18 Best Sights in Naples, Italy

Naples was originally named by the Greeks after the Mermaid Parthenope (who slew herself after being rejected by Odysseus, at least in the poet Virgil’s version), so it's only fitting that the city should have established one of Europe's first public aquariums in 1874. Founded by the German scientist Anton Dohrn and housed in a Stile Liberty building designed by Adolf von Hildebrandt, the aquarium quickly became the wonder of Naples for children and art-exhausted adults. At the time—when, not so incidentally, the public imagination was being stirred by Jules Verne’s Captain Nemo and Hans Christian Andersen’s Little Mermaid—technological innovations made it possible to funnel seawater directly from the bay into the aquarium.

Officially named the Stazione Zoologica, the aquarium reopened in 2021 after a major six-year overhaul. Tanks still showcase marine life from the Bay of Naples, as well as tropical fish, but the complex now also includes the Museo Darwin-Dohrn (Da-DoM), a few steps away in the leafy Villa Comunale. The highlight is the skeleton of a sperm whale, which washed up in Ischia in 2018, in a room opening up to the bay. Guided tours are available.

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

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

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

At the back of the courtyard are giant photographs of three Roman ships, wood amazingly intact, unearthed during recent digging of the nearby metro station and now hidden away for restoration. A few tour itineraries are offered, including one of the underground prisons and the terrace with its unrivaled views of Piazza Muncipio's Roman excavations.  You must book and pay for entry in advance on the castle's website, but guided tours (in English and Italian), which provide greater access to the castle's rooms, are available only once inside the castle.

Atop a rocky promontory with a fabulous view of the entire city and majestic salons that would please any monarch, this monastery seems more like a palace. The certosa, or charter house, had been started in 1325, but, by the 18th century, it had grown so sumptuous that Ferdinand IV threatened to halt the religious order's government subsidy. Although the Angevin heritage can be seen in the pointed arches and cross-vaulted ceiling of the Certosa Church, over the years dour Gothic was traded in for varicolored Neapolitan Baroque.

The sacristy leads into the Cappella del Tesoro, with Luca Giordano's ceiling fresco of Judith holding aloft Holofernes's head and paintings by Jusepe de Ribera (the Pietà over the altar is one of his masterpieces). The polychrome marble work of the architect and sculptor Cosimo Fanzago (1591–1678) is at its finest here, and he displays a gamut of sculptural skills in the Chiostro Grande (Great Cloister). Fanzago's ceremonial portals at each corner of the cloister are among the most spectacular of all Baroque creations, aswirl with Michelangelo-esque ornament.

The nearby Museo dell’Opera, which isn't always open, contains sociology-theme rooms that add up to a chronological tour of the city. One room has 13 gouaches of Vesuvius, and another has paintings depicting the Plague. The Quarto del Priore (Prior's Quarters), the residence of the only monk allowed contact with the outside world, is an extravaganza of salons filled with frescoes, majolica-tile floors, and paintings, plus extensive gardens where scenic pergolati (roofed balconies) overlook the bay.

Entering from the Quarto del Priore side, you come upon two splendid gilded coaches and then the "Vessels of the King" naval museum, with a 20-meter (65-foot) boat occupying a whole room. Beyond this lie two rooms with Early Renaissance masterpieces; subsequent rooms hold works by later artists, including the tireless Giordano. Past the library, with its heavenly majolica-tile floor, comes the Sezione Presepiale, the world’s greatest collection of Christmas cribs. Pride of place goes to the Presepe (Nativity scene) of Michele Cuciniello. Equally amazing in its own way is a crib inside an eggshell.

The beautifully restored 17th-century Basilica di Pietrasanta, a Cosimo Fanzago Baroque masterpiece built on the site of the Roman Temple of Diana, hosts regular multimedia exhibitions, but the star attraction here is the underground visit to a section of Naples’s oldest aqueduct. Four tours a day descend 40 meters (131 feet) below the busy Via dei Tribunali to large lavishly illuminated cisterns hewed from excavated tuff two millennia ago, still filled with running water (thanks to a collaboration with the city’s waterworks).

The first thing Mayor Luigi de Magistris did after his 2011 election was to banish traffic from the city's seafront. Strolling, skating, or biking along Via Caracciolo and Via Partenope with Capri, Vesuvius, and the Castel dell'Ovo in your sights is a favorite Neapolitan pastime.

Also known as MANN, this legendary museum, located on the northern edge of the Centro Storico district, has experienced something of a rebirth in recent years. Its unrivaled collections include world-renowned archaeological finds that put most other museums to shame, from some of the best mosaics and paintings from Pompeii and Herculaneum to the legendary Farnese collection of ancient sculpture. The core masterpiece collection is almost always open to visitors, while seasonal exhibitions feature intriguing cultural events, collaborations, and contemporary artists. Some of the newer rooms, covering archaeological discoveries in the Greco-Roman settlements and necropolises in and around Naples, have helpful informational panels in English.

The dazzling funerary chapel of the Sangro di Sansevero princes combines noble swagger, overwhelming color, and a touch of the macabre—which expresses Naples perfectly. The chapel was begun in 1590 by Prince Giovan Francesco di Sangro to fulfill a vow to the Virgin if he were cured of a dire illness. The seventh Sangro di Sansevero prince, Raimondo, had the building modified in the mid-18th century and is generally credited for its current baroque styling, the noteworthy elements of which include the splendid marble-inlay floor and statuary, including Giuseppe Sanmartino's spine-chillingly lifelike Cristo Velato (Veiled Christ).

The grandiose, 18th-century, neoclassical, Bourbon royal palace houses fine and decorative art in 124 rooms. The main galleries on the first floor are devoted to the Farnese collection, as well as work from the 13th to the 18th century, including many pieces by Dutch masters, as well as an El Greco and 12 Titian paintings. On the second floor look for stunning paintings by Simone Martini (circa 1284–1344) and Caravaggio (1573–1610).

In the courtyard of the 16th-century Palazzo Marigliano is this world-famous hospital for dolls, which has a small museum dedicated to its poignant mission. Doll limbs, eyes and well-cuddled, antique characters of all shapes and descriptions spill from packed shelves. In business since 1895, it's a wonderful place to take kids (and their injured toys) and for anyone who retains a childhood sense of wonder with a penchant for the uncanny.

A leading Naples showpiece created as an expression of Bourbon power and values, the Palazzo Reale dates from 1600. Renovated and redecorated by successive rulers and once lorded over by dim-witted Ferdinand IV who liked to shoot his hunting guns at the birds in his tapestries, it is filled with salons designed in the most lavish 18th-century Neapolitan style.

The Spanish viceroys originally commissioned the palace, ordering the Swiss architect Domenico Fontana to build a suitable new residence for King Philip III, should he ever visit Naples. He died in 1621 before ever doing so. The palace saw its greatest moment of splendor in the 18th century, when Charles III of Bourbon became the first permanent resident. The flamboyant Naples-born architect Luigi Vanvitelli redesigned the facade, and Ferdinando Fuga, under Ferdinand IV, created the Royal Apartments, sumptuously furnished and full of precious paintings, tapestries, porcelains, and other objets d'art.

To access these 30 rooms, climb the monumental Scalone d'Onore (Staircase). On the right is the Court Theater, built by Fuga for Charles III and his private opera company. Damaged during World War II, it was restored in the 1950s; note the resplendent royal box. Pass through three regal antechambers to Room VI, the Throne Room, the ponderous titular object dating to sometime after 1850.

In the Ambassadors’ Room, choice Gobelin tapestries grace the beige fabric walls and the ceiling honors Spanish military victories, painted by local artist Belisario Corenzio (1610–20). Room IX was bedroom to Charles's queen, Maria Cristina. The brilliantly gold private oratory has beautiful paintings by Francesco Liani (1760). The Great Captain's Room has ceiling frescoes by Battistello Caracciolo (1610–16); all velvet, fire, and smoke, they reveal the influence of Caravaggio’s visit to the city. A jolly wall-mounted series by Federico Zuccari depicts 12 proverbs.

Room XIII was Joachim Murat's writing room when he was king of Naples; brought with him from France, some of the furniture is courtesy of Adam Weisweiler, cabinetmaker to Marie Antoinette. The huge Room XXII, painted in green and gold with kitschy faux tapestries, is known as the Hercules Hall, because it once housed the Farnese Hercules, an epic sculpture of the mythological Greek hero. Pride of place now goes to the Sèvres porcelain.

The Palatine Chapel, also known as the Royal Chapel, redone by Gaetano Genovese in the 1830s, is gussied up with an excess of gold, although it has a stunning multicolor marble intarsia altar transported from a now-destroyed chapel in Capodimonte (Dionisio Lazzari, 1678). Also here is a Nativity scene with pieces sculpted by Giuseppe Sammartino and others. Another wing holds the Biblioteca Nazionale Vittorio Emanuele III. Starting out from Farnese bits and pieces, it was enriched with the papyri from Herculaneum found in 1752 and opened to the public in 1804. The sumptuous rooms can still be viewed, and there's a tasteful terrace that looks onto Castel Nuovo.

In the Bourbon stables, the Galleria del Tempo (open afternoons and evenings only) offers a multimedia trip through the history of Naples. The Museo Caruso (open mornings only) in the monumental Sala Dorica is dedicated to the great Neapolitan tenor Enrico Caruso.

Atop Posillipo's hill, this small yet magical complex has a 1st-century villa and two amphitheaters; access is though the Grotta di Seiano, a 2,500-foot tunnel cut though the tufa rock over two millennia ago. Guided tours (in Italian, book ahead) are given at 11 weekdays, 10:30 and 12:15 on weekends and holidays. Evening concerts are often held here in the summer.

One of the Centro Storico's defining sites, this octagonal church was built around the corner from the Duomo for a charitable institution seven noblemen founded in 1601. The institution's aim was to carry out acts of Christian charity like feeding the hungry, clothing the poor, nursing the sick, sheltering pilgrims, visiting prisoners, and burying the indigent dead—acts immortalized in the history of art by Caravaggio's famous altarpiece depicting the Sette Opere della Misericordia (Seven Acts of Mercy). Pride of place is given to the great Caravaggio above the altar.

The church of San Lorenzo features a very unmedieval facade of 18th-century splendor. Due to the effects and threats of earthquakes, the church was reinforced and reshaped along Baroque lines in the 17th and 18th centuries. Begun by Robert d'Anjou in 1270 on the site of a previous 6th-century church, the church has a single, barnlike nave that reflects the Franciscans' desire for simple spaces. Also found here is the church's most important monument: the tomb of Catherine of Austria (circa 1323), by Tino da Camaino.

This church, simple and rather anonymous from the outside, houses some of the most important ensembles of Renaissance sculpture in southern Italy. Begun with the adjacent convent of the Olivetani and its four cloisters in 1411, it was given a Baroque makeover in the mid-17th century by Gennaro Sacco.

To the left of the Ligorio Altar is the Mastrogiudice Chapel, whose altar contains Scenes from the Life of Jesus (1489) by Benedetto da Maiano, a great name in Tuscan sculpture. On the other side of the entrance is the Piccolomini Chapel, with a Crucifixion by Giulio Mazzoni (circa 1550), a refined marble altar (circa 1475), and a funerary monument to Maria d'Aragona by another prominent Florentine sculptor, Antonello Rossellino (circa 1475).

With museum-worthy paintings and sculptures, this church is a must-see. The Formiello in the name refers to the formali, the nearby underground aqueduct, which, according to history, the Aragonese also used to capture the town. The church and its dark piperno stone was designed for the Dominicans by the Tuscan architect Romolo Balsimelli, a student of Brunelleschi.

The side chapels are as interesting for their relics as they are for their art. In the Orsini chapel are the elaborately framed remains of Vincent Martyr and other Dominican saints, while the fourth chapel displays some 20 martyrs' skulls that were brought to Naples by King Alfonso in 1490 after the 1480 Ottoman sack of Otranto, during which 813 Christians were executed for refusing to renounce their faith. This event is depicted in the rather surrealistic altar painting of the beheading of Antonio Primaldo, whose decapitated body, through the strength of faith, stands upright to confound his Ottoman executioner.

In the fifth chapel, a cycle of paintings by Giacomo del Po shows the life and afterlife of St. Catherine, while in the vault Luigi Garzi depicts the same saint in glory. Up in the faded dome, painted by Paolo di Mattei, Catherine and the Madonna implore the Trinity to watch over the city.

Offering a stark and telling contrast to the opulence of the nearby Gesù Nuovo, Santa Chiara is the leading Angevin Gothic monument in Naples. The fashionable house of worship for the 14th-century nobility and a favorite Angevin church from the start, the church of St. Clare was intended to be a great dynastic monument by Robert d'Anjou. His second wife, Sancia di Majorca, added the adjoining convent for the Poor Clares to a monastery of the Franciscan Minors so she could vicariously satisfy a lifelong desire for the cloistered seclusion of a convent. This was the first time the two sexes were combined in a single complex.

Built in a Provençal Gothic style between 1310 and 1328 (probably by Gagliardo Primario) and dedicated in 1340, the church had its aspect radically altered, as did so many others, in the baroque period. A six-day fire started by Allied bombs on August 4, 1943, put an end to all that, as well as to what might have been left of the important cycle of frescoes by Giotto and his Neapolitan workshop. The church's most important tomb towers behind the altar. Sculpted by Giovanni and Pacio Bertini of Florence (1343–45), it is, fittingly, the tomb of the founding king: the great Robert d'Anjou, known as the Wise. Nearby are the tombs of Carlo, duke of Calabria, and his wife, Marie de Valois, both by Tino da Camaino.

Around the left side of the church is the Chiostro delle Clarisse, the most famous cloister in Naples. Complemented by citrus trees, the benches and octagonal columns comprise a light-handed masterpiece of painted majolica designed by Domenico Antonio Vaccaro, with a delightful profusion of landscapes and light yellow, azure, and green floral motifs realized by Donato and Giuseppe Massa and their studio (1742).

Designed by Catalan architect Oscar Tusquets Blanca and opened in 2012, this is the most impressive of the numerous Stazioni dell'Arte on the city's Metro Linea 1. First archaeological remains and then mosaics by William Kentridge lead to a 165-foot escalator descending below Robert Wilson's glittering oval Crater de Luz. A 560-foot corridor, connecting the station to the Quartieri Spagnoli, is lined with light boxes depicting Razza Umana (Human Race) by Oliviero Toscani. Lauded by both CNN and Britain's Telegraph, it also won a prestigious ITA Tunneling Award in 2015.