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 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.
Every time you travel, you have an impact on your destination.
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.
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.
It's not every day that you see China's ancient, famous terracotta warriors from Xi'an in the also-ancient, also-famous Roman forum.
Now you can.
From now until January 9, 2011, Rome is hosting the exhibit "The Two Empires: the Eagle and the Dragon." Held in the Curia, or the ancient senate house in Rome's forum, the exhibit is the first to explicitly compare China's empire with Rome's.
But it's just a taste of what else Italy (and China) have planned.
The parallels between the countries' histories are certainly there. Both were extraordinarily sophisticated, militaristic empires. Both unified dozens of warring territories under the same political and economic systems. And both influenced all of history; just as modern-day Europe and the United States owe a great debt to the ancient Romans, so, too, do the modern-day Chinese owe the Qin and Han dynasties. (Those dynasties ruled China from the 3rd century B.C. to the 4th century A.D., a timeline that, too, parallels the height of the Roman empire).
And the artifacts that Rome's gotten ahold of for the exhibit are pretty fantastic. Most striking are, of course, the terracotta warriors, here on one of their rare trips away from Xi'an, China. More than 8,000 of them, each one different and detailed, were sculpted around 210 B.C. for Emperor Qinshihuang's tomb. Eight (plus a horse) are now in the Curia (pictured above). Seeing them in the same space as first-century Roman marble statues is striking — no less because of how much the two cultures shared in terms of their sophistication and technical skill alone.
While neat, the exhibit is far from thorough. It's just a teaser. And that's the whole idea. It's a preview of a bigger exhibit coming to Palazzo Venezia in November, which will boast 450 different Italian and Chinese pieces.
It also launches a long-term collaboration and cultural exchange with China, kicked off by Chinese Prime Minister Wen Jiabao's visit to Rome on October 7. That collaboration includes the participation of Italy's ministry of culture in China's new National Museum in Beijing, with a wing focused on Italian culture — and a reciprocal space for a state museum of Chinese culture in Palazzo Venezia.
So stay tuned. Update, Nov. 17: See my new blog post on the "Eagle and the Dragon" exhibit for information on the Palazzo Venezia show.
The exhibit at the Curia is open from 8:30am-6:30pm until October 24, from 8:30am-4:30pm afterward. Entrance is included in your forum/Colosseum/Palatine ticket. For more information (in Italian), click here.
Unless you're a Mannerist art fan, don't visit the Galleria Spada until you've seen the Vatican museums, Galleria Borghese, Capitoline museums, Villa Farnesina, Palazzo Massimo, and Palazzo Barberini.
But. Once you've done those — or if you're in the mood for just a half-hour art stop, instead of the longer slog the other galleries entail — check out the collection of Palazzo Spada.
Located just around the corner from Campo dei Fiori and Piazza Farnese, in one of Rome's lovely and quieter neighborhoods, the palazzo got its start as a cardinal's palace in the 16th century. Seventy years later, it was built by another cardinal (Cardinal Spada, of course!) who commissioned none other than Borromini to modify it.
Borromini's main contribution? The courtyard's colonnade, a trick of perspective that makes the gallery look 37 meters long, when really it's just 8 (shown above).
The "ah-ha!" you get when you catch just how small the gallery really is (aided by one of the workers, who will come out and stand at the back of it to show you that it's all just a trick) is one that must have been shared by guests to the palazzo for nearly four centuries. But that's not the only way in which you experience the gallery much as 17th-century visitors would have.
In all four (yes, only four) of its rooms, the museum seems frozen in time. The collection — which boasts paintings by Guido Reni, Orazio and Artemisia Gentileschi (Artemisia's "Santa Cecilia" is shown below), and Domenichino, plus one piece thought to be a Titian — is still displayed much as it would have been. The walls are hung with painting upon painting; the floors are bordered with ancient busts and statues; the ceilings are frescoed. It all feels a bit musty, and you're likely to be the only person there.
Sound good? Then go. After all, it's one of the few things you can do in Rome that almost no other tourist has.
For more information (in Italian), click here. For a map, click here. The Galleria Spada costs €5, with reduced options for E.U. members.
If you see the Colosseum burning this weekend, don't call the fire brigade: The flames are virtual.
Artists Thyra Hilden and Pio Diaz, from Denmark and Argentina, respectively, are putting on the show by using a pre-recorded video of real fire and projecting it onto the structure. Their digital manipulations of the film mean that they even can recreate the effect of wind fanning the flames — and the result is so realistic that, in the past, people have called emergency services.
The Colosseum show is part of their project "City on Fire: Burning the Roots of Western Culture." The two artists have been "burning" monuments since 2005, including the Trevi Fountain, Copenhagen Cathedral, and Seoul Museum.
The show will take place on the nights of September 17, 18, and 19, from 8:30pm to 2am. Given the recent announcement that Rome is looking for sponsors to restore the Colosseum and keep it from, well, crumbling to the ground, seems like kind of an odd choice.
Or, perhaps, an appropriate reminder that these monuments won't simply stand on their own forever.
Don’t be sad that the summer is ending and, with it, Rome’s best summer’s events! The autumn brings a new slew, too. I’ll be updating this as we go along, so check back for more exciting events.*
September 17-20. The Colosseum will be set on fire (virtually) in an art show by Thyra Hilden and Pio Diaz. 8:30pm-2am Friday, Saturday and Sunday.
September 19-20. La Notte di Raffaello. The newly-restored Palazzo Barberini opens Sunday night and Monday, offering free guided tours to the public.
September 21-December 2. RomaEuropa Festival. The annual festival, now in its 25th year, boasts a series of music, dance and theater performances. Highlights this year include a production of “Orpheus” with hip-hop music and music by Monteverdi and Philip Glass, the British rock group “The Irrepressibles,” and Laurie Anderson’s “Delusion,” a multimedia series of mystery plays that include violin, puppetry, and visuals.
After two years, the €5 million restorations at the Palazzo Barberini have finished. To celebrate, the museum is opening its doors to visitors for free on Sunday, September 19.
Called "La Notte di Raffaello" in honor of one of the collection's most famous paintings, Raphael's portrait of La Fornarina or "baker's daughter" (above), the inaugural event should include free guided tours to the public. The event begins at 6pm Sunday, September 19; the exhibit will also be open on Monday, September 20. (It's usually closed Mondays). If you go, particularly make sure to check out the newly-restored fresco by Pietro da Cortona on the ceiling of the Grand Salon.
As of late August, the Palazzo Barberini folks still weren't sure exactly what the opening hours or when the guided tours would be, since they said (apologetically) that work is still continuing on the building. So stay tuned. I'll keep updating this post here as I get more information.
Update, 9/13:The Palazzo Barberini will definitely be open from 6pm till midnight on Sunday, and the Grand Salon will be open. However, they're still unsure about tour times.
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.
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.
St. Peter's Basilica. Gorgeous virtual tour by the Vatican itself. Highly professional and stunning.
While neat, the exhibit is far from thorough. It's just a teaser. And that's the whole idea. It's a preview of a bigger exhibit coming to Palazzo Venezia in November, which will boast 450 different Italian and Chinese pieces.
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