Even with the best English-Italian dictionary, some Italian words baffle. Like tabaccaio. "Tobacco shop," sure. But what else is going on in there — and why does everyone seem to think it's so useful?
First, make sure you have the pronunciation right: "ch" is hard in Italian, so it's tah-back-ee or tah-back-aye-oh, not tab-atch-ee. (One poor tourist confessed to me the other day, "Oh no! I've been saying 'tab-atch-ee' for years of coming to Italy!")
Second, a tabaccaio is not just a tobacco shop. Yes, you can get cigarettes there — but you can get a bottle of water, gum, and likely postcards, batteries and international calling cards, too.
Most usefully, it's where you can get tickets for public transport. At the counter, just ask for "un biglietto per l'autobus" or "due/tre/etc. biglietti" (the ticket works for the bus, tram and metro); it's €1 per ticket. You'll also see Italians using the tabaccaio to pay their electric or phone bills and to "top up" their pay-as-you-go phones.
When you're looking for a tabacchaio, just scan your street for the telltale blue sign with a white T. Just remember that many tabacchi, especially outside of the tourist centers,close during lunchtime and around 6 or 7 at night.
August is upon us — and with it, the winding-down of some of Rome’s best summer festivals and events, or “Estate Romana”. A recap of Rome’s best summer offerings… and when they end:
Ending August 3. The saldi (summer sales). If you miss these, you’ll have to wait until January!
Ending August 15. Rock City, a festival in the Park of the Aqueducts featuring nightly concerts and restaurant stalls. (On the smallish side, but fun).
Ending August 19. Lungo il Tevere Roma, an enormous nightly festival at the Tiber River.
Ending August 31. L’Isola del Cinema, showing films nightly at the island on the Tiber River (both foreign and Italian).
Ending September 4. All’Ombra dell’Colosseo, a pool (with events like aperitivo and concerts) in the Colosseum’s shadow.
Ending September 5. La Forma del Rinascimento (“The Shape of the Renaissance”), with works by Donatello, Bregno, and Michelangelo, at the Palazzo Venezia.
Ending September 5. L’Età della Conquista (“The Age of Conquest”), an exhibit on the founding and Greek influences of the Roman Empire, at the Musei Capitolini.
Ending September 8. Colori dell’Ara Pacis, a light show showing the Ara Pacis as it would have been. Wednesday nights only.
On Wednesdays throughout the summer, you can see the Ara Pacis — the elaborately-carved, beautifully-preserved ancient altar dating from 9 B.C. — as it was meant to be seen: with color.
It's hard enough to imagine ancient Rome as it would have been: marble temples, colossal monuments, extraordinary baths. But what most visitors to Rome don't realize is that you have to take something else into account, too. You have to imagine everything painted. That's right: everything. The monuments, the sculptures, the buildings. It wasn't all shining white marble; it was also reds and yellows and blues. And greens and purples and pinks. And….
The difference that color makes is dramatic. There may be no better example of that than the Ara Pacis. Created in honor of Emperor Augustus in 9 B.C., the monumental altar symbolizes the peace and prosperity that the first emperor brought about. When you go to see it at the Museum of the Ara Pacis, it appears elegant and elaborate — but when it was painted, it would have been much more than that. It would have been striking in its vibrance.
Don't believe me? Here's the panel of Aeneas sacrificing to the Penates (the household gods), with color and without, left. The color makes a big difference, no?
From now until September 8, from 9pm to midnight (last entrance 11pm), on Wednesdays only, you can see the Ara Pacis colored as it would have been (or so the best guesses have it) with lasers. At € 8 for the entrance, it's pricier than the usual € 6.50 entrance. But unless you want to get a super-close look, you don't even have to pay: Standing outside the glass-walled Museum of the Ara Pacis might be good enough.
Either way, make sure you see it. It's a special event, and it ends soon.
For more information, click here. For a map, click here.
For the past eight years, Jason Spiehler has been a top name in the world of Rome walking tours, written up by both Rick Steves and the New York Times. Now, he’s started a company that focuses on offering tours by well-informed, passionate guides of Italy’s top sites. In Rome, that includes not just the Colosseum and St. Peter’s Basilica, but gems off the beaten path — like tours of the Galleria Borghese, the catacombs, and the city’s finest small churches.
(Full disclosure: I work for this company. But hey, I think that means I know the quality of our guides and the work that’s put in pretty well, too!).
The company just launched a website, www.walksofitaly.com, giving full information about all of the tours offered. So far, they cover Rome, Florence, and Pompeii. One top seller is the “Pristine Sistine” tour, which takes visitors into the Sistine Chapel first thing in the morning, before the crowds arrive. Another neat feature: All of the private tours give you the option of having “add-ons,” like another half-hour on the Palatine Hill or in the Imperial Forums. Convinced your tour’s the right one? You can book immediately online. Still have questions? You can shoot the tour coordinator, Linda, an email at info@walksofitaly.com, call, or even Skype.
Okay, enough plugging for one day. But seriously. Check out the website. I know I’m biased, but I still think it looks pretty good.
Rome’s Palazzo Barberini is one of the best places to go if you’re tired of Rome’s overwhelming art collections (think: Vatican museums), but want to see more of what Rome has to offer. A stunning art museum in a Renaissance palace, it’s an often-overlooked gem in the heart of the city.
Palazzo Barberini boasts works by some of Italy’s best painters: Caravaggio, Raphael, Tintoretto, Bronzino. Its stars include the lush and moving “La Fornarina,” Raphael’s portrait of his lover (and possibly secret wife), the baker’s daughter; Hans Holbein’s famous portrait of King Henry VIII; and Caravaggio’s startlingly realistic — and frightening — Judith Beheading Holofernes (above).
(Note: This post was last updated with current information in April 2017).
For fans of Baroque art, the building alone merits a visit. Started in 1627-1633 by Carlo Maderno with his nephew Francesco Borromini, construction was handed over to Borromini and his soon-to-be-rival Bernini. (Yes, that Bernini. Some of his sculptures are also inside). The palace’s frescoes include Pietro da Cortona’s famous “Allegory of Divine Providence”; a triumph of trompe l’oeil, it literally “tricks the eye” into thinking that the ceiling opens up to show the heavens and tumbling figures. But it’s also a political piece, a tribute to the Barberini family — the powerful clan whose Maffeo Barberini became Pope Urban VIII (and started construction on the building).
An underrated art museum: Palazzo Barberini
But the piece-de-resistance is Pietro da Cortona’s Triumph of Divine Providence, the fresco on the ceiling of the Grand Salon, mind-boggling for its size, its spot-on execution of trompe l’oeil, and its sheer over-the-top-ness — which benefited from a months-long restoration in 2010 and is now on full and stunning display.
The Palazzo Barberini is located just steps from the Barberini metro at Via delle Quattro Fontane, 13. It’s open every day but Monday from 8:30am-7pm, making it an ideal early-evening stop. The entrance price is currently €10. For more on Palazzo Barberini, click here.
If you liked this post, you’ll love The Revealed Rome Handbook: Tips and Tricks for Exploring the Eternal City, available for purchase on Amazon or through my site here! I’m also free for one-on-one consulting sessions to help plan your Italy trip.
In a word, the Baths of Caracalla are enormous. Towering 125 feet above you, they're higher than most apartment complexes in modern-day Rome; they accommodated up to 1,600 people at a time. Today, however, there's hardly anyone there.
The baths (or terme, in Italian) date back to the early 200s A.D., when they were planned by Emperor Septimus Severus and completed by his son Caracalla. They boasted a 183-by-79-foot frigidarium, tepidarium, 115-foot-wide caldarium, natatio (swimming pool) complete with bronze mirrors to reflect in the sunlight, and two palaestras, or gyms. And that's not to mention the complex's dozens of shops and two public libraries — one with texts in Latin, one in Greek.
Today, the baths' sheer size is enough to take your breath away. Experiencing that enormity and, with it, getting a sense of the monumental scale of ancient Rome's structures, is alone an excellent reason to visit. Unless you have a fascination with ancient baths, it's also pretty much the only reason: After centuries of looting and plundering, the baths are just a shell of what they would have been.
As with so many of Rome's other ancient sites, imagining the baths as they would have been requiressome imagination. (The History Channel has a short online video on the baths including a reconstruction, which helps; here is a scale drawing of the complex). If you go, remember that the entire bath complex would have been lavished with glass-paste mosaics (like that above), frescoes, and hundreds of sculptures.
Two of the sculptures, unearthed in the 16th century during excavations by Pope Paul III Farnese, give an idea of how monumental and lavish these decorations would have been: the Farnese Hercules and the Farnese Bull, an enormous sculpture group carved from one marble block that was probably originally a fountain (right), both now in Naples.
Visiting the baths costs € 6.00 for non-E.U. citizens; the ticket is also good for 7 days for Villa dei Quintili and the Mausoleo di Cecilia Metella. The complex is open daily from 9am to the evening (check the official Baths of Caracalla website for exact times, which vary by season), and to 2pm on Mondays. They're located just southeast of Circus Maximus, which is the closest metro stop. For a map, click here. To plot your route with public transport (official address is Viale delle Terme di Caracalla, 52), click here.
The Basilica of Santi Quattro Coronati boasts a 12th-century church (with 4th-century origins), a lovely cloister, and beautifully-preserved 13th-century frescoes (above). And it’s only a short walk from the Colosseum or San Giovanni in Laterano. But I’ve yet to see more than a handful of visitors there.
I’m not complaining: The basilica does, after all, include a convent, and it’s nice to see it all undisturbed by hordes of visitors. But. The church is a gem — and a must-see for anyone interested in Rome’s off-the-beaten-path sites.
The first church here was founded in the 4th century. Its name, “four crowned saints,” comes from its original dedication to the four soldiers who were martyred by Emperor Diocletian after they refused to sacrifice to a pagan god. But in 1084, the Normans burned the church to the ground during their sack of Rome.
Pope Paschal II built the “new” version of Santi Quattro Coronati in the early 1100s, but at only half the size of the original. (Imagine!) Still, the structure remains impressive, particularly for the lesson that the pope seems to have taken from the Norman sack: If you’re going to build, might as well build fortified. Even today, Santi Quattro Coronati has the appearance, looming from atop the Celian hill and surrounded by thick walls, of a military fort.
There are two parts of the basilica that you shouldn’t miss — but would if you didn’t know what to look for. One is the Romanesque cloister (right). Once in the main basilica, ring a bell on the left wall. One of the Augustinian nuns will come to let you into the peaceful, lovely space. (Donations are requested, though not required, for the upkeep of the convent and the basilica. These churches aren’t so wealthy anymore, and much of their art is suffering. If you can, give a euro or two).
Once you’ve exited both the cloister and the basilica and are in the main courtyard, you’ll see a door to your left. That leads to the Chapel of St. Sylvester. Glorious but intimate, the chapel highlights the incredible narrative power of medieval frescoes, even those done by artists whose names have been forgotten. Don’t miss it.
To enter the chapel, ring the little bell on the left after you’ve walked in. A nun will appear behind the grate and ask how many you are. The fee is 1 Euro per person. Once you’ve paid, she’ll buzz you into the chapel. There, you’ll find an entire 13th-century cycle of frescoes commemorating the life of St. Sylvester (below); they’re charming (they hadn’t quite figured out perspective yet!), but breathtaking, too. Not to mention that they’re incredibly rare for their state of preservation, giving you a chance to see 700-year-old frescoes largely as they’re meant to be seen — vivid with color and detail.
It’s not all that often that you get to see medieval frescoes in Renaissance art-laden Rome. Especially not alone, as you’re likely to be. Enjoy it.
The Basilica of Santi Quattro Coronati is located at Via dei Santi Quattro 20; click here for a map. The basilica is open daily from 6:15am-8pm, but 6:45am-12:30pm and 3pm-7:30pm on Sundays and holidays. The Chapel of St. Sylvester is open from 9:30am-12pm and 4:30pm-6pm daily and from 9am-10:40am and 4pm-5:45pm on Sundays and holidays. In the Basilica, as in all churches in Rome, remember to bring some kind of covering for your shoulders and wear knee-length skirts or trousers; even if it’s not enforced, it’s a sign of respect for the church.
Villa Celimontana is one of Rome’s loveliest public parks. Once the 16th-century estate and villa of the Mattei family, it’s also strewn with the remnants of ancient temples and palaces, including columns, statues and a temple altar. There’s even an Egyptian obelisk inscribed to Ramses II that came from the
hill’s Temple of Isis (and, originally, from Heliopolis’ Temple to the
Sun).
Issues of archaeological sensitivity aside, there’s no better place for summer concerts. The venue is small enough to get a good glimpse of the band and has excellent sound and lighting, not to mention a handful of restaurants and bars. (They’re a little pricey, but not insane). As the sun sets over the cyprus trees, the breeze kicks up, and the music begins, there might be no better way to enjoy a Roman summer night.
Doors open for the concerts at 9 each night, and the music begins at 10:10. To get your ticket for one of the more popular concerts, or to grab a seat at the table at one of the venue’s restaurants (which lets you order snacks, drinks and even a meal), be there on the earlier side. The concerts will run every night until September 4. Tickets usually cost €9 to €12, but more popular bands can cost up to €25 — check in advance. The schedule for upcoming concerts includes the Brazilian band Toquinho (July 31), pianist Aaron Goldberg (August 3), Italian blues band Blues di un Re Minore (August 20), and American singer Diane Schuur (August 30).
For more information about the concerts, click here (official website is in Italian). For a map, click here. Entrance to the concert is on Via della Navicella, number 12.
Umbria is the undiscovered Tuscany. It has the rolling hills, medieval towns, excellent food, and artistic treasures of its next-door neighbor — but, thanks to the fact that Frances Mayes’ book was not “Under the Umbrian Sun” (although that does have more of a ring to it), tourists haven’t discovered it. Yet.
One of Umbria’s loveliest towns is Spoleto. First settled in the 5th century B.C. by the Umbri tribes, who built the fortified walls that you can still see there today, the town isn’t just beautiful; it’s rich with history.
Want to see ancient Roman remains? Spoleto boasts two ancient theatres and a bridge, the Ponte Sanguinario, so-called because of the killings of Christians that took place in the theatre next door. How about medieval sites? You couldn’t miss the imposing Rocca Albornoziana, a 14th-century castle, if you tried, nor the Ponte delle Torri — a striking 13th-century aqueduct that might have been built into ancient foundations (shown above).
And that’s not to mention the surprising number of medieval churches for what feels like such a small town. Most notable among them is the Duomo of Santa Maria Assunto, completed in 1227.
But the Duomo’s biggest claim to fame is actually Renaissance-era: the frescoes of Italian great Filippo Lippi (right), painted in the 1460s to commemorate scenes from the life of Virgin Mary. (Lippi is buried in the church, too).
Finally: I think it’s worth noting that Spoleto boasts some particularly good dining, including one restaurant that a friend of mine likes so much he’ll drive to Spoleto just to eat there. It’s called Il Tempio del Gusto, located on Via Arco di Druso, 11. Information is available on the restaurant’s website.
The easiest way to get to Spoleto is by train: it takes just 1.5 hours, and costs €7.45 for a second-class ticket, one way. Check for times and prices at www.trenitalia.it. If you’re lucky enough to have a car, Spoleto’s a 1.5- to 2-hour drive to the north. For a map, click here. For more information about Spoleto, click here.
It might just be the best event in Rome, at least in the summer: On every night until September 1, the Tiber River’s banks come alive. More than a kilometer of stalls line the river—each one a shop or cafe, restaurant or bar.
If you’re a shopping, or strolling-and-people-watching, kind of person, the possibilities are endless. On my last walk through the festival, called Lungo il Tevere Roma, I perused jewelry, bought fistfuls of dried figs and kiwis, sipped a mojito in a swanky bar, and even watched one of the last World Cup games.
Compared to Rome’s other culinary options, I wouldn’t recommend having a full meal at the festival. But for a walk, a drink or a snack, it’s a nice, breezy change from the rest of Rome. And despite the crowds of Romans there, the prices are pretty similar to what you’d get elsewhere in the city.
For more information, check out the Lungo Il Tevere 2013 festival’s website. The fun starts every night around 8pm, and runs from Ponte Palatino north to Ponte Sisto. Click here for a map.
