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.
Check out (my) verdicts for Rome’s most local, best-value places for coffee, gelato, wine, cucina romana and more in my article for the Guardian’s travel section, “Eat Like a Local in Rome.” Agree with my choices? Disagree? Feel free to comment below!
There may be no artist better suited to the night than Caravaggio — the tormented Baroque painter famous for his dramatic, almost theatrically-lit paintings.
And on Saturday night, Rome is offering up its Caravaggios to the public. From 7pm on Saturday, July 17 until 9am on Sunday morning (yes, all night), four different sites will be open and free: the Borghese Museum (right now, ordinarily a €10.50 entrance), with its "Boy with a Basket of Fruit" (above), "Sick Bacchus," and "Madonna of the Snakes," among other pieces; the Church of San Luigi in Francese, home to Caravaggio's first major commission, the three frescoes of St. Matthew; the Basilica of Saint Augustine, with its Madonna of Loreto; and the Basilica of Santa Maria del Popolo, with its Crucifixion of St. Peter and Conversion of St. Paul (open only until 1am).
Just be prepared for a queue at the Borghese, where Romans are most likely to flock… although the later you go (or the earlier Sunday morning), the more likely you are to to have the museum to yourself.
Ostia Antica, the ancient town just 20 miles from Rome, might not have the dramatic past of its Vesuvius-vanquished neighbors to the south. But if your interest is in getting a feel for the daily lives of the Romans, not the notoriety of a particular disaster, then head to Ostia Antica.
Before being abandoned in the 9th century, the ancient Roman city had 50,000 inhabitants. Today, the vast site is chock-full
of the remnants of houses, restaurants, and bars. There’s even a hotel. It’s still two stories tall — and you’re still allowed to climb the ancient stairs to the second floor.
Like other high-quality ancient sites, if Ostia gives you one thing, it’s the sense of how little times have really changed. Not only could visitors to town stay in a hotel (with the more expensive, seaside-view rooms those on the higher floors), but they could walk across the street for a tipple at the bar and restaurant. Here’s an image of that bar, left, complete with the marble shelving for various bottles and, above it, a fresco depicting exactly what the restaurant served — an ancient predecessor to the current menus with photos you see in Rome today. (Although, avoid those).
And you can get a sense of ancient advertising. Take this shop, its floor a black-and-white mosaic of fish and seafood. What was this shop? The fish-monger, of course.
You can get to Ostia by taking the Metro, line B, to Piramide, then following the signs to the Roma-Lido station. From there, you can get the train to Ostia Antica, using the same metro ticket. For a map, click here.
Most guidebooks to Rome vaunt Da Remo as Testaccio’s best pizzeria, noting its big crowds and classic Roman pizza. Well, okay. Da Remo’s pretty good.
But if you’re heading out to Testaccio anyway, my advice: Go to Nuovo Mondo instead.
I had a capricciosa on my last visit there, and it was great. The crust was thin and crispy, the ingredients fresh, and the sauce almost-perfect, if a little uneven. And if you’re looking to get a table within the first fifteen minutes (not a likelihood at places like Da Remo), well, there were still empty seats by 9pm on a weeknight. And (again, pretty shocking for a pizzeria), the waiters were actually friendly. Okay, maybe it was because I was a single woman, eating alone — a rare thing in Italy. But still.
If that weren’t good enough, the bill was even better: €12 for a pizza, three fritti, and water.
The downside is the decor. With somewhat awkwardly low plastic chairs outside, bright orange tables, and motel-style prints decorating the walls inside, it’s no-frills. The place looks like it hasn’t been redecorated in the 45 years it’s been around. But with pizza this good, it doesn’t need to be.
Nuovo Mondo. Via Amerigo Vespucci 15. Closed Mondays. For a map, click here. Note: If you’re visiting Rome for the first (or even second, or third) time, the prospect of getting out to Testaccio (a working-class neighborhood south of Circo Massimo) might seem a little daunting. But it’s easy. You can take the “B” line metro south and get off at Piramide, just 2 stops from the Colosseo stop. Or grab the 3 or the 75 bus, which also stop in the Colosseum area. From there, it’s a short walk to Nuovo Mondo. And the neighborhood’s always lively and feels safe, even at night.
For those of you in Rome who don’t live under a rock, you’ve probably noticed that the saldi — or sales — have arrived. And for those visiting, you might be wondering what all of the excitement, and the overcrowded stores, are about.
Unlike in, say, the U.S., Rome’s stores don’t have to tend small sales year-round. Instead, they have big, city-wide sales twice a year: post-Christmas, and July.
The first few days of the saldi can be crazy. The already-overworked-and-underpaid salespeople (seriously: I went into a popular shoe store the other day where there were 10 shoppers and just 1 worker, who had to get the shoes, make the sales and ring everything up by herself) are even more frantic. The line to try clothes on at Zara, always long, gets longer. The wait to get the attention of a salesgirl at Sisley, usually tough, becomes all but impossible.
But, but, but. The sales DO tend to be pretty good (often up to 50 percent off). And if you can’t bear to brave the crowds right away, don’t fear: The saldi will go on for another 5 or 6 weeks. They’ll keep cutting prices, too. Just remember that with a bunch of discerning Italians having come in before you, the good stuff will probably be gone.
