the Colosseum - is a must-see for anyone visiting Rome. It is the largest amphitheatre in the world, telling the story of the magnificent deeds of gladiators and Ancient Rome. This imposing and evocative place is the most representative icon of Rome and Italy as a whole all over the world; having survived until now, it is a human masterpiece and has always stood out in all its splendour, ensuring unforgettable views and glimpses of the city. The Colosseum today is a dynamic and multi-function place and is used every year to host numerous temporary exhibitions and modern shows for its visitors.

The Appian Way is a famous road that for millennia has been travelled by merchants and pilgrims, armies and kings, aristocrats and artists: a kaleidoscope of characters who have defined the image of the Romans throughout the world. Everyone knows that all roads lead to Rome, but if there is one road in the capital that holds more wonderful surprises for travelers than any other, it is the Appian Way, especially the section at the end (or the start, depending on your direction): this is the part protected by the Appian Way Regional Park, itself a repository of incredible monuments, such as the Maxentius complex and the tomb of Caecilia Metella. The "regina viarum", the most famous of all Roman consular roads, connected the capital to Campania, then continued on to Brindisi, the port of departure of the crusades en route to Jerusalem. Today, the Appian Way deserves a tourist itinerary of its own. First of all because, unlike many other Roman cultural sites, this route is on the outskirts in relation to the historic centre: the Appian Way is the very first section of the consular road that you encounter as you leave the city, past Porta San Sebastiano. Thanks to the itinerary's slightly peripheral location, south of the city, you can immerse yourself in the lush countryside, dominated by the typical pines of the Lazio region and by large meadows and tree-lined hills. The Appian Way is also known for the incredible variety of its archaeological remains (such as the catacombs of Domitilla and San Callisto) and its religious monuments. Along a short stretch of road, ideal for walking or cycling on a sunny day, or even with the cover of a few clouds, stand ancient structures from the imperial era, flanked by Catholic churches of major historical importance, such as San Sebastiano fuori le mura. Together with the other six main Roman basilicas, this church expects to welcome thousands of worshippers on the occasion of the 2025 Jubilee. Aside from nature, faith and archaeology, the Appian Way also preserves the memory of an event in recent history: we are talking of the Ardeatine massacre, on 24 March 1944, which is commemorated by a touching mausoleum.

Vulcano: the Aeolian island with a relaxing open-air spa If you want to make peace with nature, de-stress and detox from sedentary habits, Vulcano, with its full-of-life, primordial and, above all, healthy elements, is the island for you: its irrepressible volcanic temperament and spectacular, untamed landscape will help you relax and regain your inner balance. Welcoming and friendly Vulcano, a UNESCO World Heritage site less than a kilometre from Lipari, is the closest to the coast among the seven islands of the Aeolian archipelago. On this strip of Sicilian land, under the benevolent gaze of the ancient dormant “Vulcano” volcano, you can delight in the benefits of the thermal and sulphurous waters and an unspoilt seascape, for a holiday far from the masses. The island is very compact, so the best way to travel is by scooter or bicycle. A healthy volcanic vigour According to Greek mythology, Vulcano once housed the forges of Hephaestus, the god of fire and blacksmiths, who was served by none other than the Cyclops. Even though the last eruption on the island, composed of four original craters, was recorded around 1890, the ancient volcano continues to make its presence known through fumaroles, the jets of steam on the crest and on the seabed, and the sulphurous muds renowned for their therapeutic properties. Despite the overwhelming smell of sulphur, if you’re passing by Vulcano, you cannot miss out on the exciting experience of diving into the thermal mud baths, natural volcanic pools with curative properties. It was first made accessible to the public in the 1960s, when the superficial crust covering the pool was removed, without altering the natural habitat. This open-air spa offers remarkable benefits: it can sooth inflammation and pain, heal the skin and is a real pick-me-up for the respiratory system. A hike to the summit with breathtaking views Why not follow your mud bath with a dip in the island's crystal-clear waters? Or this might be your final stop for a well-deserved refreshment after a challenging hike to Vulcano’s Great Fossa Crater, at 391 metres above sea level. It is a somewhat strenuous seven-kilometre route, but is suitable for everyone. We recommend hiking during the cooler hours of the day: it is a three-hour round trip, but it is well worth it for the breathtaking 360-degree views of the archipelago at the summit. Jurassic park in lava stone Starting from Porto Levante, in the northern part of the island, you can head along a paved road to the Vulcanello peninsula: one of the three original eruptive craters of Vulcano, whose activity has shaped a surreal landscape known by the locals as the 'Valley of the Monsters'. Here, on a carpet of fine black sand, nature has fashioned a bizarre kind of Jurassic Park out of lava rock. When you let your imagination run wild, in these sculptures eroded by water and wind you will begin to see fantastical prehistoric monsters, crouching beasts and menacing creatures: in reality, nothing but bubbling lava formations solidified by a sudden cooling of the air. Black beaches with reflective natural pools After tackling monster valleys and volcanic treks, you deserve to treat yourself to some seaside relaxation. The shores of Vulcano are famous for their dark beaches and seabeds, where the lava stone plays with the sunlight’s reflections as it filters through the water, creating striking effects, especially at sunset. You can get a great picture of this at the Sabbie nere (Black Sands) beach, in the bay of Ponente, perhaps the most famous beach on Vulcano. From here, you can hire a boat and visit the enchanting Cavallo cave. Then there is the nearby Pool of Venus, which can only be reached by sea but is well worth the effort: also known as Bagno delle Vergini, it is an immense natural pool of tuff and basalt with inviting turquoise waters. Relaxation and nightlife: all in one beach If, on the other hand, you want to pamper yourself with a dip in bubbling water heated by sulphur vapours, you should stop by Fumarole beach, protected by a wall of rocks and Mediterranean scrubland, nestled in the bay of Ponente. Easily accessible by taxi boat or by taking a downhill path from the main road, Asino beach, private and secluded during the day, becomes a popular destination at night: this well-furnished cove hosts a fantastic bar where you can spend unforgettable evenings amid music and cocktails, the sea and starlit skies.

Salina, the greenest of the Aeolian Islands Thanks to its protected central position, Salina, the second largest of the Aeolian islands, is also the richest in vegetation and water of the entire Sicilian archipelago, and certainly the one where volcanic activity is at its quietest. Known as the Green Island, the ancient volcanic origins of this UNESCO World Heritage Site, testified by the extinct craters of Monte Fossa delle Felci and Monte Porri, two of the six volcanoes that once set it ablaze, are today nestled in a lush Nature Reserve that covers a large part of the territory and hosts several high-altitude routes for trekking enthusiasts. A scenic tour of the villages In another fascinating anomaly, Salina is the only Aeolian Island not administratively dependent on Lipari. It has three autonomous municipalities: Malfa, Leni and Santa Marina – well connected centres accessible by car, scooter or an excellent bus service that runs late into the night in summer. On the slopes of Monte Fossa delle Felci, lively and bustling especially in the evenings, Santa Marina is the place to be, criss-crossed by narrow streets full of bars and boutiques, with its iconic 18th-century church with twin bell towers. Perched on what remains of an ancient volcanic crater, the hamlet of Pollara is also a picture-perfect destination. It is guarded from the sea by an immense sea stack, probably a slab of its own rock that once fell off. Valdichiesa, an enchanted mountain village If you prefer the mountains to the sea, you will find cool respite from all the seaside shenanigans in the village of Valdichiesa, a small hamlet in the municipality of Leni, definitely the most “mountainous” on the island: it looks like an enchanted village, framed by mountains and vineyards. Here you will find the Sanctuary of the Madonna del Terzito, a pilgrimage destination, especially during the traditional celebrations on 23rd July: it is said that the Madonna has appeared in this area three times. A journey through the island's history Along Salina's historical-artistic itinerary it is worth visiting the Saracen caves, a series of interconnecting tunnels dug into the tuff and used as a refuge during the Saracen invasion in 650 AD. You can also reach them at the end of a rather long and demanding trekking route that starts in Santa Marina, among olive and fruit trees. Or why not take a journey back in time, visiting the beautiful, well-preserved archaeological site of Portella, between Santa Marina and Capo Faro? The ruins of the village here date back to the Bronze Age, and the Roman baths sit on the promenade from Santa Marina, now partially eroded by sea storms. An arch with a view If panoramic views are more your thing, keep an eye out for the “Castello” on the road between Pollara and Malfa, which will lead you to a small World War I fort. The square in front of it is a panoramic terrace overlooking the volcanic crater that houses Pollara, its beach and its private stretch of sea. Punta Perciato in Salina is undoubtedly the best place to admire the sunset, one of the most beautiful in the world, they say! This spectacular natural volcanic rock arch lets you watch the sun plunge into the sea next to Filicudi and Alicudi against a bright red sky. Stairway to the beach The best way to explore the sea of Salina is on board one of the many fishing boats that tour the island daily, though there are at least a couple of beaches accessible by land that are well worth a visit. The first is the beach at Pollara, the setting for many of the scenes in Il Postino, the last film starring Massimo Troisi: a gravel cove, dominated by an imposing cliff, creates a natural amphitheatre of tuff overlooking the sea. The nearby Punta Scario cove is also a wonderful place to spend a day in the sun. Immersed in the Mediterranean scrubland, at the bottom of another long flight of steps, it is a true paradise, though the pebbles can be a little uncomfortable under a towel after a while. Not to fear, the little cafe at the bottom of the slope is there to come to your rescue with airbeds for hire!

Panarea, the smallest island of the Aeolian Islands Panarea is the smallest and lowest of the 7 Aeolian islands, but also the oldest, geologically speaking. With its rocks and islets, it forms a kind of “archipelago within an archipelago” in the stretch of sea between Lipari and Stromboli. An unspoilt paradise in the Sicilian sunlight, at sunset becoming the queen of nightlife, epicentre of Aeolian social life. Exclusive destination with an ancient heart Discovered in the 1960s by a large community of artists and intellectuals in search of a lost Eden, a set celebrated by legendary films, over the decades the island has become a popular destination for tourism and the international jet set, attracted by its black beaches, thermal mud baths, whitewashed houses overlooking the sea, amidst patches of bougainvillea, capers and prickly pears. In the small town of San Pietro, the centre of the archipelago's summer nightlife, among clubs and discos to dance until dawn, among boutiques and restaurants, you can also visit a small branch of the Lipari Archaeological Museum: it preserves artefacts that testify to the island's ancient history, from the Neolithic period to the Bronze Age, almost all from the prehistoric village of Capo Milazzese. The fumaroles, the breath of the ancient volcano Traces of the ancient volcanic activity can still be found in the vapours of a series of fumaroles, which emanate from the cracks between the rocks of the Calcara beach and from the sea, where the gas escaping from the seabed forms columns of bubbles visible on the surface. In contrada San Pietro, a thermal spring also gushes out at a temperature of 50°C, used by the island's inhabitants for therapeutic purposes. A single concrete strip crosses the island: no cars are allowed here, but scooters, bicycles and Piaggio Ape cars can be hired to get around. Everything is so cosy that you can reach the other two hamlets on the island, Drautto and Ditella, directly on foot or, if you are tired or laden, aboard the Aeolian taxis, charming little gigs on wheels designed to transport people and luggage. The beaches: beautiful and all to conquer Most of Panarea's coastline consists of high, jagged cliffs, from which it is difficult to access the sea. The beaches here are few and not all within walking distance; however, they are among the most beautiful in the entire archipelago. Only a couple are accessible by land: Cala Junco, along the southern coast of the island, an enchanting natural pool with crystal-clear turquoise waters, protected by high cliffs, also famous for the prehistoric village of Punta Milazzese behind it, consisting of the remains of 23 oval huts. Along the same path, you will also come across Cala degli Zimmari, in a bay backed by a cliff and Mediterranean scrub, the only sandy beach on the entire island, known for its characteristic red colour that, by contrast, gives the sea that washes it a unique cobalt blue hue. Sea excursions and romantic traditions In Panarea, the most popular sport is to rent a boat and head out to sea, to discover the many little-visited coves nestled between its cliffs, islets and seascapes. If you reach Panarea in sweet company, one destination is a must: just 3 kilometres from the east coast is the islet of Lisca Bianca. Formerly exploited as an alum quarry, it houses among its ravines the famous Lovers' Cave: according to legend, lovers who kiss under its rocky vault will remain united for life.

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.

It is the city's opera house, the preferred venue for opera, ballet and classical concerts since 1827. The theatre was damaged during the Second World War and was only rebuilt in 1987. The new building was designed by Ignazio Gardella, Aldo Rossi and Fabio Reinhart. The restoration project has restructured the vestibule of the old theatre, and the western arcade with its embossed ceiling, the work of Carlo Barabino (1826-31). Behind it is the 1990 building, surmounted by a glass cusp, which is illuminated during performances and is now one of the characteristic features of the Genoa skyline. The stage apparatus includes four mobile platforms, activated by sophisticated technology.

A defensive fortress in the heart of Ravenna Just a few minutes on foot from Ravenna train station, the Rocca Brancaleone is a mighty fortification dating back to 1457, when Venice took control of the city. The building, with its evident military and defensive purpose, was intended to protect the city on the northeast side and stem any internal rebellion. Having passed to civilian use with the unification of Italy, in the 1970s it was adapted into an open-air theatre for concerts, operas, film screenings and festivals, such as the Ravenna Jazz Festival. The fortress is divided into two parts: the fortress proper, where the castle warden resided, and the citadel, which housed the troops stationed there and is now equipped as a children's play area. Above the entrance to the fortress, in the Chapel Tower, you can see two bas-reliefs, one depicting the Lion of San Marco and the other a Madonna and Child. The building consists of eight towers. More specifically, these are: the Torrione della Scala, the Torrione dell'Olio, the Torrione della Munizione, the Torrione della Cittadella, the Torrione di Mezzo, the Torrione dell 'Orto, the Torrione Rotto and the Torre Fiorentina or Torre della Ghiacciaia. Entry to the fortress and garden is free all year round, from 8 am to midnight. You can get there either on foot or via bus lines 2, 3 and 5. If you prefer to travel by car, the area has free and paid parking.