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The Museum of the Shroud is placed in the church crypt of Saint Sudarium in Turin. The new site, opened in 1998, is a crypt with virtual paintings about Jesus Passion, projected by 15 machinaries on the volta and niches, which slowly but continuously accompany the visitor. The Museum is born in 1936, to retrace the stages of the Sheet's history and scientific researches which investigated on its image, collecting materials preserved by the Confraternity of Saint Sudario. The Museum suggests to the visitor a complete and exhaustive information about the shroud's researches from 16th century to nowadays, showing historical, scientific, devoting and artistic aspects.

The Ancient Egypt Museum of Turin is one of the most important ones, maybe the most important in Europe: there are findings and collections of the civilization of the Pharaohs from 17th century to nowadays. The collection is characterized by numerous objects and exceptional documents: statues, papyrus, sarcophagus, stele, mummies, objects in bronze, jewels, tableware, and other objects of the ordinary life. The most antique sculpture is the one of the princess Redi, sculpted at the time of 3rd dynasty (around 2,800 BC).

Palazzo Madama is a palace in Rome that is the home of the Senate of the Italian Republic.[1] It was built atop the ruins of the ancient baths of Nero, next to Piazza Navona. The terrain had been acquired in the Middle Ages by the monks of the Abbey of Farfa, who later ceded it to France. The new building was begun at the end of the 15th century and completed in 1505, for the Medici family. It housed two Medici cardinals and cousins, Giovanni and Giulio, who both later became popes as Leo X and Clement VII, respectively. Catherine de' Medici, Clement VII's niece, also lived here before she was married to Henry, son of King Francis I of France in 1533. As well as Cardinal Francesco Maria Del Monte, patron of the artist Caravaggio, who died here. The palace takes its name from Madama Margherita of Austria, illegitimate daughter of Emperor Charles V, who married another illegitimate son, Alessandro de' Medici and, after his death, Ottavio Farnese. Thus part of the art collection of the Florentine Medici family was inherited by the Farnese family. The current façade was built in the mid-1650s by both Cigoli and Paolo Maruccelli. The latter added the ornate cornice and whimsical decorative urns on the roof. After the extinction of the Medici, the palace was handed over to the House of Lorraine and, later, to Pope Benedict XIV, who made it the seat of the Papal Government. In 1849 Pius IX moved here the Ministries of Finances and of the Public Debt, as well as the Papal Post Offices. In 1871, after the conquest of Rome by the newly formed Kingdom of Italy, the palazzo became the seat of the Senato del Regno.

The Basilica raises over the hill of Superga, one of the highest and panoramic points of the city. This place was chosen by the duke Vittorio Amedeo II of Savoia, who wanted to build it to thank the Virgin Mary for the defeat of the French siege in 1704. This wonderful Basilica was built by the architect from Messina Filippo Juvarra; this is his most significant architectural work. The Basilica was unveiled in 1731 by Carlo Emanuele II. In the big mausoleum, which has been built in the underground, there are the sepulchers of the sabaudian kings, from Vittorio Amedeo II to Carlo Alberto, and the numerous princes of Savoia's Family. The entrance to the church is constituted by three staircases that lead to the classical-styled pronao. Beside the porch there are two shapes from which arise the beautiful bell towers. The map is octagonal and it has cornerpillars. Some corinthian columns, which are put on basements with a concave course, are leaning onto the pillars. The lateral chapels preserve paintings by Ricci and Beaumont and the marble pales made by Cametti and Cornacchini. To the left of the Basilica's entrance there is the access to the tombs of the kings; behind the religious building there is the convent that gave hospitality to the Congregation of the regular priest wanted by Vittorio Amedeo. On 4th May 1949, the plane that was bringing back home the football team of the great Turin from Lisbon, crashed into the backside of the building. This air crash caused one of the most terrible tragedies of the Italian afterwar. In the backside of the church there's a memorial stone dedicated to those champions and to their team-managers who lost their lives during the air crash. The wall destroyed by the crash was not rebuilt and it is still visible today.

The Porte Palatine are the doors of the romanic city Augusta Taurinorum (Porta Principalis) and they belong to the medieval fortress from which they take their name, the Palatium. They overlook the square of the Dome and they are also overlooking the characteristical market of Porta Palazzo and the Museo of Antichità. From the side of Via XX Settembre it is possible to see the ruins of the Roman Theatre.

The Mole Antonelliana which is the real symbol of the city of Turin, takes its name from the architect of Novara Alessandro Antonelli, who built it between 1863 and 1889, through financial vicissitudes and polemics about its stability. The Antonellian Mole should have been the jewish temple of the Turin Israel Communion. Today the Mole is the site of the National Museum of Cinema, which was before located in Palazzo Chiablese.