Verona Amphitheater stands as one of the most remarkable Roman amphitheatres still in existence. Built around 30 AD, it once formed the lively heart of entertainment in ancient Verona. Its elliptical shape, strong stone arches, and imposing tiers made it a masterpiece of Roman engineering, perfectly designed to host crowds who came to witness gladiatorial combat and public spectacles. Today, more than 500,000 visitors each year step into the Arena to reconnect with this extraordinary past.

Constructed from pink and white limestone quarried in nearby Valpolicella, the amphitheatre originally seated up to 30,000 spectators. A devastating earthquake in 1117 damaged the structure and destroyed most of its outer ring, leaving only a single surviving portion, known as the “Wing”. Even with a reduced capacity of around 22,000, the Arena still conveys the scale and innovation that made it one of the largest venues in the Roman world.

In the modern era, the Arena has earned international acclaim as the home of the Verona Opera Festival, held every summer beneath the open sky. Its acoustics are so exceptional that performers often sing without amplification, their voices carried naturally through the ancient stone. Legendary operatic stars such as Maria Callas, Plácido Domingo, and Luciano Pavarotti have graced this stage, along with world-renowned rock and pop artists.

Visiting the Arena offers a chance to explore its historic passageways, climb the stone seating tiers, and admire views across Bra Square. Yet the most unforgettable experience comes at night, when the amphitheatre glows beneath the lights and a performance begins.

Bra Square, often simply called “La Bra”, is the largest and most prominent square in Verona. Positioned at the edge of the historic center, it acts as a welcoming entrance to the city’s most celebrated landmarks. Its name derives from the Lombard word braida, meaning “wide open space”, a reminder of when this area lay just beyond the Roman city walls, used as an open field for markets and gatherings.

The square began to develop its current shape in the Middle Ages, as Verona expanded outward from the ancient core. Over the centuries, noble families and city authorities commissioned grand residences and civic buildings around the perimeter. By the 17th and 18th centuries, the area had transformed into an elegant public space, reflecting influences from Palladian and later Neoclassical styles. It has hosted everything from military parades to community celebrations and remains one of the busiest civic squares in northern Italy.

The dominant feature of the square is the Verona Arena, a 1st-century Roman amphitheater renowned for its impressive state of preservation and exceptional acoustics. Nearby stands Barbieri Palace, Verona’s neoclassical City Hall, completed in the mid-19th century, and Gran Guardia Palace, a large 17th-century building that now serves as a venue for major exhibitions and cultural events.

Visitors can stroll along the Liston, the marble-paved walkway lined with cafés and restaurants — a popular place to sit outdoors and enjoy the atmosphere. On the southern side, small green gardens provide shaded seating and feature monuments such as the Bersaglieri Monument, dedicated to Italy’s historic light infantry regiment. Traces of the ancient Roman walls and later fortifications remain are also visible.

The Old Castle Museum, better known as the Castelvecchio Museum, is housed within the city’s impressive medieval fortress. Built between 1354 and 1356 by the Scaliger family to protect Verona’s rulers and provide a strategic escape route, the castle later served as a major military stronghold. During the 15th century, it stored weapons and munitions, and by the 18th century it had become the seat of the Venetian military academy. In 1923, the historic structure was transformed into a museum. Its location on the riverbank was deliberately chosen to ensure rapid escape across the bridge toward the Scaligers’ allies in northern territories.

Today, the museum’s collections span from the 12th to the 18th centuries, featuring Veronese sculptures, frescoes, paintings, ceramics, jewelry, weapons, and bells. Highlights include the Sepulcher of Saints Sergius and Bacchus, the Crucifix, the graceful Madonna of the Quail, and depictions of the Holy Family and revered saints. Works by major Italian artists such as Giovanni Bellini, Pisanello, and Paolo Veronese reflect Verona’s rich artistic heritage within the wider context of northern Italy.

The castle has undergone numerous modifications over its 700-year history. A major restoration led by architect Carlo Scarpa between 1958 and 1974 revived its medieval character. Scarpa’s design approach is now considered a masterpiece of 20th-century museum architecture, carefully combining historic structures with modern materials like concrete and iron to highlight the building’s evolution over time.

Exploring the museum is a delight, as its galleries lead through well-organised rooms, passageways, and open courtyards that reveal layers of history. Visitors can also walk along the battlements, where views of the Adige River and the Castelvecchio Bridge complete the experience. The bridge itself, known as Scaligero Bridge, was rebuilt after World War II, reconnecting the castle to its historic defensive route.

The Scaligero Bridge, also known as the Castelvecchio Bridge, is a remarkable three-arch span crossing the Adige River. Built around 1354 and 1356 by the Scaliger family, it served a vital defensive purpose as a swift escape route from the Old Castle toward the protection of the family’s allies in Tyrol, where ruler Cangrande II’s son-in-law held influence. Today, its elevated walkway provides stunning views of Verona and the river winding through the city.

Stretching roughly 120 meters, the bridge is one of Verona’s most photographed landmarks and remains a popular pedestrian route. The original structure was destroyed in 1945 by retreating German troops during World War II, but a meticulous reconstruction in the 1950s reused a significant portion of the recovered stonework, restoring the bridge closely to its medieval appearance. During reconstruction, archaeologists documented original Roman foundations beneath parts of the structure, highlighting the strategic importance of this river crossing long before the Scaligers’ fortifications.

Its fortified design — red brick battlements above and white stone below — gives the impression of a fortress set across the river. A charming local legend claims that the Lord of Verona rewarded the bridge’s anonymous engineer with Saint Martin’s sword for his success. Because the bridge was designed wide enough for mounted soldiers to cross quickly, it stood out as one of the most innovative defensive bridges of its time.

By day, the bridge’s crenellations appear bold and powerful, while at night, illuminated against the water, it becomes one of Verona’s most atmospheric and romantic sights. The viewpoint from the bridge also frames Saint Peter’s Castle in the distance, another historically significant hilltop fortification.

The Basilica of Saint Zeno is deeply tied to the romantic legacy of Romeo and Juliet. Tradition holds that this is the church where Shakespeare imagined the young lovers’ secret wedding, a hopeful moment that briefly united the rival houses of Capulet and Montague before tragedy struck.

The Basilica stands on the site where Saint Zeno, Verona’s beloved patron and 8th bishop, was buried after his death in 371 AD. Its creamy tuff façade glows warmly in the daylight, while on the left, visitors can explore the elegant 13th-century cloister, once part of a Benedictine abbey. To the right rises the slender 12th-century bell tower.

Above the entrance is the famous rose window known as the Wheel of Fortune, designed by Master Briolato. Its rotating cycle of luck and loss reflects the dramatic twists of Shakespeare’s tale, where love, fate, and family honor collide. Beneath it, a set of bronze doors from the 12th century depict biblical narratives and local legends, including the famous episode of Saint Zeno performing an exorcism.

Inside, the church is adorned with frescoes ranging from the 12th to the 15th century. A 12th-century marble statue of Saint Zeno greets visitors with a serene smile, while the celebrated 1459 altarpiece by Andrea Mantegna illustrates the Madonna and Child Enthroned surrounded by saints. Beneath the main altar lies the crypt, where Saint Zeno rests in a transparent sarcophagus.

Tip:
The audio guide included with admission provides excellent insights into the art, architecture, and stories connected to this impressive monument.

Verona Cathedral is dedicated to the Assumption of the Virgin Mary and stands on the site of earlier churches destroyed in the 1117 earthquake. The present structure, consecrated in 1187, is largely Romanesque, with Gothic elements added during later renovations. It remains the heart of Verona’s historic religious complex.

The west façade features a double porch, Lombard bands, and small pinnacles typical of northern Italian Romanesque. The main portal, sculpted by Maestro Nicolò in 1139, includes reliefs of Saint John the Evangelist and Saint John the Baptist, as well as legendary protectors Roland and Oliver.

Ten prophets flank the doorway, and the tympanum above depicts the Virgin and Child, the Adoration of the Magi, and the Adoration of the Shepherds, forming a complete Nativity cycle. On the south side, a 12th-century portal carved by Peregrinus shows scenes from the story of Jonah. The bell tower, begun in the 16th century and finished only in the 20th, reflects a mix of styles.

Inside, a 15th-century Gothic renovation introduced pointed arches supported by alternating red and white Verona marble columns. The church contains several noteworthy works of art, including Titian’s “Assumption of the Virgin” in the left transept — one of Verona’s finest Renaissance paintings — and a Crucifixion by Giambattista da Verona from 1534. In the western bays, frescoes by Giovanni Maria Falconetto date to 1503.

The Chapter Library, connected to the cathedral, is among Europe’s most important ecclesiastical libraries and holds exceptional manuscripts, including the Leonine Sacramentary, regarded as the oldest surviving text of the Roman Rite. Just steps away, the Canons’ Cloister reveals archaeological remains of earlier cathedral buildings, helping visitors visualize how the site evolved from early Christianity onward.

Tip:
Continue to the Baptistery of Saint Giovanni in Fonte, featuring an impressive octagonal baptismal font richly carved with Biblical scenes. The archaeological areas and audio guide provide helpful explanations of the cathedral’s Roman origins and later transformations.

Stone Bridge is the oldest bridge in Verona and one of the most impressive surviving Roman structures in the city. First built in the 1st century BC, it provided access across the Adige River at a strategic point where the current bends naturally, offering protection to much of the early settlement. Its name derives from the Latin Pons Lapideus, meaning “Stone Bridge”, distinguishing it from the earlier wooden bridges that were often destroyed by seasonal floods.

The bridge originally featured five arches constructed from large blocks of white limestone, a typical Roman building material. Over time, floods and warfare led to repeated damage and numerous repairs using different techniques and materials. This explains the striking contrast visible today between the Roman stone arches and the later red brickwork.

Only two arches on the left side remain largely from the Roman period. The two right-side arches were reconstructed in the Scaliger era, while the central arch dates to Venetian times. A defensive watchtower was added during the Middle Ages, controlling movement across the bridge and guarding the northern entrance to the city.

The Roman design included a pronounced central arch, giving the bridge a slightly raised, donkey-back profile that improved resistance to flooding by allowing high water to pass underneath more easily. The structure also included small drainage openings to relieve pressure during periods of high flow from the Adige River.

During World War II, retreating German troops destroyed the bridge in 1945. Fortunately, it was carefully reconstructed in 1957, using as many original stones as possible retrieved from the river. Today, Stone Bridge continues to serve pedestrians and remains one of the most scenic viewpoints in Verona, beautifully linking the historic center with the Roman Theatre and hills of Veronetta across the river.

Saint Peter Fortress sits high on a hill overlooking Verona, a defensive position first used in Roman times. The Romans called this hill Rooster Mountain and considered it a strategic and sacred place, constructing both a temple and a theatre on the slopes. Archaeological discoveries suggest the presence of military structures on the summit as early as the 1st century BC.

The site later took the name Castle of Saint Peter after a medieval church dedicated to Saint Peter was built here. Fortifications grew around it, and between the 14th and 15th centuries the Visconti of Milan constructed a castle, known as Visconti Castle, to reinforce control over the city. This castle formed an important link in defensive lines running along the Adige River.

Much of the medieval complex was destroyed in 1801 by Napoleonic forces. The subsequent Austrian occupation led to the demolition of Saint Peter’s Church as well, making space for military barracks — the structures that still dominate the hilltop today. The Austrians equipped the site with a cable-operated transport system to supply the troops stationed above, a logistical innovation for its time.

Visitors can reach the summit by climbing the stepped pathways or by taking the funicular opened in 2017 for a quick and scenic ride. The viewpoint offers one of the finest panoramas of Verona, especially at sunset, with terracotta rooftops, church towers, and the Adige River all unfolding below. A café-restaurant at the top provides a comfortable place to enjoy the view with a drink or meal while appreciating the long history of the hill.

Roman Theatre was built in the late 1st century BC, making it one of the oldest surviving monuments in the city. It is located at the foot of the San Pietro Hill, on the opposite bank of the Adige River from the historic center, in a position that offered excellent acoustics for ancient performances.

Over the centuries, the theatre fell into ruin and was gradually buried beneath houses and other structures. In 1834, Veronese antiquarian Andrea Monga purchased the buildings on the site and began clearing them away to reveal the ancient remains. Thanks to his efforts, the theatre was saved from permanent loss.

The City of Verona acquired the area in 1904, and archaeological work continued through much of the 20th century. Although large sections of the original theatre disappeared over time, important parts remain visible today, including the cavea, stone steps, sections of the stage, and several arched structures belonging to the ancient loggias.

Today, the Roman Theatre is an active cultural venue. Most notably, it hosts the annual Estate Teatrale Veronese, a summer festival featuring theatre, dance, and music performances, often including productions inspired by Shakespeare. The adjoining Archaeological Museum provides further insight into Verona’s Roman history and preserves artifacts discovered during excavation.

Tip:
Admission to the museum and theatre follows seasonal schedules, and free entry is available on the first Sunday of each month as part of Italy’s national museum initiative. One admission ticket gains access to both the Roman Theatre and the Archeology Museum right above it.

Located near a palace with the same name, the Giusti Garden is an exquisite collection of cypress trees, fountains, moss and water lilies. It is considered to be one of the most beautiful gardens in Italy. The grounds were constructed in the 16th century and were converted into the design that we see today in the 19th century.

You must view the estate in person to truly appreciate its beauty. Italians are known for creating some of the most attractive Renaissance gardens in Europe and the Guisti lives up to that reputation. Mozart, Goethe, and royalty all visited the oasis and walked past the eye-catching maze of flowerbeds and through the cypress-lined paths. Visitors will enjoy the marvelously landscaped lawns and sculptured hedgerows, gorgeous terraces and staircases, marble statues, and fountains.

It is difficult to imagine that such a beautiful space could not only experience extensive damage during the Second World War but recover from it so effortlessly. From the summit of the hill, one can enjoy a beautiful of the surrounding city.

Why You Should Visit:
Beautifully maintained, calm, and interesting place that is kept historically accurate.
The upper levels give good views over the town; the palace rooms can also be toured.

Tip:
Don't miss the secret passage behind the Pavillion (red building at the top left) as the views from the left-hand side across the garden are particularly nice.
There's nowhere to get a drink inside the garden, but hidden just around the corner in the Via Carducci is a very reasonably priced café.

Saint Anastasia Church is the largest church in Verona, a monumental example of Italian Gothic architecture. Construction began in 1280 under the Dominican Order and continued into the early 15th century. The church takes its name from a former early Christian oratory dedicated to Saint Anastasia that once stood on this site. Its façade remains incomplete, with exposed brick and a simple rose window, though elegant sculpted details include imagery linked to Saint Peter Martyr, an important Dominican figure.

The 72-meter bell tower dominates the church’s profile along the Adige River. While it originally held four bells, today it houses nine, rung in the traditional Veronese style, a complex and melodious method unique to the region. Inside, the church opens into soaring aisles supported by alternating red and white Verona marble columns, a signature feature of the city’s Gothic churches.

Near the entrance stand the two famous “hunchbacks”: the left stoup is attributed to Gabriele Caliari, father of the painter Paolo Veronese, and dates to the late 15th century, while the right stoup, nicknamed “Pasquino”, is the work of Paolo Orefice from 1591. Throughout the interior, other important works include frescoes and altarpieces by Altichiero da Zevio and Girolamo dai Libri.

The church’s most celebrated artwork is found in the Pellegrini Chapel: Pisanello’s masterpiece “Saint George and the Princess”, completed in 1438. The fresco’s exquisite detail — from the knight’s armor to the elegant courtly figures — makes it one of the finest examples of International Gothic painting in Italy. In the Cavalli Chapel, vivid 14th-century frescoes depict members of the powerful Cavalli family in knightly procession.

Tip:
Get yourself an audio-guided tour for a small fee to get familiar with the history of the place and the artwork.
Alternately, consider buying either a Verona Card or a ticket that allows you to visit the 4 largest places of worship in Verona with a nice discount.

Signori Square has long been one of Verona’s most elegant public spaces, surrounded by grand palaces that once housed the city’s rulers. Also called Lords Square, it reflects the political heart of medieval Verona, where the Scaligeri family governed during the city’s most powerful era. The square is also tied to the legacy of Romeo and Juliet: here stood the seat of government where Bartolomeo della Scala banished the fictional Romeo to Mantua.

At the square’s center rises a statue of Dante Alighieri, installed in 1865 to mark the 600th anniversary of the poet’s birth. Exiled from Florence, Dante found refuge in Verona under the Scaligeri — a key period in which he continued writing the Divine Comedy.

Several important buildings stand along the square. The Ragione Palace, once Verona’s town hall, and the Captain’s Palace, seat of the military governor during Venetian rule, both define the western side.

On the east side is the Portico of the Council, a landmark of Venetian Renaissance architecture where civic leaders once met beneath elegant arches. The Domus Nova Palace, dating to the 13th century, formerly housed the Chief Magistrate’s offices. Nearby stands the Podestà Palace, a former Scaliger residence later adapted for administrative use.

One of the most colorful façades belongs to the House of Charity, now home to Antico Caffè Dante, considered one of Verona’s oldest cafés. Today, Signori Square remains a refined setting for admiring centuries of political, artistic, and literary history — all gathered into one compact civic space.

Lamberti Tower is one of Verona’s most recognizable landmarks, built beginning in 1172 by the influential Lamberti family, at a time when prominent Veronese households constructed tall towers to express their wealth and political influence. Over the centuries, the tower has undergone several phases of modification, including a major restoration following a lightning strike in 1403. This reconstruction campaign, which lasted from 1448 to 1464, introduced visible changes in materials and extended the structure to its current height of 84 metres.

The tower features two bells, each with a distinct civic purpose. The Rengo bell once summoned citizens to arms or to public assemblies, while the Marangona signaled work hours, timekeeping, and fire warnings. These bells were central to the daily lives of medieval and Renaissance residents, long before the advent of printed notices or municipal clocks. Their sound was so important that strict laws governed when and how each bell could be rung.

Visitors today can take an elevator partway up and then climb the remaining stairs to reach the main viewing terrace. From the top, the view extends across the historic center — from Market Square directly below to the rooftops and bell towers that define Verona’s skyline — and outward to the Adige River and the surrounding hills. The tower’s clock, a late-18th-century addition, enhanced its civic importance and remains one of the most visible timekeepers in the city.

Today, Lamberti Tower is part of the vast Palace of the Reason complex and is included in Verona’s network of civic museums, hosting temporary exhibitions and occasional special events in its interior spaces. It continues to serve as a key point of orientation for locals and travellers alike.

Market Square stands on Verona’s former Roman forum, the center of civic and commercial life in antiquity. Its later name, “Square of Herbs”, recalls the long-running market where spices, produce, and household goods were traded. A weekday market still operates here from Monday to Saturday, continuing that historic role.

At the center of the square stands Madonna Verona, a Roman statue dating to the 4th century AD, set atop a fountain from 1368. Surrounding the piazza is a mix of structures that show how the area evolved after the Roman period. On the north side are the Mazzanti Houses, decorated with 14th-century frescoes, and the base of the Lamberti Tower, which rises behind the buildings and is accessible through a nearby courtyard.

On the northwest edge stands the Maffei Palace, a Baroque residence updated in the 17th century. Its façade is lined with statues of Hercules, Apollo, Minerva, Venus, Mercury, and Jupiter. Shops now occupy the ground floor. Close by are the archaeological remains of the Roman Capitolium, marking the site of Verona’s main Roman temple.

The south side features the House of the Merchants and the Capitello, a 13th-century structure once used for public proclamations. To the west is the Gardello Tower, restored in the 14th century and known for one of Verona’s earliest mechanical clocks. Through the archway at the eastern end, the square connects directly to Signori Square, where the historic Town Hall and the Palace of the Judges are located.

Today, Market Square remains active and walkable, with cafés and market stalls set among some of Verona’s most significant buildings.

The House of Juliet is one of the most famous landmarks associated with William Shakespeare’s Romeo and Juliet, often visited by those seeking to experience the legendary romance between Juliet Capulet and Romeo Montague. Though the story is fictional, the house itself has become a symbol of love and tragedy, drawing countless visitors who are eager to connect with Verona’s most romantic tale.

The house dates back to the 13th century and is believed to have belonged to the Cappelletti family, traditionally linked to Juliet’s fictional lineage. The most famous feature of the house is its balcony, now an enduring emblem of Juliet’s longing in the play. Visitors often picture the moment when Romeo whispers his devotion from below. Although the balcony itself was added during restoration in the 20th century, it remains one of the city’s most photographed sights and a key highlight for fans of Shakespeare’s work.

The building is a fine example of medieval architecture, featuring Gothic elements, a brick façade, and intricately carved details. In the courtyard, a bronze statue of Juliet stands beneath the balcony, and the tradition of rubbing its right breast for good luck in love has made it a popular spot for photos. The walls nearby are covered with love messages, notes, and padlocks left by couples hoping for lasting affection.

Inside, the house has been transformed into a museum, displaying period furnishings, costumes used in film adaptations, and exhibits about the cultural impact of Shakespeare’s tragic story. From its romantic folklore to its historical roots, the House of Juliet continues to inspire visitors from around the world with the enduring power of love and imagination.

Mazzini street is the most popular shopping street, where visitors browse boutique stores and enjoy a coffee or cocktail while watching the lively flow of people around them. Named after Giuseppe Mazzini, a key 19th-century political activist whose ideas helped shape the unification of Italy, the street celebrates one of the nation’s most influential figures.

Connecting the grand Bra Square to the historic Market Square, Mazzini street follows the alignment of a Roman decumanus. Segments near the Verona Arena trace the original Roman alignment, preserving more than two thousand years of city planning. While many of Europe’s ancient streets are paved with cobblestones, Mazzini street features polished marble paving that gives it a sleek, modern look.

Today, Mazzini street is home to a mix of Italy’s top fashion brands and major international labels. One standout is the United Colors of Benetton flagship store, beneath which Roman ruins — including 1st- and 2nd-century AD flooring and walls — were uncovered and are now visible to visitors. Other nearby archaeological findings have revealed fragments of ancient Verona’s residential blocks, suggesting the presence of a lively commercial quarter during Roman times.

Mazzini street became pedestrian-only in the late 20th century, contributing to its pleasant and accessible atmosphere. Its current appearance largely dates to major urban improvements made during the early 1900s, when façades were updated and the street began to develop its reputation as Verona’s fashion district.

Seasonal illuminations and window displays transform the street into a festive promenade, especially during the opera season and winter holidays. Street performers and pop-up markets occasionally add to the atmosphere, creating a lively blend of shopping and entertainment.