10 Best Sights in Palermo and Western Sicily, Sicily

Housed, perhaps appropriately, in an ex-orphanage in the center of Corleone, the Centro Internazionale di Documentazione sulla Mafia e del Movimento Antimafia, or C.I.D.M.A., chronicles the dark history of the criminal organization that has been identified with Sicily for much of the 20th century and beyond. Most of the story is told through a moving exhibition of black-and-white photographs, almost all taken by Letizia Battaglia, who bravely made it her life's work to record the Mafia's activities in Sicily, in particular the arrests of Mafia operatives and the deaths of their victims. One room holds the vast collection of files used in the Maxi-Trial of Mafia suspects that took place between 1986 and 1992 and led to the murders of the judges Giovanni Falcone and Paolo Borsellino, who are also remembered here. There is space given to the pentito (informant) Tomasso Buscetta, whose testimony resulted in a slew of arrests, but whose entire family was wiped out by vengeful hitmen. It's a sad and sobering experience to hear about such atrocities, and a visit to the center is best undertaken with a guide, without whose explanations you would miss much essential information. Call ahead to book a guided tour (available in English), and to confirm opening times.

Founded and still run by the Rallo family, whose involvement in wine production dates from 1851, the Donnafugata Winery is open for tastings and tours of its cantina (wine cellar); reservations are required and can be made online or by phone. It's an interesting look at the wine-making process in Sicily, and it ends with a sampling of several whites and reds, an optional food pairing, and a chance to buy a bottle. Don't miss the delicious, full-bodied red Mille e Una Notte, and the famous Ben Ryè Passito di Pantelleria, a sweet dessert wine made from dried grapes.

 Monreale's splendid cathedral is lavishly executed with mosaics depicting events from the Old and New Testaments. It's a glorious fusion of Eastern and Western influences, widely regarded as the finest example of Norman architecture in Sicily. After the Norman conquest of Sicily, the new princes showcased their ambitions through monumental building projects. William II (1154–89) built the church complex with a cloister and palace between 1174 and 1185, employing Byzantine craftsmen.

The major attraction is the 68,220 square feet of glittering gold mosaics decorating the cathedral interior. Christ Pantocrator dominates the apse area; the nave contains narratives of the Creation; and scenes from the life of Christ adorn the walls of the aisles and the transept. The painted wooden ceiling dates from 1816–37 while the roof commands a great view (a reward for climbing 172 stairs). The wood and metal organ, the only one in Europe with six keyboards and 10,000 pipes, was restored after lightning damage in 2015, and played by Mick Jagger on a private visit in 2021.

Bonnano Pisano's bronze doors, completed in 1186, depict 42 biblical scenes and are considered among the most important medieval artifacts still in existence. Barisano da Trani's 42 panels on the north door, dating from 1179, present saints and evangelists. To visit, book a spot on www.coopculture.it at least a week in advance.

One piazza over from the dancing nymphs of Fontana Pretoria, this church, with its elegant Norman campanile, was erected in 1143 but had its interior altered considerably during the Baroque period. High along the western wall, however, is some of the oldest and best-preserved mosaic artwork of the Norman period. Near the entrance is a fascinating mosaic that shows the Norman King Roger II being crowned by Christ. In it Roger is dressed in a bejeweled Byzantine stole, reflecting the Norman court's penchant for all things Byzantine. Archangels along the ceiling wear the same stole wrapped around their shoulders and arms. The much plainer San Cataldo is next door.

Driving along the flat and winding coast road north of Marsala, you'll soon come across the extraordinary series of salt pans glistening in the shallows of Sicily's largest lagoon, the Stagnone di Marsala. The shallow depth of the lagoon, ranging from 2 to 6 feet, has made it perfect for the production of salt, and it has been put to this purpose since Phoenician times. The sheer flatness of the scene is varied only by the conical heaps of salt and a scattering of the disused windmills once used to supply power. The scene is still and quiet most of the time, but you'll sometimes see pockets of activity, with full wheelbarrows of salt being hauled to the conveyor belts that create the mounds. The stacks of earthenware tiles you'll see everywhere are used to weigh down the salt to prevent it being from blown away by gusts of wind. It's an extremely photogenic tableau, with the light changing through the day, the occasional presence of spindly pink flamingos in the lagoon, and Mozia and the Egadi archipelago looming through the haze. The narrow coastal road is one-way for much of its length, and the cycle track running alongside it enables the area to be comfortably toured on two wheels.

There's a small museum dedicated to the salt extraction industry in a restored windmill at the Ettore e Infersa embarcation point, where souvenir samples of salt can be purchased. You'll also find the Mamma Caura bar-restaurant here ( www.seisaline.it  Closed Tues. Oct.–May), with outdoor tables and a rooftop terrace.

One of Bagheria's most impressive palaces, Villa Cattolica has been meticulously renovated and converted into a gallery devoted to the artist Renato Guttuso (1911–87), who was born in the town. Guttuso's fierce, expressionist style and vivid sense of color made him one of Sicily's most renowned modern artists, and the gallery traces his career from his earliest sketches in the 1920s and 1930s to his later bold canvases, including his last work, a huge collective portrait of his mistresses and muses. Guttuso started his career painting carretti (farmer's carts) in the traditional style and the first rooms feature a collection of painted carts. The gallery also hosts work by Guttuso's peers and contemporaries, and a separate building holds an exhibition of Italian film posters, including one for the film Kaos, designed by Guttuso. The artist's tomb lies in the villa's garden.

Joseph Whitaker's former home on Mozia island now holds the Museo Whitaker, displaying a good selection of the finds excavated on the island. As you enter, you'll see useful aerial photographs and models showing the island now and as it might have looked under Carthaginian rule. Most of the exhibits consist of steles, pottery, painted vases, and a scattering of spearheads and jewelry, but the centerpiece is the so-called youth of Motya, an elegantly sinuous life-size statue of a poised young man, one hand resting on his hip, exuding a powerful air of self-assurance. The statue is also known as the "charioteer,"  though there is no evidence that this was his role.

Outside the museum, walk in any direction to take in the dispersed archaeological site. You can't go wrong tracing the perimeter of the island, which will bring you to the Tophet (shrine and burial ground) on the northern shore, and the Cappiddazzu sanctuary, close to where the youth of Mozia was unearthed. There is little above thigh height until you come to such imposing structures as the north gate, the city's main entrance that stood at the end of a causeway (now submerged) that formerly linked it to the Sicilian mainland; the eastern tower; and the remains of the sturdy Carthaginian city walls. There are panels and charts throughout, providing explanations and background on what you're seeing.

Allow at least three hours for a thorough exploration of the museum and island, or longer if you want to bring a picnic lunch or pick up a snack at the café. Sunhats are strongly recommended.

Dating from the 18th century but closed for most of the last four decades, the Palazzo Butera has been transformed by its gallerista owners, Massimo and Francesca Valsecchi, into one of Sicily’s (and Italy’s) most imaginative museum collections. Its labyrinthine rooms now display a heady mixture of old and new art. The collection’s strength lies in its bold juxtapositions, with works by an international roster of experimental modern artists of the likes of Gilbert and George, and David Tremlett, exhibited alongside classical landscapes and graceful Sicilian furniture from the 19th century. Painted ceilings remain from the palace's Baroque beginnings, some of them artfully peeled back to reveal the wooden construction behind them. Diverse temporary exhibitions displayed on the ground floor add to the mix. There’s a lot to take in, but if you need a break from all the hectic creativity, head for the terrace, accessed from the second floor, which provides benches and a walk around one of the two courtyards as well as views over the harbor. You can get even better views from the viewing platform reached from the roof, while further up, steps lead to a lofty view of the harbor, Monte Pellegrino, and, inland, the whole of the Conca d’Oro plain in which the city sits.

Extending for 7 km (4½ miles) along the western edge of the Golfo di Castellammare, the Riserva dello Zingaro nature reserve is one of the few stretches of coastline in western Sicily that is not built up. It's only accessible on foot, using a good choice of paths, and offers exhilarating views and some fabulous small beaches. The best time to visit is late spring when both wildflowers and birds are plentiful.

The reserve's two entrances are roughly 1 km (½ mile) north of Scopello and, at its northern end, 12 km (7½ miles) east of San Vito Lo Capo. Entry costs €5 per person. The reserve is open daily all year (until 6 in summer, or 4 in winter), and in winter (October–May) it is possible to stay overnight in very rudimentary shelters for up to two nights. The shelters, which lack electricity, gas, heating, beds, toilets, and drinking water, can be booked for €10 per person per night via the reserve's website.

Route maps can be picked up from either of the entrances. There are three main routes, color-coded green (for the coastal trail), yellow (for the central trail), and orange (for the high trail). A few trails connect the routes, but these are not always where you might want them. The coastal trail is the easiest, while the high trail is the hardest.

The terrain is mostly rock and scrub, with little shade. Along with the variety of vegetation, there is plenty of unusual wildlife to look out for, including buzzards, kestrels, hoopoes, owls, and the rare Bonelli's eagle. Bees, grasshoppers, and lizards are ubiquitous, and snakes (mostly harmless) are also common. You can pick up illustrated guides to the reserve's flora and fauna at the two entrances.

The only food and refreshments you'll find are also at the two entrances, where you can fill up your water flasks. Be sure to carry plenty of water, and you should also come equipped with sun protection and sturdy footwear (sandals are not permitted).

There are numerous small, niche swimming spots in the Capo San Vito area, but the grandest and by far the most popular beach of all—and the centerpiece of the whole town—is San Vito Lo Capo's beach, a blissful arc of silky, white sand at the foot of Monte Monaco. Most of its length of nearly 3 km (2 miles) is public and free to use, but sections have been roped off as private lidos, where you'll pay €15–€20 for a full day's use of sunbeds and a parasol, plus access to bars and bathroom facilities. Needless to say, both public and private beaches get intensely crowded in July and August, which is the perfect time to seek out all those other lesser-known beaches in the vicinity. Amenities: food and drink; lifeguards; toilets; water sports. Best for: families; swimming; walking.