This summer, Rome’s Teatro dell’Opera brings opera, ballet, and concerts to the Circus Maximus for an open air festival framed by the evocative ruins of the ancient arena.

Located at the foot of the Palatine Hill, the Circus Maximus instantly conjures images of the chariot races seen in Ben-Hur (which was actually filmed at Cinecittà). In the time of Constantine, the Circus measured 600 meters in length and 200 meters in width, and could accommodate up to 300,000 spectators during competitions such as the Ludi Romani, attended by the highest authorities of the State.

According to legend, it was here that the sacred games in honor of the god Consus (Consalia) took place, during which the Roman men’s search for wives culminated in the abduction of the Sabine women. Originally constructed in wood, the Circus was later upgraded: under Agrippa, the chariot starting gates were rebuilt in brick, and the laps were marked by seven stone eggs, later replaced by bronze dolphins. Augustus added a central spine (spina), where he placed an obelisk of Ramses II brought from Heliopolis, now standing in Piazza del Popolo. Continuing this trend, Constantius II later installed a second obelisk from Thebes (of Thutmose III), which now stands in Piazza San Giovanni. Damaged several times by fire (sometimes deliberately, as during Nero’s reign) the Circus was eventually rebuilt in marble. However, due to centuries of material stripping, it has lost most of its original features. Today, it is recognizable mainly as a vast green depression in the urban landscape, shaded by umbrella pines and bordered by the ruins of imperial palaces.

From June 29 to July 31, the arena turns into a grand stage, hosting music, visually striking performances, and cinema. At the heart of the program is Aida by Giuseppe Verdi, alongside a rich lineup ranging from dance to live music: from the Roberto Bolle and Friends gala to Romeo and Juliet, Carmina Burana, and a video installation by Anagoor. Also featured is Gladiator by Ridley Scott, presented in a “film in concert” format, with the soundtrack performed live by the Orchestra and Chorus of the Rome Opera House.

Urban desert at Piazza Navona

After months of crowds, clamor, and ceaseless motion, the Eternal City softens under the weight of summer heat. The streets grow calmer, the air more languid, and the Roman sun casts a slower, golden rhythm over daily life. For travelers willing to embrace the warmth, August in particular reveals a rare and intimate side of the capital, one that locals know well and visitors seldom see.

August is a month of miracles, both ancient and modern. At Santa Maria Maggiore, jasmine petals fall from the ceiling on August 5, recreating the miraculous summer snowfall that marked the church’s founding. Days later, Romans look skyward for the Perseid shower of San Lorenzo, gathering on terraces and riverbanks to watch shooting stars and make quiet wishes beneath the night sky. But perhaps the greatest marvel of all is the annual exodus, when Romans leave the city to go relax on the coast. Traffic thins, crowds disperse, and the city briefly reclaims its quiet and contemplative self.

Without the usual roar of engines and voices, Rome’s neighborhoods invite wandering in a way that feels revelatory. The winding streets of Trastevere, typically choked with traffic and buzzing with activity, become open-air corridors for exploration. In the historic center, narrow alleyways and arched passageways finally fulfill their purpose, welcoming people rather than cars. This is the perfect season for the passeggiata, Italy’s beloved evening stroll, usually nearly impossible amid the congestion of the rest of the year.

The lack of traffic and noise changes everything. Archaeological sites and historic piazzas, often overwhelmed by visitors, feel newly accessible and almost personal. Museums, usually packed and hurried, become calm sanctuaries, places where art can be absorbed slowly, without distraction or pressure.

Of course, the heat itself becomes part of the experience. In summer, mornings begin early, with soft light spilling across domes and rooftops, while afternoons encourage retreat into cool interiors, shaded courtyards, or long, leisurely lunches. Fountains offer brief relief, and gelato becomes less of a treat and more of a daily ritual. Despite appearances, however, Rome does not completely shut down in July and August. While many residents escape to the coast or the mountains, many restaurants, cafés, and shops remain open, often with a more relaxed and welcoming atmosphere. The city’s cultural heart continues to beat through Estate Romana, a citywide summer festival that fills evenings with music, openair cinema, theater, and art exhibitions. Along the Tiber, pop-up bars and riverside events create a festive, almost dreamlike ambiance as the heat of the day fades.

Metamorphosis: Ovid and the Arts

July–August

The Angel and the Moon

July-August

Los Angeles, 1990 © Franco Fontana

Magic Lanterns: Photographs from the Valerio De Paolis’ Collection

July–August

Carlo Dolci, Angelo Annunziante, olio su tela, inv San Marco e Cenacoli n 61, Galleria degli Uffizi

Angels: Messengers, Guardians and Wanderers

July–August

The Shape of Silence

July–August

Troy and Rome: Myths, Legends, and Stories of the Ancient Mediterranean

July-August

Troia-e-Roma.-Miti-leggende-storie-del-Mediterraneo-antico_Afrodisiyas-2-Aineiasin- Troyadan-kaçişi

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Flickr/Di Chap

One of the simplest ways to take in Rome’s greener side is to step into one of its many “lungs”: the grand historic villa parks. When Rome was little more than a compact nucleus, these estates served as countryside retreats of the aristocracy. Today, most have been transformed into expansive public parks, offering leafy respite from the city’s relentless energy.

The most famous—and most convenient to reach—is Villa Borghese, perched atop the Pincian Hill. Its meticulously designed gardens make an ideal interlude before or after exploring the world-class museums tucked within the grounds. On the Janiculum Hill, Villa Pamphilj unfolds across more than 450 acres, which make it Rome’s largest landscaped park and a favorite haunt of joggers, families, and picnickers.

Villa Ada, by contrast, feels almost untamed: the city’s wildest green space, perfect for those seeking solitude and quiet. For a blend of nature and antiquity, the carefully maintained Villa Celimontana near the Colosseum is scattered with archaeological treasures—sarcophagi, sculptures, and even an obelisk hidden among the trees. Villa Sciarra in Monteverde may be modest in size, but it enchants with vine-draped grottoes, elaborate fountains, and secluded corners. And don’t miss Villa Torlonia, whose manicured grounds were designed by neoclassical architect Giuseppe Valadier and include the whimsical Art Nouveau Casina delle Civette, famed for its fantastical stainedglass windows.

Greenery among the ancient ruins
Travelers craving nature without sacrificing sightseeing will find that Rome’s archeological parks, between Via Appia Antica and Via Latina, offer the best of both worlds. Walk on or rent a bike and pedal through the Parco degli Acquedotti, where soaring aqueducts march across the landscape along the ancient Appian Way. Wander the shaded paths of the Parco degli Scipioni, pausing to admire its monumental mausoleums. Or venture into the vast valley of Caffarella Park to discover the legendary Nymphaeum of Egeria, a tranquil wildlife haven nestled deep within the ancient city.

shutterstock/JoAlexQ

In Rome, some of the city’s most compelling stories aren’t told on the screen but carved in marble and lifted toward the sky.

For a truly cinematic experience, start with Trajan’s Column, the ancient world’s most ambitious “film reel,” spiraling upward in the Imperial Fora. Erected in the early 2nd century AD, this 80-meter monument commemorates Emperor Trajan’s victorious campaigns against Dacia (modern-day Romania) through a continuous band of sculpture that wraps around the shaft 23 times. Designed by the great Apollodorus of Damascus, the column originally burst with color and detail, transforming military history into a lively visual chronicle.

Even today, the scenes remain astonishingly vivid: Roman engineers building a bridge across the Danube, legions marching out to war, naval units and cavalry assembling, and fierce clashes with Dacian and Germanic tribes. The sequence ends with Trajan’s triumph and the dramatic suicide of the Dacian king Decebalus. Though the column once stood between two libraries that allowed close-up viewing, modern visitors can still appreciate its intricacy—especially with the help of binoculars or an illustrated guide. A fascinating theory by art historian Salvatore Settis suggests that ancient viewers read the reliefs not in a dizzying spiral but in four vertical “strips,” each maintaining the story’s chronology.

A short walk toward the Colosseum brings you to another monumental storyteller: the Arch of Constantine. Though dedicated in 315 AD to celebrate Constantine’s victory over Maxentius, the arch is a creative blend of old and new. Its sculptural fragments were lifted from earlier imperial monuments, and among these borrowed masterpieces, the figure who emerges as the true star is Marcus Aurelius. Scenes show him delivering speeches, granting clemency, conducting rituals, and confronting defeated leaders—an artistic reminder of Rome’s long tradition of military power and philosophical rule. The arch becomes a stone scrapbook of Rome’s imperial memory, seamlessly merging different eras into one triumphal gateway.

Follow Via del Corso north and Marcus Aurelius reappears—this time on his own monumental stage. The Column of Marcus Aurelius, standing in Piazza Colonna, was erected around 180 AD by his son Commodus to honor the emperor’s campaigns against northern tribes. Its 116 sculpted episodes, though stylistically rougher than those on Trajan’s Column, vibrate with movement: soldiers battling through forests, storms, and river crossings. The emperor, always shown frontally to emphasize his authority, once stood atop the column in bronze; today, a later statue of St. Paul crowns it. In the Middle Ages, visitors even paid a fee to climb the 190-step interior staircase—a testament to its enduring draw.

shutterstock/JoAlexQ

Perched atop the highest of Rome’s seven hills, the Quirinal Palace has watched over the city for centuries. Its origins reach back to ancient Rome, when a temple to the god Quirinus stood on this very spot. Later came imperial baths and sun temples, and much later still, in 1570, Pope Gregory XIII chose the hill as the site of his summer retreat.

Successive popes expanded the palace with all the exuberance of the Baroque age. Bernini’s angels, Cortona’s frescoes, Maderno’s halls, an elegant 18th-century coffee house, and a lavishly painted pavilion are just some of the treasures left behind. By the time Italy was unified in the 19th century, the Quirinal had become one of the world’s largest palaces. And what was first home to popes and kings, finally became the residence of the presidents of the Italian Republic.

Today the palace remains a working seat of state, yet it welcomes visitors year-round. Its grand courtyard, imperial apartments, and endless corridors offer a rare glimpse into layers of papal, royal, and modern Italian history. The surrounding gardens—cultivated since the 1600s and normally closed to the public—unfurl over four serene hectares; they open for regular visits on guided tours and, exceptionally, every year on June 2, Italy’s Republic Day.

Touring the palace
There are two itineraries available. The classic 90-minute tour offers an overview of the Piano Nobile and the ground-floor exhibits, including an engaging display on the palace’s origins and the Italian constitution. The extended 2.5-hour tour adds the Vasella Room, the gardens, and the remarkable carriage collection housed in the former papal stables.

What you’ll experience
A visit to the Quirinal is a walk through centuries of Italian grandeur. Frescoed salons open onto rooms once used by popes, kings, and presidents. Glittering Murano chandeliers reflect on polished floors; ornate libraries, private chapels, spiral staircases, and royal relics reveal stories of courtly life. Highlights include: The Sala di Druso, once a papal audience chamber and later King Umberto I’s bedroom; the Paolina Chapel, still used for intimate concerts; the President’s Study, where global leaders are welcomed; Napoleon’s private “Salottino”. The Piffetti Library, an 18th-century gem; Mascherino’s 16th-century spiral staircase; Queen Margherita’s exquisite embroidered ball gown; dozens of historic baby prams, carriages, and royal curiosities.

The tour culminates in the historic stables, where dozens of ceremonial carriages recall the pageantry of eras past. Reservations are required: palazzo.quirinale. it/visitapalazzo/prenota.html

The Corazzieri: towering guardians of tradition
At Rome’s Quirinal Palace, grandeur arrives on horseback. The Corazzieri, the Italian Republic’s elite mounted guard, are an unforgettable presence: tall, polished, and steeped in ceremony. Part of the Carabinieri, this exclusive corps numbers just 280 men, each selected for exceptional discipline as well as for their height, standing over six feet tall. Their striking appearance is completed by hand-stitched uniforms and gleaming ceremonial armor, worn during state events and presidential escorts. Their story dates back to the 16th century, when a mounted guard corps was formed to protect the House of Savoy. Over time, the Corazzieri evolved into a symbol of prestige and loyalty, serving kings and, since 1946, the President of Italy. Today, visitors can glimpse this tradition up close. For the first time, the Corazzieri barracks—set within the serene grounds of Santa Susanna—are open for guided Saturday tours. Inside, you’ll find stables, historic armor, and ceremonial treasures, offering a rare behind-the-scenes look at one of Italy’s most distinguished institutions. Book your ticket on palazzo.quirinale.it/visitapalazzo/ prenotacaserma.html

Maurizio Cattelan. Comedian, 2019. Ph. Zeno Zotti. Courtesy, Maurizio Cattelan’s Archive and Galleria Perrotin

Tragicomica: Italian Art from the Late 20th Century to Today

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Dante Ferretti. With My Eyes

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Piero di Cosimo’s Magdalene: Art, History, and Women’s Lives in Renaissance Florence

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Photo Daniele Cortese

Pablo Atchugarry. Sculpting Light

Until June 21

Katsushika Hokusai: The Great Master of Japanese Art

All Month

Robert Mapplethorpe. The Forms of Beauty

All Month

Derrick Cross, 1985 © Robert Mapplethorpe Foundation. Used by permission

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Flickr/Franie Frou

If April’s showers have done their job, Rome in May bursts into bloom—not only in its gardens and parks, but also across its art scene. Throughout the centuries, Roman artists have adorned their works with botanically accurate floral details, often featuring tulips, roses, peonies, irises, carnations, and anemones, sometimes alongside orange blossoms or jasmine. For a flower-themed tour of the city, here are some of the city’s most iconic blossoms.

Loggia of Cupid and Psyche, Villa Farnesina
One of Rome’s most enchanting Renaissance spaces, Villa Farnesina is renowned for its frescoes by Raphael and his circle. The Loggia of Cupid and Psyche is its crowning jewel: the vaulted ceiling bursts with mythological scenes framed by lavish garlands of flowers, fruit, and foliage painted by Giovanni da Udine. Featuring over 200 identifiable plant species, including roses, myrtle, laurel, ivy, pomegranate, grapevine, and even exotic arrivals such as maize (corn) and pumpkin, the decorations create an extraordinary suspended garden of color and life.

Vatican Loggias, Raphael
A similar floral triumph can be admired in the Vatican Loggias frescoed by Raphael and his workshop. Inspired by ancient Roman grotesques, the painted decorations display a variety of stylized flowers such as lilies, acanthus leaves, vines, and palmettes. These refined ornamental motifs transform the architectural space into a vibrant celebration of nature and classical harmony.

Mario de’ Fiori (Mario Nuzzi)
Baroque painter Mario Nuzzi was so celebrated for his exuberant floral still lifes that he became universally known as Mario de’ Fiori. His compositions are theatrical and abundant, with flowers overflowing in dramatic arrangements. One of his most famous works, Mirror with Three Putti, can be admired at Galleria Colonna.

Michelangelo, Sistine Chapel ceiling (floral details)

Amid the grandeur of the Sistine Chapel ceiling, Michelangelo incorporated subtle yet powerful vegetal motifs. Floral garlands and botanical elements appear in the decorative sections, symbolizing life, creation, and divine abundance. These details enrich the monumental narrative with a sense of natural vitality.

Ara Pacis Augustae
The Ara Pacis offers one of ancient Rome’s most refined celebrations of nature. Along the lower friezes, intricately carved vines, flowers, and leaves unfold in rhythmic patterns. These floral reliefs symbolize peace, prosperity, and renewal.

Hall of Flowers and Fruit, Vatican Pinacoteca
Tucked away in the Vatican Pinacoteca, the Hall of Flowers and Fruit provides a quiet moment of visual delight. Here, expertly painted blossoms and fruit arrangements reveal the artists’ technical mastery and close observation of nature. It is a lesser-known but rewarding stop for lovers of floral imagery.

Jan Brueghel the Elder, Vase of Flowers
Jan Brueghel the Elder transformed flowers into objects of wonder and luxury. His vases combine species that would never bloom together in nature, creating visual catalogs of botanical abundance. At Galleria Borghese, the Vase of Flowers stands as triumphs of Flemish precision and imagination.

Abraham Brueghel, Floral Still Life
Abraham Brueghel’s flower paintings are exuberant and richly colored. Baroque compositions overflow with blooms that dominate the canvas through their vitality and dramatic presence. His works at Palazzo Corsini perfectly capture the lavish spirit of Roman still-life painting.

Casina delle Civette, Villa Torlonia
At the Casina delle Civette, floral imagery takes a luminous and unexpected form. Art Nouveau stained glass windows fill the whimsical building with flowers, fruits, and natural motifs rendered in glowing color. The Balcony of the Roses, designed by Paolo Paschetto, is a highlight where vibrant roses seem to bloom in light itself.

The Garden of Livia, Palazzo Massimo
Ancient Rome offers one of the most astonishing floral paintings in the Garden of Livia. Covering all four walls of a room, the frescoes depict a lush garden alive with trees, flowers such as poppies and daisies, and birds. Preserved today at Palazzo Massimo, this immersive masterpiece remains a timeless celebration of nature.

Flickr/Florence

Sporting events have long been central to Rome’s identity, with colossal spectacles such as the games at the Circus Maximus and the gladiatorial contests in the Colosseum serving not only as entertainment, but also as instruments of power. For the Roman Empire, public shows were a means of both appeasing the masses and asserting imperial dominance, and this tradition was woven deeply into the fabric of Rome’s civic life.

In the 20th century, this legacy of Roman glory found new expression under the rule of Benito Mussolini. Seeking to restore Italy to what he perceived as its rightful place in the world, Mussolini envisioned a return to the power and magnificence of ancient Rome, particularly in the realm of sport. This vision took physical shape with the construction of the Foro Italico, originally named Foro Mussolini, between 1928 and 1938. Designed by architects Enrico Del Debbio and Luigi Moretti, the complex was inspired by the monumental forums of ancient Rome, blending Fascist ideology with the sporting culture of the past.

Mussolini’s ultimate goal in creating the Foro Italico was to position Rome as the host of the 1940 Summer Olympics. Although the bid was unsuccessful — the games were assigned to Japan but then canceled due to World War II — the Foro Italico would eventually host the 1960 Olympics, fulfilling its original purpose. Today, the complex stands as a modern sports hub, housing several venues such as the Aquatics Center, a prestigious Tennis Club, and the Olympic Stadium, the largest sports arena in Rome.

Yet, beyond its function as a sports complex, the Foro Italico is also an enduring symbol of Mussolini’s attempt to infuse Fascist Italy with the aura of ancient Rome. The site is dotted with politically charged artworks — frescoes and mosaics that reflect the regime’s vision of power and national pride.
However, the most striking feature of the Foro Italico is the Stadio dei Marmi, or Stadium of Marbles.

This open-air arena, with its elegant Carrara marble steps, is encircled by 59 larger-than-life statues of nude athletes, each holding a piece of modern sporting equipment such as tennis rackets and cricket bats. At first glance, these statues seem to pay homage to the classical sculptures that adorned Roman sports arenas, but a closer look reveals their distinctly Fascist characteristics—sharp angles, stylized forms, and a sense of physical austerity that reflects the regime’s minimalist aesthetic. Originally designed as a training ground for students of the nearby Academy of Physical Education, the Stadio dei Marmi has since become a symbol of the stark, authoritarian beauty that defined Mussolini’s vision of a new Roman Empire.

Around the stadium, other Fascist-era monuments reinforce this ideological agenda. The marble obelisk, towering and imposing, and the Fountain of the Sphere, with its ancient-style mosaics crafted by Giulio Rosso, further the illusion of a timeless, unbroken connection between ancient Rome and Mussolini’s Italy. Together, these elements create a striking juxtaposition of history, politics, and sport—an architectural and cultural expression of Mussolini’s attempt to mold the present through the lens of Rome’s imperial past.

(c) Donation Hervé Gloaguen, Ministère de la Culture (France), Médiathèque du patrimoine et de la photographie

À Rome La Nuit

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Mario Schifano

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Lavinia Fontana. Giuditta con la testa di Oloferne. Bologna, Museo Davia Bergellini (Fondazione Opera Pia Da Via Bergellini)

The Face of Women

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©Massimo Argenziano

Piazza di Siena Horse Contest

May 27-31

Internazionalibnlditalia.com/Photo FITP

BNL Italy Tennis Internationals

Until May 17

Flowers: Marvelous Nature

All Month

Austin Young.Temple of Flowers /Tempio di Fiori, 2025

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Step inside the Pantheon and time seems to have paused. One of the best-preserved monuments of the ancient world, the Pantheon has reached us remarkably intact, retaining much of the appearance it had under Emperor Hadrian in the 2nd century AD. It’s a rare survivor of invasions, neglect, and even attempted demolition, offering a rare connection to antiquity.

Visiting the Pantheon feels less like entering a historical site than stepping into a living fragment of ancient Rome. As the Eternal City approaches its 2,779th birthday on April 21, 2026, this impressive building remains one of its most powerful symbols of continuity.

A temple built for the gods
The Pantheon was the first Roman temple to feature a dome, and its circular layout was not just an architectural choice: it carried symbolic meaning and aimed to encompass all gods within a single space of religious perfection. The floor is the very one walked on by Hadrian and his priests, the sixteen massive supporting columns defy the passage of time, and the majestic dome seems to represent the immortality of the Eternal City. Among the few original elements that have not survived are the large fresco depicting the battle between the Amazons and the Giants, and the bronze ceiling beams, which were melted down by Bernini to create the baldachin of St. Peter’s.

Saved by faith
A natural question that arises when visiting such a unique monument is, how did the Pantheon survive the centuries when most other pagan buildings didn’t? The answer lies in a decisive transformation. In 609 AD, Pope Boniface IV consecrated the building as the Christian church Santa Maria ad Martyres. Continuous religious use protected the structure, ensuring its preservation through the centuries. To this day, services are still celebrated within its ancient walls.

Engineering the impossible
Equally astonishing is the building’s engineering. The Pantheon’s dome—still the largest unreinforced concrete dome in the world—is a marvel that has never collapsed under its own weight. Roman engineers, whose names have been lost to history, used construction techniques so advanced they still impress modern architects. To reduce the weight of the dome, they used a clever method: instead of using bricks, which would have caused the structure to collapse, they employed a mix of materials that became progressively lighter as the dome rose— heavy concrete and travertine at the base, gravel in the middle, and pumice stone at the top. Even the walls are not uniformly thick, but gradually taper toward the top. Despite weighing roughly 5,000 tons, the structure remains perfectly balanced. The dome functions as a self-supporting lid, distributing weight through an intricate system of columns, piers, and hidden arches. The coffered ceiling is not merely deco-rative—it reduces mass while enhancing the visual rhythm of the interior. So influential was this design that Renaissance architect Filippo Brunelleschi studied the Pantheon closely before creating the dome of Florence’s cathedral. The oculus at the top Another extraordinary feature is the central oculus—a circular opening at the top of the dome that allows sunlight to enter during the day and rain to fall through. This feature not only illuminates the interior naturally but also creates a dramatic and ever-changing atmosphere. For the living and the dead Over the centuries, the Pantheon has taken on new roles while preserving its ancient identity. Today it serves not only as a church but also as a mausoleum, housing the tombs of Italy’s royal family and of the Renaissance master Raphael. The artist himself chose this resting place, ensuring that his legacy would remain forever linked to Rome’s most timeless monument.

Arcon

Then it comes to all things trendy and cutting-edge in Italy, it’s Milan rather than Rome that springs to mind. That is especially true in April, when the Salone Internazionale del Mobile (Milan’s Design Week) opens its doors to its international audience. Often accused of living in the past, Rome nevertheless holds its own on the contemporary design stage. The Eternal City is home to a number of refined boutiques where modern taste meets Italian craftsmanship, offering a rich selection of furniture, accessories, and distinctive objects. For those looking to bring character and originality into their homes, these are some of the best places to discover inspired interior design in the capital.

Arcon stands out as one of Rome’s most compelling destinations for Italian interior design. Its highly specialized team helps furnish some of the city’s most beautiful homes with exclusive collections from leading brands such as Cassina, Fontana Arte, Foscarini, Tonelli, and Flexform. The shop’s two showrooms—the second located near the Spanish Steps—offer an inspiring overview of both Italian crafts- manship and international design.
Via della Scrofa, 104. arconroma.com

Ripetta Design is an elegant gallery devoted to fabrics and accessories spanning Art Deco and contemporary styles. Rich velvets, silks, embroidered satins, cottons, and linens from some of the world’s most luxurious brands line the space, alongside an exceptional selection of wallpaper ranging from classic motifs to boldly eccentric patterns. Exclusive design objects complete the offering, making this refined atelier an essential stop for anyone looking to transform their interior.
Via di Ripetta, 152. ripettadesign.com

Boschettotre is a concept store created by Oriana Tombolesi, an experienced interior designer who envisioned a space reflecting her personal taste and distinctive style. The collection features designer furniture and home décor, along with essential accessories such as artistic wallpapers, rugs, containers, kitchen utensils, shelving systems, and lighting. This charming boutique also offers a selection of items designed and handcrafted in its own workshop.
Via del Boschetto, 3. boschettotre.it

Dispensabile presents a refined studio-showroom with a distinctly Nordic sensibility. Within its elegant interior, visitors will find furnishings, home accessories, lighting, and design objects that combine clean lines with warm materials. The staff can also help visitors imagine and plan their own interiors. Among the brands represented are HAY, Alessi, Ferm Living, and Louis Poulsen.
Via d’Ara Coeli, 37/39. dispensabile.it

Retrò Design specializes in distinctive pieces that span the elegant restraint of the 1940s to the bold experimentation of the 1970s. The shop offers a selection of furniture, accessories, and decorative objects ideal for creating a dream midcentury interior. Italians refer to this category as modernariato: think sculptural sofas, postwar glassware, and playful 1970s lighting that brings personality to any space.
Piazza del Fico, 21. retrodesign.it

Mia Home Design Gallery is a dynamic showroom where contemporary and retro elements blend seamlessly. The constantly evolving selection features unique design objects, limited editions, and pieces by both established designers and emerging talents. The home is conceived as a deeply personal space that reflects the creative individuality of its owner.
Via di Ripetta, 224. galleriamia.it

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Caravaggio and the Masters of Light

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Hokusai The Great Master of Japanese Art

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Robert Doisneau Le baiser de l’Hôtel de Ville , 1950 Stampa fine art su carta ai sali d’argento da negativi originali, 50×40 cm © Atelier Robert Doisneau

Robert Doisneau

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Nettuno di Lione al Museo Barracco

The Neptune of Lyon

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Resurrection of Christ (1550); oil on panel, 233 × 156 cm; Siena, Pinacoteca Nazionale. Courtesy of Musei Nazionali di Siena

Vasari and Rome

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The Harlem Globetrotters

April 9

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Rome’s historic cafés preserve the city’s deeply cultural soul

With their decades-old traditions, many of Rome’s oldest cafes are a bit like “monuments,” offering a vivid portrait of the city’s cultural and social life throughout the decades. We’ve picked the most iconic ones:

Babingtons
In 1893, Anna Maria Babington and Isabel Cargill had the inspired idea of opening Rome’s first tea room in Piazza di Spagna. They aimed to popularize the English ritual of tea, which in Italy was then used only as a medicinal infusion, and turn it into a social occasion. Today, royal families, politicians, and intellectuals still meet in this charming venue, where English elegance blends with Roman informality. Don’t miss the tea blends, from classic English Breakfast and Earl Grey to delicate Oolong and green teas, as well as unique creations like the Babington Royal Blend. Piazza di Spagna, 23. Tel 066786027. babingtons.com

Caffè Museo Atelier Canova Tadolini
On the exclusive Via del Babuino, in the heart of Rome’s luxury shopping district, lies a truly unique venue: the Caffè Museo Atelier Canova Tadolini. Once the atelier of the great sculptor Antonio Canova, it was left to his favorite student Adamo Tadolini. Today, it’s more than just a café – it’s also a museum displaying a remarkable collection of preparatory models, marble and bronze sculptures, anatomical studies, and original tools of the trade. Via del Babuino, 150a. Tel 0632110702. canovatadolini.com

Caffè Ciampini
In 1943, Giuseppe Ciampini opened his first coffee bar, Tre Scalini in Piazza Navona, which became famous for his creation, the “tartufo gelato.” He later moved to Via Frattina with the new Ciampini name, and the café eventually settled in Piazza San Lorenzo in Lucina. Today it is an open-air “living room” in the heart of Rome, where renowned patrons enjoy gourmet dishes, coffee, and aperitifs. Piazza San Lorenzo in Lucina, 29. Tel 066876606. ciampini.com

Vitti dal 1898
Also located in Piazza San Lorenzo in Lucina, right in front of the basilica of the same name, Caffè Vitti boasts a long tradition handed down through generations. The Vitti family preserves an artisanal gelato-making culture dating back to the 19th century (since 1898), now combined with a modern café concept. In addition to its signature handmade gelato, it offers gourmet Roman cuisine and a refined mixology bar. Piazza San Lorenzo in Lucina, 33. Tel 066876304. vitti.it

Giolitti
While filming Roman Holiday, Gregory Peck, already a fan of Giolitti’s delicious creams, insisted that this legendary gelateria on Via degli Uffici del Vicario (opened in 1930) supply the gelato for the iconic scene on the Spanish Steps. Giolitti has since become famous worldwide, attracting Hollywood stars, directors, and even former President Obama’s daughters, who were given a behind-the-scenes tour of the production process. The gelateria still follows its original recipes, guaranteeing authentic, natural flavors loved by politicians from the nearby Parliament, tourists, and true Romans alike. Via degli Uffici del Vicario, 40. Tel 066991243. giolitti.it

Bar della Pace
Recently reopened after a long closure, the Bar della Pace dates back to 1891. Frequented by artists, actors, and intellectuals, it was also a film set for Woody Allen’s To Rome with Love. The famous ivy-covered façade is gone, but the legendary counter remains, and the interior has been renovated while keeping the venue’s historic identity. Outside, new tables and umbrellas offer a perfect spot to admire the lively atmosphere and the stunning Bramante-designed Church of Santa Maria della Pace. Via della Pace, 3. Tel 0698261850. bardellapace.it

Finally, a special mention goes to the Antico Caffè Greco on Via Condotti, founded in 1760. This famous cultural salon and meeting place for artists and intellectuals of all kinds was recently closed and is now at risk of demolition, although a citizens’ petition is underway to prevent it from being irreparably destroyed.

Caffè Museo Atelier Canova Tadolini

Vitti dal 1898

In addition…

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ith the opening of the extension of Metro Line C between San Giovanni and Colosseo–Fori Imperiali, the Eternal City has recently transformed a simple commute into an immersive descent through two millennia of history.

Stretching for four kilometers, the new section does more than move passengers: it redesigns public transport as a cultural experience, revealing what lies beneath Rome’s streets and proving, once again, that no place in the world pairs antiquity and modern life quite as effortlessly as the Eternal City. The two newly opened stations — Porta Metronia and Colosseo–Fori Imperiali — have been conceived as “museum-stations” from the very beginning. These are not transitional spaces to be hurried through, but monumental underground galleries shaped by the archaeological discoveries uncovered during construction. Platforms, staircases and gathering areas weave organically around ancient walls, wells and foundations, allowing travelers to encounter Rome’s past as never before.

The showstopper is undoubtedly the Colosseo–Fori Imperiali station (pictured above), already celebrated as one of the most spectacular metro stations in the world. Sinking 32 metres below ground across four vast levels, the station opens into soaring halls up to 50 metres wide. At mezzanine level, an arresting glass façade frames a rare, ground-level view of the Colosseum — a perspective that few visitors ever see.

From the street down to the platforms, the station unfolds as a seamless, continuous narrative. An Imperial-era domus decorated with frescoes emerges along the route, while beyond the ticket barriers twenty-eight Republican-period wells are displayed and interpreted through glass installations and multimedia storytelling. Elsewhere, the remains of a balneum — a private bath complex from an ancient Roman house — anchor the space firmly in everyday ancient life. In the main atrium, open to all even if not catching a train, immersive videos and dioramas chart the evolution of the Fori Imperiali area, turning the station into a destination in its own right.

Quieter in scale but no less fascinating, the Porta Metronia station descends five levels to a depth of 30 metres. Its entrances and halls double as exhibition spaces, animated by illustrations, graphic panels and large photographic displays that bring the archaeological finds to life. Like its counterpart near the Colosseum, Porta Metronia was built using the innovative archaeological “top-down” method, allowing engineers to dig from the surface downward while safeguarding surrounding structures and giving archaeologists time to study and preserve what emerged.

226620733 © Dmytro Surkov | Dreamstime

The rivalry between Gian Lorenzo Bernini and Francesco Borromini is one of the most famous—and dramatic—in the history of architecture. Bernini, the darling of popes and princes, stands as one of the rare artists blessed with extraordinary fortune during his lifetime. Showered with honors, wealth, and prestigious commissions, he enjoyed enduring acclaim even after his death, consistently celebrated by official critics across centuries and borders.

The story of his great rival, Francesco Borromini, could not be more different. A misunderstood and fiercely original genius, Borromini was forced to work largely in isolation, overshadowed by his already celebrated contemporary. Plagued by bouts of depression, his life unraveled in a series of increasingly desperate acts—culminating in the burning of his own drawings shortly before his death, and finally, his suicide, committed in 1667.

If scholars often liken Bernini to Mozart—an analogy that feels fitting given his seemingly effortless genius, capable of transforming marble into flesh and light through movement and theatricality—Borromini was certainly no Salieri. On the contrary, no one captured the restless, tormented soul of the Baroque with greater originality. His architecture dares through bold geometries, vertiginous vertical thrusts, and astonishing manipulations of light, revealing a freedom of form that still feels radical today.

The hostility between the two masters has become legendary, fueled by anecdotes cherished by Roman folklore. The most famous event takes place in Piazza Navona. Tradition has it that the Bernini-designed statue of the Rio della Plata, part of the Fountain of the Four Rivers, raises a defensive hand toward the façade of Borromini’s nearby church of Sant’Agnese in Agone, as if fearing its imminent collapse—a sly insult to its structural integrity. In response, the statue of Saint Agnes above, her hand resting calmly on her chest, appears to reassure both the river god below and his creator with an unshakable gesture of faith.

Their contrasting artistic personalities can be experienced just steps apart on Via del Quirinale. Borromini’s San Carlo alle Quattro Fontane—small, austere, and entirely white— is one of the great masterpieces of Baroque architecture. Its intricate yet restrained dome crowns an intimate space that feels at once cerebral and transcendent. A short walk away rises Bernini’s Sant’Andrea del Quirinale, a radiant oval-plan church lavishly adorned with stucco and gold, theatrical in its luminosity and emotional appeal. Though Bernini’s church was completed more than a decade later, their proximity invites constant comparison—an architectural dialogue in stark contrast.

The rivalry unfolds in real time within Palazzo Barberini, where each artist designed a staircase on opposite sides of the building. Bernini’s is square, orderly, and serenely symmetrical; Borromini’s, by contrast, is a fluid ovoid spiral of remarkable elegance.

Perhaps the most mischievous episode of all took place at the Palazzo di Propaganda Fide, a commission Borromini finally won— much to Bernini’s envy. The building stood directly across from Bernini’s studio, and Borromini seized the opportunity for provocation. According to legend, he ordered his workers to labor through the night to decorate a prominent window with two enormous donkey ears, an unmistakable jab at his rival’s supposed artistic limitations. Bernini’s reply was swift and equally irreverent: the following night, he sculpted a bracket on the palazzo’s heavy frame into the unmistakable shape of a penis. Curse, challenge, or mockery? For a time, both “decorations” remained in place, silently trading insults across the street—until censorship intervened and removed them for offending public morals.

For the sake of truth, the monumental bronze canopy above the high altar of St. Peter’s Basilica, known as “Bernini’s Baldacchino,” was the result of close collaboration between the two rivals—a rare moment when competition gave way to shared mastery.

Borromini’s dynamic staircase

Bernini’s symmetrical staircase

Shutterstock/Lena Ivanova

Rome may sprawl over many hills – as any cyclist quickly learns– but its ancient heart only rested on seven, each of which shaped the city’s myths, politics, and daily life. While it’s often hard to tell which hill you are standing on at any given time, knowing the hills’ history gives a different perspective to a Rome visit, as each has its own distinctive features. Here is a short tour of the Seven Hills of Rome.

Palatine – Birthplace of an Empire
Rome’s birthplace. According to legend, Romulus founded the city here after killing his brother Remus, and archaeology confirms it as the site of the earliest settlement, the Città Quadrata. Over time, it became the most exclusive address in the empire, home to the emperors whose lavish residences gave us the word “palace.” With a Colosseum ticket, visitors can wander through vast palace ruins, glimpse surviving frescoes, and enjoy views over the Forum.

Capitoline – Power and Gods
The Capitoline Hill was Rome’s religious and political center. Its summit once housed the immense Temple of Jupiter Optimus Maximus, while the sheer Tarpeian Rock served as a grim place of execution for traitors. Today, the Capitoline Museums hold some of antiquity’s greatest masterpieces, including the Dying Gaul, the equestrian Marcus Aurelius statue, and the iconic She- Wolf. Outside, Michelangelo’s elegant piazza and the nearby Vittoriano offer panoramic skyline views.

Aventine – Spectacular views
Historically associated with outsiders—and with Remus’s failed claim to power—the Aventine is now one of Rome’s calmest and most refined districts. Highlights include Santa Sabina, with its original fifth-century wooden doors, and two unforgettable viewpoints: St. Peter’s Basilica perfectly framed through the Knights of Malta keyhole, an the romantic panorama of the entire city from the Orange Garden.

Caelian – Round churches and timeless parks
Behind the Colosseum lies the Caelian, a once-aristocratic neighborhood rich in early Christian sites. Don’t miss the circular Santo Stefano Rotondo or the basilica of Santi Giovanni e Paolo, with excavated Roman houses lying beneath the church. Nearby park Villa Celimontana offers shaded paths, fountains, and scattered antiquities.

Quirinal – Presidential beauty
Once a Sabine stronghold, the Quirinal now hosts Italy’s presidential palace. Visitors can explore the frescoed Quirinal Palace, the exhibition spaces of the Scuderie (currently hosting a spectacular exhibition on ancient Egypt, the Pharaoh’s Treasures, www.scuderiequirinale. it), and the art-filled Palazzo Barberini. The hill also boasts two masterpieces by Rome’s most famous Baroque rivals: Bernini and Borromini (see page 13), who designed the two churches of Sant’Andrea al Quirinale and San Carlo alle Quattro Fontane, respectively.

Esquiline – From mosaics to world foods
Formerly a patrician district and now one of Rome’s most multicultural areas, the Esquiline is lively and diverse. Its bustling market (see p. 19) reflects global influences, while Santa Maria Maggiore remains its crown jewel, glowing with fifth-century mosaics—among the earliest depictions of the Virgin Mary.

Viminal – Grand stations and ancient baths
The smallest and often most overlooked hill, the Viminal is nevertheless familiar to travelers thanks to Termini Station. Its ancient highlight was the colossal Baths of Diocletian, now part of the National Roman Museum, and Michelangelo’s Santa Maria degli Angeli. Nearby Palazzo Massimo displays exquisite frescoes, mosaics, and sculpture. End your visit at Piazza della Repubblica, with its once-scandalous Fountain of the Naiads.

Capitoline

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Rome’s Marathon

March 22

GAM 100. A Century of the Municipal Gallery, 1925–2025

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Venus

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Saint Sebastian (detail) private collection on loan to the Thyssen Museum, Madrid. Ph Luciano Romano

Bernini and the Barberinis

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Rome dazzles with treasures at every turn—fountains that sing in piazzas, churches crowned with frescoes, palazzi echoing with centuries of secrets. And in the middle of all this flows the Tiber river, a witness to millennia of Rome’s history.

The river isn’t just water flowing through stone; it is Rome’s soul. Long before emperors carved their names into history, the Tiber carried the lifeblood of empire. Ships rowed in from the Mediterranean, their hulls heavy with grain, wine, and silk. At the bustling Foro Boario, merchants unloaded treasures. Broken amphorae piled so high they created Monte dei Cocci in Testaccio, a man-made hill that still stands today. Without the Tiber, there would have been no Rome.

As the city expanded, new ports rose— Emporium, Ripetta, Ripa Grande—each meeting the demands of a metropolis hungry for more. Barges floated past the rising walls of the Vatican, carrying the stone that built its splendor. Even in the 17th century, as Pope Innocent XII expanded ports, the river remained Rome’s central artery.

But the river could be both giver and destroyer. In December 1870, a catastrophic flood led to the construction of the towering embankments that still line its course. These walls saved Rome from devastation but also pushed the river into the background, transforming it from the city’s beating heart into something glimpsed between stone barriers. Yet the Tiber has never lost its allure. Today, 25 bridges span its waters, each telling a story. The ancient Ponte Fabricio still carries Romans to the Tiber Island (Isola Tiberina) while Ponte Sant’Angelo, adorned with Bernini’s angels, glows at sunset. Ponte Sisto leads to Trastevere, where cobbled streets buzz with trattorias and music. Walking across these bridges is like moving through time, from antiquity to the present, in a few graceful steps.

Tiber Island

A statue representing the Tiber

The river flowing under Ponte Sisto

At dusk, the river comes alive with a different kind of beauty. Its waters shimmer “bionde”—blond—in the fading light, turning gold as the domes and rooftops of Rome glow against the sky. Stand on a bridge and you’ll understand why poets adored it: the scene is nothing short of eternal.

Today the Tiber no longer bustles with commerce, but life still flows along its banks, with runners, cyclists, and lovers sharing its paths. Though proposals to restore navigation resurface from time to time, the river’s real gift is quieter: perspective. To pause beside its waters is to feel the layers of Rome itself—victory and loss, splendor and struggle, past and present flowing together. If monuments are Rome’s face, the Tiber is its soul: eternal, unhurried, endlessly moving forward. Long after empires crumbled and emperors faded into legend, the river kept flowing, binding Rome’s story in one golden current.

CRUISING THE TIBER

Marforio

Pasquino. Flickr/Umberto Rotundo-Viditu

Madame Lucrezia

A DIGITAL PARALLEL

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Within the lush greenery of Villa Borghese is a small, man-made lake surrounded by lawns, trails, benches, and archaeological remains, all creating a romantic and picturesque atmosphere that is typical of the late-1800s English-style gardens. With its idyllic charm, the Giardino del Lago offers a peaceful escape from the bustle of Rome and is perfect for a leisurely stroll, jog, or boat ride.

Over the centuries, the garden has undergone several redesigns, but has always maintained its charm as a place of quiet meditation. Originally designed by the Borghese princes in the 18th and 19th centuries, the park was intended as a “natural” landscape, accessible to all, and inspired by the gardens of the period. Statues, fountains, and faux ruins are scattered throughout the grounds, enhancing the park’s sense of harmony with nature.

Entering the garden through a triumphal arch, visitors are greeted by the Viale dell’Aranciera, named after the orange grove that once grew there. On the left side of the lake is the temple of Aesculapius, dedicated to the snake-god of medicine. Its elegant Ionic columns form a perfect blend of art and nature. The picturesque scene is further enhanced by two nymphs, their water-spouting statues adding to the tranquil atmosphere.

The park also features various artefacts inspired by Ancient Rome, including a 3rd-century Roman-style sarcophagus depicting a couple with a torch, symbolizing the sun and moon. Another notable piece is the relatively recent “Gaia Fountain,” which celebrates the joy of life with its playful depiction of two satyrs and their child. The luxuriant vegetation, which offers shade on the hotter days, includes century-old oaks, cedars, cypresses and the pines of Rome, giant guards of the secluded marvels of Villa Borghese. sovraintendenzaroma.it

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Portrait of a Young Man

Until March 8

Shen Yun 2026
China before Communism

February 13 – March 19

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1+1–The Relational Years

Until March 1

Joseph Heintz il Giovane. Veduta di Villa Borghese. 1625, olio su tela. Collezione privata

Villas and Gardens of Rome: a Crown of Delights

Until April 12

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Greece in Rome

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2026 Six Nations

February 7

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Rome is a city of saints, emperors, martyrs— and angels. They appear everywhere: carved in marble, glowing in mosaics, floating across frescoed ceilings. Sometimes fierce, sometimes tender, these figures are more than decoration—they reflect the city’s spiritual imagination and artistic evolution. Angels appear throughout Rome’s streets and sanctuaries, from bridges to basilicas. Here are some of the most striking places to encounter them, especially at Christmastime.

Angels: a divine legacy
The word angel comes from Hebrew (mal’ak) and Greek (angelos), both meaning “messenger.” In Christianity, angels serve as intermediaries between God and humanity. Over centuries, they’ve evolved in art from mysterious winged figures into emotionally expressive, human-like companions. Ancient Rome had its own divine messengers— like Mercury—but Christian angels truly flourished as art blossomed during the early Christian, medieval, and Baroque periods. Today, angels are woven into the fabric of Rome’s churches, monuments, and even cemeteries.

A walk across heaven: Ponte Sant’Angelo and Castel Sant’Angelo
Begin your angelic tour at Ponte Sant’Angelo, lined with ten statues designed by Bernini and his workshop. Crossing the Tiber, they seem to accompany the passerby toward the imposing Castel Sant’Angelo, crowned with a bronze statue of the Archangel Michael. The figure commemorates a legendary vision in 590 AD that marked the end of a plague.

Churches where angels dwell
Rome’s churches are treasure troves of angelic art. Many shine with mosaics; others stun with sculpture or ceiling frescoes. Here’s an outlook of just some of them. Santa Maria Maggiore is one of Rome’s oldest and most magnificent basilicas, and its golden mosaics feature angels beside the Virgin Mary in stunning early Christian style. The ceiling itself, said to be gilded with the first gold from the New World, glows like a heavenly realm.

Flickr/Ann Silver

Santa Maria del Popolo houses dramatic Baroque chapels. Look for the Chigi Chapel, designed by Raphael and later completed by Bernini. Made famous by Dan Brown’s best seller Angels and Demons, Bernini’s marble sculpture group Habakkuk and the Angel can’t go unnoticed. The cupola of the basilica is surrounded by sculpted angels holding stars—cosmic messengers between heaven and earth.

Near the Pantheon, Santa Maria Sopra Minerva contains stunning frescoes and the tomb of St. Catherine of Siena. Above the altar and in side chapels, elegant angels playing musical instruments hover, their wings delicately stretched upwards. Built inside the ancient Baths of Diocletian, Santa Maria degli Angeli e dei Martiri fuses Roman grandeur with Christian mysticism. Designed by Michelangelo, it features celestial murals and statues— including angels that seem to emerge from the ruins themselves, linking past and present. A true hidden gem, Santa Prassede’s Chapel of St. Zeno contains 9th-century mosaics that shimmer with Byzantine angels—tall, solemn, and radiant with multicolored wings. When visiting Santa Cecilia in Trastevere don’t miss Pietro Cavallini’s 13th-century fresco in the apse, where graceful angels surround Christ. These are among the earliest examples of naturalistic angelic art in Rome. Perhaps the most famous angel in Rome resides in Santa Maria della Vittoria. Bernini’s Ecstasy of St. Teresa shows a smiling angel gently piercing the saint’s heart with a golden arrow. It’s dramatic, emotional, and unforgettable.

A touch of sorrow: the Angel of Grief
In the peaceful Protestant Cemetery, near the Pyramid of Cestius, stands one of Rome’s most poignant sculptures: the Angel of Grief. Created by American artist William Wetmore Story for his wife’s tomb in 1894, it shows an angel collapsed in mourning, wings drooping in sorrow. It’s a moving reminder of love, loss, and the eternal spirit.

Pierre-Auguste Renoir, Woman in an Armchair, 1874, oil on canvas. Detroit Institute of Arts, Bequest of Mrs. Allan Shelden III, 1985.24

Impressionism and Beyond.
Masterpieces from the
Detroit Institute of Arts

From December 4

Ugo Nespolo. Pop Air Vivian Maier. The Exhibition

Until February 15, 2026

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100 Nativity Scenes in the Vatican

December 8 – January 6, 2026

Festival Nuova Consonanza

Until December 20

Luca Giordano. Lotta tra Perseo e Fineo. © MiC – Musei Nazionali di Genova. Foto Mauro Ranzani

Restituzioni 2025

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Rome Gospel Festival 2025

December 21–31

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This fall, Rome will be welcoming the pharaohs like never before. Starting in November, the Scuderie del Quirinale will unveil a major exhibition dedicated to the mystique and majesty of Ancient Egypt. Called Treasures of the Pharahos, the exhibition is a spellbinding journey through the world of temples, tombs, and timeless deities—right in the heart of the Eternal City (more details on page 48). But this isn’t Rome’s first encounter with Egypt. The city has long been under Egypt’s spell. Here is a list of Rome’s most famous Egyptian treasures.

Cleopatra’s capital
The roots of Rome’s Egyptomania run deep. It all began with Cleopatra, the enigmatic queen who conquered not lands, but hearts: Julius Caesar’s and Mark Antony’s, to be precise. The ripple effect of her influence reached beyond politics and into the realm of culture, architecture, and obsession. You can still meet her gaze in the Centrale Montemartini museum, where a serene marble bust of Cleopatra immortalizes the queen who seduced an empire.

The obelisk empire
With 13 ancient Egyptian obelisks, the Eternal City boasts more of these sun-god spires than any other city in the world, Egypt included. The obelisks, which were originally symbols of divine power, were brought to Rome as symbols of conquest. Marvel at their majesty in St. Peter’s Square, Piazza San Giovanni, Piazza Santa Maria Maggiore, Piazza del Popolo, and Piazza Navona, where Bernini’s dramatic Fountain of the Four Rivers cradles one like a jewel.

A pyramid in the heart of Rome
Perhaps the most unexpected sight in Rome is a 120-foot pyramid. Built around 18 BC, the Pyramid of Gaius Cestius is a dazzling Nubian-style tomb honoring a Roman consul captivated by Egyptian grandeur. Integrated into the Aurelian Walls, it remains one of the best-preserved ancient monuments in the city—a slice of the Nile nestled near Testaccio.

Anubis in a toga? Visit the Vatican Museums
One of the most surprising blends of Roman and Egyptian aesthetics is found in the Gregorian Egyptian Museum at the Vatican Museums. Among its treasures is a Roman-style statue of the god Anubis, sculpted with a jackal’s head atop a human body draped in a classical toga—an extraordinary hybrid of cultures and belief systems.
And that’s just the beginning. At the museu you’ll also find mummies, canopic jars, sarcophagi, and more. Don’t miss the two majestic basalt lions, inscribed with hieroglyphs and dating to the 4th century BC, resting in the Pinecone Courtyard.

The Magic Door and the gods who guard it
In the gardens of Piazza Vittorio, you’ll find one of Rome’s most mystical relics: the Magic Door (Porta Alchemica), the last surviving remnant of a 17th-century alchemical laboratory. What makes it even more otherworldly are the two Egyptian gods—Bes figures—flanking the portal. Often considered guardians of esoteric knowledge, their wild, protective faces add a layer of ancient magic to Rome’s spiritual heritage (read more info on page 56).

Cats, lions, and a colossal foot
Egyptian echoes resound in stone throughout the city. Look up on Via della Gatta to find a sly feline perched on a ledge, a tribute to Isis, the beloved goddess of magic and motherhood. Around the corner on Via del Pie’ di Marmo, a solitary giant marble foot, once part of a statue of Isis, evokes the scale and splendor of Roman-Egyptian devotion. Meanwhile, four majestic lions—two at the Capitoline Hill and two more in the Vatican Museums—continue to spout water and hieroglyphs across centuries.

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Romaeuropa Festival

Until November 16

Intangible Bonds. Twenty-eight Festive Landscapes on Display

Until March 1, 2026

Photo@Guido Caltabiano, courtesy Fondazione MAXXI

Nacho Carbonell. Memory, in Practice

Until January 7, 2026

Shared Sacred Sites. Journeys between Religions

Until January 19, 2026

Rayan YASMINEH, Ur Salim, 2022, olio su tela © Rayan Yasmineh

Rêverie 1897 Litografia a colori, 72,7×55,2 cm ©Mucha Trust 2025

Alphonse Mucha. A Triumph of Beauty and Seduction

Until March 8, 2026

Immersive Disney Animation

Until November 16

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It’s a special month for all those visiting Rome: amid solemn farewells, ancient rituals, and the hope of a new beginning, the Eternal City is going through a historic moment. For centuries, the death of a Pope has been an important event not only for the Catholic Church, but for the world in its entirety. On Monday, April 21 (Easter Monday), Cardinal Kevin Farrell announced the passing of Pope Francis. With his death, an extraordinary chapter in contemporary history comes to an end: Jorge Mario Bergoglio was the first Jesuit pope, the first from South America, and the first to take the name Francis, in memory of St. Francis, the patron saint of poverty, peace, and nature. This pope will be remembered not just for these “firsts,” but for the spirit at the heart of his pontificate: Francis envisioned a Church that meets, listens, welcomes. He revolutionized the language and gestures of the Church, discarding pomp in favor of simplicity and brotherhood. His encyclicals Laudato Si’ and Fratelli Tutti will remain the cornerstones of his teaching, which spoke to believers and non-believers alike and called for a new global pact for the environment, justice, peace, and the protection of the common good.

An ancient rite, seen anew
Pope Francis’s funeral was held on the morning of Saturday, April 26 at St Peter’s Basilica. The ceremony — simple, yet deeply moving — followed the new guidelines of the Ordo Exsequiarum Romani Pontificis, a funeral rite for popes that Francis himself commissioned and published in 2024. Compared to past funerals, the rites have been simplified, allowing for greater clarity and broader participation in bidding farewell.

Another major change from tradition regards Pope Francis’s place of burial: not in the Vatican Grottoes, like his predecessors, but in the Basilica of St Mary Major, in the heart of Rome. Pope Francis made this wish to express his profound devotion to the Madonna Salus Populi Romani, to whom he prayed before and after every apostolic journey. The path to a new Pope: inside the Conclave If you are in Rome in May, you’ll be witnessing one of the most fascinating and secretive events in the life of the Church: the Conclave, in which the cardinal electors gather in the Sistine Chapel to choose the next successor of Peter. To allow for the proceedings to take place, the Chapel will be closed to visitors until the end of the Conclave, expected to begin between May 10 and 15. The cardinals will enter into seclusion in a spirit of silence and prayer, away from the outside world. Each day, from the chapel, smoke signals will rise: black, if no decision has been made; white, when the new Pope has been elected. St Peter’s square will fill with thousands of pilgrims and onlookers who hope to witness the historic announcement, Habemus Papam.

Visitor information
The Pope’s passing and the accompanying rites will inevitably affect the visitor experience in the city. Here’s what you need to know:

• Sistine Chapel: closed to the public until the end of the Conclave. Some areas of the Vatican Museums may also see schedule changes.
• St Peter’s Basilica: limited access in the days immediately before and after the funeral.
• St Peter’s Square: likely to be very crowded and subject to enhanced security. We recommend arriving early if you wish to attend any events.
• Basilica of St Mary Major: restricted access during the period of burial preparations.
• Transport and Security: expect temporary closures and diversions, especially around the Vatican area. For updates, check the official Jubilee 2025 website, iubilaeum2025.va

A Jubilee that carries on
The Jubilee of Hope, launched with great enthusiasm in January, continues despite the current circumstances. Some events — such as the canonisation of Carlo Acutis — have been postponed, but the flow of pilgrims has not ceased. The tone is more solemn, the hearts more reflective — but this too is a face of hope: one that knows how to mourn, to wait, and to begin again.

A living legacy
For those visiting Rome during these weeks, it will be impossible not to feel the sense of transition. The city is suspended between the silence of mourning and the tremor of anticipation. Bells tolling, crowds in prayer, pilgrims walking the cobblestones: everything speaks of a legacy that does not die, but takes root and grows. Francis, the pope who called himself “a brother,” leaves Rome with a living legacy, one that anyone can perceive, even just by walking its streets. In the end, this is the heart of the Eternal City: a faith that spans the centuries, a hope that never fades, a love that renews itself.

Welcome to Rome — in a time of mourning. Welcome, in a time of Hope.

Caravaggio, born near Milan in 1571, spent much of his prolific career in Rome, where he created some of the most powerful and innovative works of the Baroque era. His paintings, renowned for their dramatic use of light and shadow (chiaroscuro) and raw, realistic depictions of human emotion, are scattered across the city. From museums to churches, the extraordinary treasure trove of Caravaggio masterpiecesis is literally all over the city. One of the most rewarding ways to explore his legacy is through a 120-minute walk across Rome, following a route that takes you to six of his most celebrated works, all housed in churches that remain free to visit (For opening hours see page 58).

Church of San Luigi dei Francesi Start your journey at the Church of San Luigi dei Francesi, where Caravaggio painted a series of works for the private chapel of French nobleman Mathieu Coyntrel. These three paintings —The Calling of St. Matthew, St. Matthew and the Angel, and The Martyrdom of St. Matthew—stand out for their vivid realism, recently enhanced by a new lighting system. Caravaggio’s mastery of light draws the viewer directly into the action, making the biblical events feel immediate and visceral. The intense drama and psychological depth of these works mark a key moment in the artist’s innovative approach to religious subjects. Basilica of Sant’Agostino A short walk from San Luigi takes you to the Basilica of Sant’Agostino, home to another Caravaggio masterpiece, the Madonna di Loreto or dei Pellegrini. The painting caused

Beyond the three featured churches, you can continue your Caravaggio pilgrimage at various other sites, such as: • Borghese Gallery: Boy with a Basket of Fruit, Sick Bacchus, Madonna and Child with Saint Anne, Saint Jerome Writing, John the Baptist, and David with the Head of Goliath.

• Vatican Museums: The Entombment of Christ.
• Galleria Doria Pamphilj: Rest on the Flight into Egypt and John the Baptist.
• Capitoline Museums: The Fortune Teller.
• Palazzo Barberini: Judith Beheading Holofernes.
• Palazzo Corsini: John the Baptist.

While Caravaggio’s contemporaries criticized his unorthodox style and gritty realism, his influence on the art world was revolutionary. It wasn’t until after his death in 1610 that his genius was fully recognized. Today, Caravaggio’s works continue to captivate viewers with their raw emotional power and technical brilliance. From March 7, Palazzo Barberini will host the major, unmissable exhibition Caravaggio 2025.

Thanks to recent Roman Forum restorations and excavations, and to the new ambitious Jubilee project for an extended “archaeological walk”, the Forum is no longer the restricted archaeological site it once was. It is now becoming a living part of Rome’s urban fabric.

The goal of the archaeological park is to invite visitors to walk the ancient paths while also imagining what ancient Rome’s bustling political and social life might have looked like. Back in the day, the Forum was not only the commercial and political heart of ancient Rome, but also the stage for events that would shape the course of world history. Repeatedly burned, looted, and rebuilt, it served as the arena where the Roman elite displayed their wealth, piety, and political ambitions. One can vividly imagine the senatorial class, clad in tunics, walking toward the Curia or the Rostra, where orators engaged in political debates, while the more populist tribunes stirred unrest among the masses. In the midst of the crowd, the procession of the Vestal Virgins, returning to their residence near the Regia, might pause momentarily, adding to the pageantry. The sight of the temples and basilicas, together with their vibrant colors set against the scenic backdrop of the Palatine and Capitoline hills would have been nothing short of spectacular.

The Roman Day
The Roman concept of time was flexible. Long before the introduction of the Julian calendar, the day was divided into two main parts, with noon marking the midpoint. A messenger from the consul would announce this pivotal moment to the crowds in the Forum, a signal that court cases and official matters could begin. As was customary, the day was split into twelve hours of daylight and twelve hours of darkness, with the length of daylight varying with the seasons. And even in the golden age of the Roman Empire, daily life remained deeply tied to the rhythms of agriculture.

6am
People began their day at dawn, stirred by the noise of a city already in motion that urged them to leave their small, windowless rooms and head out to the Forum to conduct their business.

8pm
By early morning, the Forum was already teeming with activity. State-subsidized idlers, many of whom depended on the generosity of the wealthy, formed a central part of the scene. The sound of greetings and social exchanges filled the air, with many hoping to attract the attention of influential figures. In addition to the political clients, the Forum was alive with craftsmen at their workshops, street vendors selling food and drinks, clerks, and lawyers—many of whom worked from the grand basilicas where justice was dispensed.

Noon
Candidates for public office, easily identifiable by their white garments (from which the term “candidate” originates), were often seen among the crowds during election season. By noon, the pace slowed as many Roman workers took their midday break. The Roman workday was shorter than today’s, leaving the afternoon for leisure and social activities. Lawyers, antique dealers, and merchants, however, continued working until late.

Afternoon
In the afternoon, the Forum remained lively, with crowds gathering to watch jugglers or engage in games of chance, as gambling was officially banned in public spaces. Many Romans spent their free time at the baths—central to Roman social life and urban culture. Far more than just places for bathing, the public baths (termae) offered gyms, libraries, massage parlors, and outdoor spaces for exercise. Since the time of Agrippa, the baths were free and open to all, with women using them in the morning and men in the afternoon until nightfall.

Evening
After a hearty dinner, Roman families would retreat to their homes, and by nightfall, the Forum would quieten, returning to its role as a silent witness to the activities of the day. The Imperial city would rest, only to begin anew at dawn.

Flipping through History

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