18 Best Sights in Turin, Piedmont and Valle d'Aosta

Housed in the restored Manica Nuova (new wing) of the Palazzo Reale, the gallery displays some of the most important paintings from the vast collections of the house of Savoy. The collection is particularly rich in Dutch and Flemish paintings: note the Stigmate di San Francesco (St. Francis Receiving the Stigmata) by Jan van Eyck (1395–1441), in which the saint receives the marks of Christ's wounds while a companion cringes beside him.

You can't miss the unusual square dome and thin, elaborate spire of this Turin landmark above the city's rooftops. This odd structure, built between 1863 and 1889, was intended to be a synagogue, but costs escalated and eventually it was bought by the city; it now houses the Museo Nazionale del Cinema (National Cinema Museum), a worthy sight for film buffs. At scheduled times on weekends, you can walk all the way up to the top of the dome, a journey not for the faint of heart (and not permitted for children under age six).

No visit to this motor city would be complete without a pilgrimage to see the perfectly preserved Bugattis, Ferraris, and Isotta Fraschinis at this museum. Here you can get an idea of the importance of Fiat—and cars in general—to Turin's economy. There's a collection of antique cars from as early as 1896, and displays show how the city has changed over the years as a result of the auto industry.

The Egyptian Museum's superb collection includes statues of pharaohs and mummies and entire frescoes taken from royal tombs. The striking sculpture gallery, designed by the Oscar-winning production designer Dante Ferretti, is a veritable who's who of ancient Egypt. Look for the magnificent 13th-century BC statue of Ramses II and the fascinating Tomb of Kha. The latter was found intact with furniture, supplies of food and clothing, and writing instruments.

This 17th-century palace, a former Savoy royal residence, is an imposing work of brick, stone, and marble that stands on the site of one of Turin's ancient Roman city gates. In contrast to its sober exterior, the two main floors of the palace's interior are swathed in luxurious rococo trappings, including tapestries and gilt ceilings. The gardens were laid out in the late 17th century by André Le Nôtre, landscape designer at Versailles, and the Armeria Reale (Royal Armory) wing holds a collection of arms and armor.

This gallery was opened by Gianni Agnelli (1921–2003), the head of Fiat and patriarch of one of Italy's most powerful families, just four months before his death. There are four magnificent scenes of Venice by Canaletto (1697–1768); two splendid views of Dresden by Canaletto's nephew, Bernardo Bellotto (1720–80); and several works by Manet (1832–83), Renoir (1841–1919), Matisse (1869–1954), and Picasso (1881–1973).

Visible from miles around, this thoroughly Baroque church was designed by Juvarra in the early18th century and, since 1731, has been the burial place of kings: no fewer than 58 members of the Savoy family are memorialized in the crypt.

The most impressive part of Turin's 15th-century cathedral is the Cappella della Sacra Sindone (Chapel of the Holy Shroud), where the famous relic is housed in a sealed casket. The Sacra Sindone is a 12-foot-long sheet of linen, thought by millions to be the burial shroud of Christ, bearing the light imprint of his crucified body. The shroud first made an appearance around the middle of the 15th century, when it was presented to Ludovico of Savoy in Chambéry. In 1578 it was brought to Turin by another member of the Savoy royal family, Duke Emanuele Filiberto.

It was only in the 1990s that the Catholic Church began allowing rigorous scientific study of the shroud. Not surprisingly, the results have been hazy. On one hand, three separate university teams—in Switzerland, Britain, and the United States—have concluded, as a result of carbon-14 analysis, that the cloth dates from between 1260 and 1390. On the other hand, they are unable to explain how medieval forgers could have created the shroud's image. Either way, the shroud continues to be revered as a holy relic, exhibited to the public on very rare occasions.

In 1863 Turin was the first Italian city to begin a public collection devoted to contemporary art. Housed in a modern building on the edge of downtown, a permanent display of more than 600 paintings, sculptures, and installation pieces (from a collection of more than 45,000 works of art) provides an exceptional glimpse of how Italian contemporary art has evolved since the late 1800s. The Futurist, Pop, neo-Dada, and Arte Povera movements are particularly well represented, and the gallery has a fine video and art film collection.

On the east bank of the Po, this neoclassical church is modeled after the Pantheon in Rome. It was built between 1827 and 1831 to commemorate the return of the house of Savoy to Turin after the fall of Napoléon's empire.

Housed in the magnificently renovated 17th-century Palazzo Mazzonis, this is a beautifully displayed collection of Southeast Asian, Chinese, Japanese, Himalayan, and Islamic art, including sculptures, paintings, and ceramics. Highlights include a towering 13th-century wooden statue of the Japanese temple guardian Kongo Rikishi and a sumptuous assortment of Islamic manuscripts.

A small but fascinating collection of artifacts found at archaeological sites in and around Turin is displayed here. A spiral ramp winds down through the subterranean museum; and, as in a real archaeological site, the deeper you go, the older the objects on display. A life-size silver bust of the Roman emperor Lucius Verus (AD 161–169) is one of the masterpieces of the collection.

Half of this building is the Baroque triumph of Guarino Guarini, the priest and architect who designed many of Turin's most noteworthy buildings. Built between 1679 and 1685, his redbrick palace later played an important role in the creation of the modern-day nation. Vittorio Emanuele II of Savoy (1820–78), the first king of a united Italy, was born here, and, after a 19th-century neoclassical extension, Italy's first parliament met here between 1860 and 1865. The palace now houses the Museo del Risorgimento, a museum honoring the 19th-century movement for Italian unity.

In the center of Piazza Castello, this castle was named for the Savoy queen Maria Cristina, who made it her home in the 17th century. The building incorporates the remains of a Roman gate with late-medieval and Renaissance additions, and the monumental Baroque facade and grand entrance staircase were added by Filippo Juvarra (1678–1736). The palace now houses the Museo Civico d'Arte Antica, whose collections comprise more than 30,000 items dating from the Middle Ages to the Baroque era.

This pleasant riverside park is a great place to stroll, bike, or jog. Originally the grounds of a relatively simple hunting lodge, the park owes its present arrangement to Madama Maria Cristina of France, who received the land and lodge as a wedding present after her marriage to Vittorio Amedeo I of Savoy. The building, now home to the University of Turin's Faculty of Architecture, is not open to the public. However, you can visit the Orto Botanico di Torino (Botanical Garden of Turin) just north of the castle.

Surrounded by shops, arcades, fashionable cafés, and elegant Baroque palaces, this is one of the most beautiful squares in Turin. In the center stands a statue of Duke Emanuele Filiberto of Savoy, the victor at the battle of San Quintino, in 1557. The melee heralded the peaceful resurgence of Turin under the Savoy after years of bloody dynastic fighting. The fine bronze statue erected in the 19th century is one of Turin's symbols. At the southern end of the square, framing the continuation of Via Roma, are the twin Baroque churches of San Carlo and Santa Cristina.

Architect, priest, and mathematician Guarino Guarini was in his mid-sixties when he began this church in 1668. The masterful use of geometric forms and the theatrical control of light and shadow show him working at his mature and confident best. Stand in the center of the church and look up into the cupola to appreciate the full effect.

The 18-minute ride from Sassi up the Superga hill is a real treat on a clear day. The view of the Alps is magnificent at the hilltop Parco Naturale Collina Torinese, a tranquil retreat from the bustle of the city. If you feel like a little exercise, you can walk back down to Sassi (about two hours) on one of the well-marked wooded trails that start from the upper station. Other circular trails lead through the park and back to Superga. Note that a bus replaces the train on Wednesday, although the ride up the hill is still just as lovely.