Tips, tricks and things not to miss — in Rome and beyond.
Hurrah — the “week of culture” is here!
From now until April 17, Italy’s state-run museums and sites are free. (Yay!) In Rome, that includes the Colosseum, Forum, Palazzo Massimo, Galleria Borghese (where you can find Raphael’s beautiful “Entombment,” above) and Baths of Caracalla… to name a few. Take advantage!
Here’s a complete list of sites with free entrances this week, from Pierreci (click on the drop-down beneath the map on the right to choose your region — Rome, of course, is Lazio).
Rome's just unveiling all kinds of incredible ancient sites. Case in point: the House of Livia — a gloriously-frescoed, 2,000-year-old structure thought to belong to Emperor Augustus' wife. After being closed to the public for years, then open on Saturday mornings only last fall, it's reopened this month.
But go quickly. Because, so far, it's only open this month.
Why is it worth visiting? Well, two reasons. First, if you're wandering around the ruins of the Palatine and curious how any of these ancient houses actually would have been decorated, here's your chance. The House of Livia still boasts (fragments of) mosaic floors and beautiful frescoes — not quite as pristine as those in the House of Augustus, but almost. (Below, the well-preserved frescoes of the garlands that symbolized Octavian Augustus' victory — you can see them on his Ara Pacis, too).
Secondly, the house is thought to belong to Livia. Augustus' wife. The woman that Octavian fell in love with so immediately he divorced his wife the day she was birthing his child in order to marry Livia. Who he remained married to for 51 years, even though she never bore him a child, and even though she was the daughter of a man who had been killed in battle fighting against her now-husband. Who was, herself, the mother of the second emperor Tiberius, the grandmother of Claudius, and the great-grandmother of Caligula.
And who was so powerful, the Senate tried to bestow her with the title of Mater Patriae ("Mother of the Fatherland") — and, supposedly, such a powerful meddler that her son Tiberius retired himself to Capri just to avoid her. In short? She was a bad-ass.
How could you not want to see where she lived, loved, and plotted… or the decorations that she chose? (Note: The tour guide said the frescoes were chosen by Augustus. Why this has been assumed, I'm not exactly sure. I doubt a woman who was powerful enough to make the emperor retire would have let somebody else pick out her home's decor.)
So, go. And go now — before the House of Livia shuts once more, to open who-knows-when.
As per the Pierreci site, the House of Livia is open only for tours that run, in English, at 9:30am and every hour thereafter until 3:30pm. That said, I was there yesterday and the house was very clearly simply open, with people wandering in and out, at 3:15. The tour guide did come in at 3:30 and gave a 15-minute tour, but it didn't seem to be necessary to view the house's offerings. The price of entrance is included in your 12 euro forum/Colosseum/Palatine ticket.
I’ve done a lot of cool things in Rome — but visiting the Columbarium of Pomponio Hylas is one of the coolest.
And it’s one of Rome’s best-kept secrets.
First off, let’s debunk the idea that Christians were the only ones who got neat underground burial chambers in Rome. In fact, the practice of interring the dead below ground went back to the pagan Romans. One popular way to do this was with a columbarium — an underground chamber built and decorated to hold the urns of Romans’ ashes, either for one family or many. (Later, around the time of Trajan in the 2nd century, pagans would stop incinerating their dead and start burying whole bodies in catacombs. The Christians took up the same idea and, along with continuing to bury their dead side-by-side with pagans in mixed catacombs, also started building catacombs just for Christians).
Needless to say, every once in a while, a new columbarium is discovered below Rome’s ground level. This one was found in 1831. And it dates way back — back earlier than the Christian catacombs — to between 14 and 54 A.D. The incredible thing? Many of the frescoes and decorations still look fresh. And lots of the burial urns are still there.
The columbarium likely was founded by Pomponio Hylas for his family in the 1st century B.C. How do we know? The extraordinary mosaic that faces you as you descend down the stairs into the space. 
The chamber itself is small. But it’s filled with beautifully-detailed, and preserved, frescoes and decorations, from mythological scenes to delicate, winding vines. 
There’s nothing quite as extraordinary as standing in the small chamber designed, so intimately, by a family for its dead, seeing the frescoes that they hired artists to paint, viewing the inscriptions with their individual names — and the urns that once contained their ashes. If it weren’t so beautiful, it would give you the shivers.
And you’d never guess any of this from the outside.
To book, you’re supposed to have a group of at least 10 people. Book by calling 060608. It costs €3 per person. Just promise one thing: If you go, you will not touch the frescoes, or anything else in there. That’s what destroys the artwork.
The columbarium is located in the Parco degli Scipioni, nearest to Via Latina 10. For a map, click here.
Want to find out about Rome’s other hidden gems? Check out The Revealed Rome Handbook: Tips and Tricks for Exploring the Eternal City, available for purchase on Amazon, below, or through my site here!
Yes, there might be sexism in Italy — even up to the highest levels of government. Yes, it might be so bad that primetime news shows routinely show half-naked women, that the country lags behind in every statistic from the gender gap in wages to the number of female politicians, and that a million women protested in a nationwide demonstration last month.
But at least this Tuesday, March 8, women get a break: For Festa della Donna, the traditional Italian holiday for women, all nationally-run monuments and museums will be free for females only. In Rome, that includes sites like the Colosseum and Palazzo Massimo.
Hey, it's something. Ladies: Take advantage!
From Titian to Tintoretto, Bellini to Bassano, some of Italy’s greatest masters of painting have been Venetian. But without going to Venice, it can be a little tough to get a sense of the various shapes that Venetian art took on during its peak from the 15th to 18th centuries.
That is, until now.
Through January 30, the Chiostro del Bramante is hosting an exhibit called, simply, “I Grandi Veneti” — the Grand Venetians. More than 80 Venetian paintings are on display, set up chronologically, so you can actually feel how art shifted in Venice over the centuries.
For enthusiasts of Renaissance art, the exhibit has some true gems. Pisanello’s Portrait of Lionello d’Este (about 1441) revolutionized portraiture, blending Gothic traditions while giving a nod to the shape that Renaissance portraits would take. There’s also Bellini’s lovely Madonna and Child (about 1460) (at top), with its mixture of serenity and sumptuousness that the artist would be renowned for, and a gorgeous series of Madonnas by masters like Jacobello di Antonello, Marco Marziale, and Bartolomeo Veneto (1505). The exhibit traces the rest of Venice’s 15th and 16th centuries, taking in Titian, Tintoretto, Veronese and Lotto along the way. (Below, Lorenzo Lotto’s Mystical Marriage of St. Catherine, 1523). 
The rest of the exhibit — Venice’s 17th and 18th centuries’ output — has paintings that are probably a little less familiar. That is, except for the ever-ubiquitous Canaletto, whose scenes of the Venetian canals are just as precise and just as lovely in this exhibit as ever. My favorite of this section, though, had to be the simultaneously creepy and tongue-in-cheek Il Ridotto (Maschere Veneziane), done by Pietro Longhi in 1757 — just as criticism of Venice as a “dead” city clinging to her past were ramping up (below). (They still haven’t gone away).
I Grandi Veneti is at the Chiostro del Bramante until Jan. 30. The Chiostro is at Arco della Pace 5, a stone’s throw from Piazza Navona. The exhibit costs €10. For more information, click here.
Anyone who's visited Rome's Curia in the Forum over the past month has seen China's terracotta warriors, strutting their stuff across the 1,700-year-old Roman marble and porphyry floor.
But as I wrote in early October, that exhibit comparing the Chinese and Roman empires was just a taste. This weekend, the full exhibit opens at Palazzo Venezia.
[Update, Nov. 18: It's also free on its opening day on Friday and is open from 10am-7pm. Very cool!]
Opening on Friday, Nov. 19, the exhibit boasts more than 400 different pieces from the ancient Roman and Chinese empires. It's the first time the two empires have been compared in an exhibit, and it's about time: both empires were extraordinarily influential, as well as contemporaries, with their heights from about the 3rd centuries B.C. to 4th century A.D.
It's bound to be a fascinating game of compare-and-contrast. As soon as I see it, I'll report back. In the meantime, if you can, go yourself.
The exhibit is at the Palazzo Venezia from Nov. 19 daily until Jan.9, except for Mondays, Dec. 25 and Jan. 1. It's open from 8:30am-9:30pm daily. Entrance to the exhibit is at Via del Plebiscito 19; for a map, click here.
Memories fade, and photographs don't always do justice to Rome's top attractions. Now, though, a spate of virtual tours allow travelers to explore some of Rome's most popular buildings and art, from the Sistine Chapel to the Capitoline Museums — all from the comfort of home.
Below, some of the best of the virtual lineup. Prepare to want to start planning your next trip to Rome!
St. Peter's Basilica. Gorgeous virtual tour by the Vatican itself. Highly professional and stunning.
The Sistine Chapel. Also by the Vatican.
The Vatican Museums, including the Pinacoteca (below), Raphael Rooms, Etruscan Museum and Egyptian Museum.
San Giovanni in Laterano, or St. John Lateran, the official ecclesiastical seat of the Bishop of Rome (i.e. the Pope) and the mother church of Catholics.
St. Paul Outside the Walls, founded in the 4th century on the burial place of St. Paul and one of Rome's four papal basilicas.
The Capitoline Museums. They're the oldest public museums in Rome and boast some of Italy's best ancient, Renaissance, and Baroque art. Now, you can visit all 45 of their rooms… digitally.
The Pantheon. Rome's single best-preserved ancient building; the tour isn't as professional as the previous virtual tours, but still pretty great.
Church of Santa Maria del Popolo, a beautiful example of the blending of the Baroque and Renaissance styles of architecture. It's famous for its Caravaggio paintings — which, bummer, you can't see in the tour — but also for its Chigi Chapel designed by Raphael, which you can.
The Ara Pacis, the altar made from 13-9 B.C. to commemorate Emperor Augustus' victories and the Pax Romana. (Scroll to the bottom of the page and click on "Ara Pacis").
Circus Maximus, where ancient charioteers once raced (make this full-screen for a better image)
Largo Argentina, with the remains of four ancient Republican temples
And, yes… the Colosseum! 
Finally: Yes, virtual tours of what actually exists are all well and good — but virtual tours of what ancient Rome would have looked like? Maybe even better.
UCLA's Digital Roman Forum includes both modern and ancient views of the forum, including the basilicas Julia and Aemilia. Pick a time between 700 B.C. and 500 A.D., click on the map, and see what that spot looks like in 360 degrees today — and an image of what it would have looked like then rotates with you.
It's a work in progress and only shows you what the sites look like today, but this other virtual tour of the Roman forum features 360-degree views of a dozen different spots in the ancient landscape.
Now, if only you could also virtually enjoy the taste of pasta alla gricia or the feel of the warm Roman sun on your neck…
Art is great, and music is great. But art plus music? Well, that’s even better.
If you agree, then you’re in luck this fall: A number of museums in Rome are hosting concerts and other nighttime events.
The most-touted is Rome’s “Musei in Musica,” offering free concerts at museums all over Rome on Saturday, November 20. (More details are forthcoming, so check back in a few days). (Click here for more information about the 47 different concerts occurring). But there’s lots else going on, too — some mainstream, some quirky, all incorporating music and visual art.
This Sunday, the Museo di Roma hosts its last Aperitivo ad Arte. Go at 7pm for the aperitivo, take in a jazz concert (Alice Ricciardi and Enrico Bracco) at 8pm, and at 9pm, take the guided tour (in Italian) of the museum’s exhibit “Il Risorgimento a Colori,” featuring 19th-century paintings of patriotism in the time of Italy’s reunification. The cost is €11, and the museum, at Palazzo Braschi, is located right on Piazza Navona.
Want more jazz? On November 27, check out Jazz Noir at the Museo di Roma in Trastevere. On November 27, jazz guitarists Fabio Zeppetella and Umberto Fiorentino will perform as actors read out noir literature. Admission to the concert is free with your €5 ticket to the museum. Reservations are recommended (call 060608).
If you want something a little less heavy, then try the Budapest Bar-Urban Gipsy concert at the Museo dell’Ara Pacis. On November 17, the band — which blends contemporary and traditional Hungarian music — will play, the elaborate, ancient monument in honor of Emperor Augustus in the background. The concert is at 9:30pm. Reservations are required (call 060608), and the concert is free.
The Museo dell’Ara Pacis is also hosting a multimedia show called “Dedicated to Sara…” on Nov. 26, 27 and 28. The show incorporates music, dance and images, along with poetic verses by Joseph Manfridi. The performance costs €12; you can book in advance by calling 06 70493826. The performance begins at 9pm.
For something even more imaginative, don’t miss the Villa Torlonia’s “A Bell from the Owls,” a surrealist performance inspired by the Villa Torlonia’s House of the Owls. The performance, which takes place Nov. 27 at 11am and 3pm and Nov. 28 at 11am, is included with your €3 entrance.
And, every weekend through December 17-18 (and again on Jan. 7-8), the Centrale Montemartini, Rome’s former power station turned museum of ancient art (London’s Tate Modern with a twist!), hosts its “Central Notes” concerts. They range from orchestral film scores (like Stelvio Cipriani’s concerts on Nov. 12 and 13, or Nicola Piovani Cyrano’s Film Quintet on Nov. 19-20), to blues (Paul Millns and Butch Coulter, Dec. 3-4), to rock (American Elisabeth Cutler plays on Dec. 10-11). The food and wine tasting, plus concert, costs €8. The showings are on Fridays at 8pm and Saturdays at 10pm. For a full list of concerts, click here.
In Rome, it's the Italian Renaissance that gets the glory. In a city filled with paintings and sculptures by the likes of Michelangelo and Raphael, that's how it should be.
But with such larger-than-life pieces, it can — ironically — be easy to forget in Rome just how influential Italy's renaissance was beyond its borders. After all, the importance of the art isn't just that every tourist flocks to the Sistine Chapel to stare at more than 10,000 square feet of fresco. The real question is: Why do they? And, in no small part, it's because the Renaissance launched in Italy would go on to shape art both up until today — and across the entire European realm.
Unless you're stopping in Germany and the Netherlands and England along with Italy, that can be tough to get your mind around on one trip. Until now.
The Galleria Borghese is showing an excellent exhibit on the work of Lucas Cranach. Appropriately titled "Cranach: The Other Renaissance," it brings together, in one space, the pieces of one of the foremost artists of the German Renaissance with Italian Renaissance masterpieces… and the ancient sculptures that inspired both.
Born into the same era as Michelangelo and Raphael, Cranach became a court painter to Saxony's Frederick the Wise in 1504. He would remain a court painter until his death in 1553. With his status, he had access not just to the rulers of the realm, but also to their art — which included pieces from the Italian masters.
The relationship between his art and that of his Italian peers (or, in many cases, predecessors) is highlighted again and again. There's no looking at his "Primitive Man (The Golden Age)," for example, and not seeing the Florentine Botticeli's "La Primavera," executed some fifty years earlier. (Sadly, Botticelli's piece isn't in the Borghese exhibition, so you'll still have to go to Florence's Uffizi Gallery to get the full picture).
"Primitive Man (The Golden Age)," Lucas Cranach, 1530
"La Primavera," Botticelli, 1482
Even while Cranach drew on Italian models, though, his style was all his own. His figures are less proportionate, the clothing more sumptuous, the messages more moralizing. And his Protestantism — a close friend of Martin Luther, he introduced Luther to his future wife and painted a widely-reproduced portrait of the couple (included in the exhibit) — significantly influenced his paintings, too.
Just take his "Centurion at the Cross," a stark contrast to Pinturicchio's crucifixion scene. Hung side-by-side in the exhibit, the two paintings highlight the widening divide between Luther's followers and the Roman Catholics. Cranach's crucifixion scene is stark, bare, the centurion's sighting of Jesus unmediated by anyone — or anything — else. His conversion is a lonely one, undertaken because of inner faith alone.
"Centurion at the Cross," Lucas Cranach, 1539
Not so in Pinturrichio's piece. Here, the saints Jerome and Christopher mediate, praying both with — and on behalf of — the viewer. That's exactly what the Protestants rejected.
"The Crucifixion," Pinturrichio, 1473
The exhibit isn't perfect. Some of the rooms seem to be reaching: While you could certainly have a conversation about various types of Renaissance portraiture from looking at a line of unrelated portraits of unrelated men, for example, the resulting jumble overwhelms. The exhibit is far clearer, and more effective, when it picks more precise themes to compare.
Still, it's a treat even to just see so much of Cranach's work in one place. You can see both his style developing, and can tell when he hits on a marketable idea — like his "Ill-Assorted Couples," a humorous but moralizing theme he repeated more than 40 times in his workshop's output.
It's neat, too, to see the influence he and other German Renaissance painters may have had on other artists in the collection. Take one of Cranach's "Ill-Assorted Couples," for example, and then take a look at Gerrit van Honhorst's "The Concert" (in the Borghese's permanent collection). Yes, van Honhorst's piece is explicitly Baroque, not Renaissance. Yes, it's Caravaggesque in its realism and dramatic lighting.
But van Honhorst also seems to draw something from his fellow northern painter — particularly in showing a joyful scene debased and warped, both humorously and with a moralizing intent. In Cranach's piece, is the old woman paying off the young man for love? In Honthorst's, is the young woman stealing the man's earring and about to pass it to the old woman behind her? How else are the scenes similar… and how, separated by 100 years and their respective art movements, do they differ?
"Ill-Assorted Couple," Lucas Cranach
"Concert," Gerrit van Honhorst, 1623
It's exactly those kinds of conversations you can have at the Borghese's newest exhibit.
"Cranach: The Other Renaissance" is on at the Borghese Gallery until February 13. For more information about the exhibit, click here. For more information on the Borghese, including how to book (you must book in advance), click here. All Borghese tickets include entrance to the Cranach exhibit; the price for a ticket is now €13.50.
All images above except for "La Primavera," "Venus and Cupid" and "Concert" courtesy of the Borghese Gallery. Images of the other pieces courtesy of the Web Gallery of Art.
As much as we avid travelers like to think to the contrary, that's not always a good thing. Your waste is now your destination's waste, your carbon footprint its carbon footprint. The choices you make of what to eat and buy can commercialize the agricultural systems and undercut the artisanal production of your destination. The list of potential harms goes on — which is why "invasive tourism" is such a risk for cities and sites worldwide.
That's as true for top destinations in Italy as it is anywhere else. Just recently, the head of the Vatican Museums announced that the 20,000 or so daily visitors to the Sistine Chapel are damaging the frescoes with their dust, sweat, and carbon dioxide. Ruins are deteriorating, artisans' shops closing down, and the center is commercializing — thanks to lots of global forces, not least of all tourism.
Luckily, though, with just a little forethought, you can travel ethically. And you have the power, both with your pocketbook and the other choices you make, to preserve that art, support that culinary tradition, and help those people you like so much.
Here, just a few easy things you can do to make sure that you're helping — not harming — the places in Italy (and elsewhere!) that you love visiting.
1. Never, ever touch the frescoes. Or paintings. Or sculptures. Or tapestries. The number-one way to harm most art is to touch it, transferring the natural oils from your skin onto its surface. That wears everything away from paint to bronze.
For proof, just check out the corners of doors, say in the Vatican's Borgia apartments, that have been frescoed; because these are easy to grab as you go down a hall, they're usually almost entirely worn away. Or check out the medieval bronze statue of St. Peter in St. Peter's Basilica. Hundreds of years of pilgrims kissing and touching its right foot have — you guessed it — worn away the right foot. So please, if you like art, stand and gaze at it. But never, ever touch it.
Be careful with that camera flash, too — it damages cloth and tapestries, as well as some painting. Always be sure it's okay before the bulb goes off.
2. Eat only foods in season. When tourists demand out-of-season products, like artichokes in November, that either forces Italy to import the food in question (that Roman artichoke isn't so Roman, and isn't so "green," if it's from France!), or screws up local agricultural rhythms and the environment as farmers try to adapt to commercial forces. Be aware: Learn what you can, and can't, expect to be in season where you're going. For a quick read-over of what is in season when you're visiting Italy and other tips on how to eat responsibly when traveling, check out Katie Parla's excellent tips for how to be a conscientious eater.
Pizza with fiori di zucca at Da Francesco, Rome? That's something you should only be eating between July and November…
3. Don't buy plastic water bottles. Yes, they're everywhere. Yes, Italians buy them, too. But the effect is terrible. In the Cinque Terre each August alone, 400,000 plastic bottles are found littering the park and its beaches. Venice, which manages 20 million visitors each year, gets trashed with 13 million plastic bottles. And even if you dispose of your plastic bottles properly, remember that that waste has to go somewhere in Italy. (If you're in Naples, of course, that garbage might just stay there).
Italy is taking steps to eradicate the problem: The Cinque Terre banned plastic bottles this past September. From now on, visitors will have the option to buy a 1 euro metal bottle and to refill it at the park's fountains. But for areas of Italy that haven't yet legislated the matter, do the same. Buy a glass or metal bottle and refill it. That's especially easy in Rome, where there are 2,500 nasoni spewing cold, fresh water around the city.
5. Walk, or use local transportation. Italy's cities are great for walking. But if you have to get somewhere faster, take the metro or bus. It's much "greener" than individual taxis — and cheaper and pretty easy to use, too.
6. Stay in agriturismi. They're super-cheap (think €30 to €50 per night), in every destination you could possibly want to visit in Italy, usually in beautiful settings, and they often include a home-cooked meal with ingredients all harvested or slaughtered right there. (Now that's hyperlocal).
Typical Tuscan agriturismo: the Agriturismo Sant'Apollinare
Sound too good to be true? It's not. There are few more-rewarding places to stay overnight than an agriturismo, or "farm stay." And far from the slightly-backwards, eating-in-the-kitchen-with-the-farmer's-family image the word sometimes conjures, nearly every agriturismo I've stayed at has been beautiful and clean, with super-friendly but not-obtrusive owners. Some even go up to the "luxury" scale, like the beautiful Fontanaro agriturismo in Umbria (pictured at top of page). It's got a pool and gorgeous villas — but makes all its own wine, honey, and olive oil, too.
Olives at Fontanaro, Umbria
Since many agriturismi don't even have websites, one of the best ways to find them is simply to type "agriturismo" into Google Maps for the destination you're looking for. You'll be surprised at just how many crop up.
6. Try to limit your air travel. Flying back and forth from Europe to the U.S. emits three to four tons of carbon. That's more emissions than 20 people living in Bangladesh will cause in a whole year. To reduce that impact, take trains, ferries or other transport whenever you can. Consider purchasing a "carbon offset" for your flight, and try to make fewer, longer trips rather than short journeys.
7. Think before you buy. Obviously, that's true with every purchase you make, whether at home or abroad. When you buy a scarf from a Rome vendor that was made in China, your coins vote for outsourcing; when you buy handmade leather gloves in Florence, you vote for local artisans.
Be aware, too, that not all local products are necessarily "ethical." I posted several weeks ago about the coral industry on the Amalfi coast. Yes, buying a coral necklace supports local jewelry-makers, but it supports the destruction of the coral reefs, too. Decide what's important to you — but try to be aware of the local issues, both cultural and environmental, first.
