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an old building with a clock tower at night

The St. Mary Major Basilica's ancient calendar

The St. Mary Major’s Basilica hosts a secret special calendar which gives us a fascinating insight into the daily life of Ancient Rome. This ancient agenda is not like the modern ones we are used to. Actually, it is a fresco painted on the wall of an existing Roman building, depicting a whole year divided into months and probably days. Thanks to this calendar, archaeologists have been able to reconstruct more precisely how the Romans organized their time and life and how it works their agricultural activities and holidays. In fact, the fresco shows how the year was marked by agricultural work, which was essential for the survival of the population, and when holidays and festivities for the grape harvest were celebrated, a truly unique insight into Ancient Rome's social life.

many people are sitting on the ground in front of a building with columns and pillars

The Pantheon Fountain

The Pantheon Fountain was thought for the Jubilee of 1575: immediately after the restoration of the famous aqueduct of the Aqua Virgo, completed in 1570, a secondary underground branch of the conduit began to be made, to reach the area of the ancient Campo Marzio, one of the most populated areas of Rome. As a consequence, the construction of several fountains was also planned, such as the one in Popolo Square and the two at the extremities of Piazza Navona (the fountains "del Moro" and "del Nettuno”). At that point, in 1575, Pope Gregory XIII commissioned Giacomo Della Porta to design the fountain of Piazza della Rotonda, in front of the Pantheon, whose sculptural realization was entrusted to Leonardo Sormani.

two hands touching each other in front of a painting

Christian Quotes Inspirational

Caravaggio

The Sistine Chapel before Michelangelo

Imagine entering the Sistine Chapel before Michelangelo transformed it into the masterpiece we know today. Looking up, you wouldn't have seen the biblical scenes that fascinate us, but a starry sky, a mantle of stars painted by Pier Matteo d'Amelia. A work that has now disappeared, but which played a fundamental role in the history of this sacred place. Pier Matteo d'Amelia, a 15th-century Umbrian painter, was commissioned by Pope Sixtus IV to decorate the vault with a night sky, an image that was meant to convey a sense of spirituality and connection with the divine. His starry sky, created between 1479 and 1480, enveloped visitors in an atmosphere of contemplation, inviting them to prayer and reflection.

a painting of a man sitting at a table with a book and skull on it

Caravaggio's at the Borghese Gallery

Caravaggio was not just a painter, but a revolutionary who captured the raw essence of humanity on canvas. In the Borghese Gallery, you'll find some of Caravaggio's most celebrated works, each telling a unique story, such as David with the Head of Goliath, Boy with a Basket of Fruit and Saint Jerome Writing. Caravaggio's use of light and shadow, his ability to capture the human form in all its beauty and imperfection, is what makes his work so timeless. He was a master of chiaroscuro, a technique that creates dramatic contrast and brings his subjects to life. As you wander through the Gallery, you can’t help but feel a sense of awe and wonder. Caravaggio's paintings are not just images, they are experiences. They draw you in, make you feel, make you think.

the crucifix is displayed in front of statues

Saint Peter’s Basilica

The St. Peter's Basilica Crucifix

Inside the most important Basilica of Rome, you can find the oldest crucifix in the world. In fact, the crucifix of Saint Peter’s Basilica is an imposing sculpture of the XIV Century skillfully carved on a secular walnut trunk, representing the dying Christ with his head reclining on the right shoulder If you did not know about this masterpiece, rest assured: unfortunately, this crucifix is a work almost forgotten and unknown to many, also due to its last "unhappy" relocations. As a matter of fact, the crucifix was initially located in the old Basilica then, during the construction of the new Basilica, it was moved over the altar of Saint Petronilla, and then in 1632 it landed in the first chapel near the Holy Door, called "del Crocifisso" and painted by Giovanni Lanfranco

a woman is walking in the middle of a room with marble flooring and walls

Yellow Granite

Ancient Marble

Roman Forum

The Pantheon Floor

The Pantheon, from the floor to the ceiling and walls, is a succession of circles, squares, rectangles, and triangles. Long story short, it is a true laboratory for geometry lovers. In particular, the floor is a mosaic of ancient marble from different parts of the Roman Empire that forms a design in which alternately inscribed circles or squares. The materials used are porphyry, antique yellow, granite and pavonazzetto, which give the entire space a unique alternation of colours and movement. Its original structure is probably among the oldest in all of Rome, dating back to the time of Hadrian, in the 2nd century AD; since then, it has undergone few if any changes. The floor is not only a decorative element but also a historical and cultural testimony of great value

a spiral staircase in an old building with columns

The Bramante Staircase at the Vatican Museums

Imagine climbing a staircase that transports you back in time. The Bramante Staircase at the Vatican Museums is just that: a journey into the Renaissance. Commissioned by Pope Julius II and designed by the genius of Donato Bramante around 1505, this spiral staircase is an engineering masterpiece and a work of art in its own right. Its helical structure, with columns that follow each other in perfect harmony, is an example of how art and science could perfectly merge in the Renaissance. But Bramante's genius doesn't stop there: as you ascend, the alternation of the architectural orders of the columns creates a play of light and shadow that enhances the staircase's majesty. Originally, the staircase was used to connect the new papal apartments to the garden and other areas of the Vatican.

a stone statue is displayed in an open glass case on the side of a brick building

The Stadium of Domitian

In the past, before Navona Square, there laid the Stadium of Domitian. It was built in the Campus Martius between 85-86 A.D. by Domitian, both to offer the people a further venue for celebration (and praise of the emperor), and to satisfy the imperial passion for athletics. The stadium had a capacity of about 30,000 spectators. Its shape was inspired by the stadiums of Olympia and Athens and it was built for the Greek athletic games, very appreciated by the emperor, who hoped to involve the Romans in more athletic practice. Unfortunately, the Greek games, so loved by the emperor, were not so amusing for Ancient Romans, who considered them too unmanly and little violent. The Stadium was later restored in the Third Century by Alexander Severus and remained in use until the Fifth Century.

the inside of a building with statues on either side of it and a skylight above

The Vatican Museums as a bunker

During the tumultuous years of World War II, the Vatican Museums played an extraordinary role in preserving the Italian cultural heritage. At that time, countless masterpieces were secretly moved to the Vatican and hidden away in secret chambers. A resilient man, called Emilio Lavagnino, started secret negotiations with the Vatican State to move masterpieces such as sculptures, paintings, and goldworkings from all over the churches of the Lazio. Lavagnino travelled several times within little cities to collect the works which had to be secretly moved towards Rome. When the war struck some of those little cities, at least their art had been saved. This daring operation ensured that some of the world's most iconic artworks survived the conflict, emerging unscathed when peace finally returned

a statue of a man sitting on top of a fountain

The Fountain

At The Hotel

The Four

The Fountain of The Four River in Navona Square

Rome's iconic Fountain of the Four Rivers has been given a new lease on life! After nearly 20 years, this Baroque masterpiece by Bernini inside Navona Square has undergone a meticulous restoration, returning it to its former glory. Bernini's fountain is the most important in Rome along with the Trevi's one. It was made using travertine for the rock base and marble for the sculptures. The obelisk comes from the Villa of Maxentius and was taken by Pope Innocent X who wanted to leave this place a monument that would remain in history after the Jubilee of 1650.

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St. Peter's worst secret

Beneath Rome's ancient charm, lies a more recent, and controversial, chapter: the creation of Via della Conciliazione. This grand boulevard, stretching from St. Peter's Square to Castel Sant'Angelo, was born from the demolition of Borgo Pio, a medieval neighbourhood teeming with life and history. It was a decision made in the name of progress, of opening up a direct and monumental path to the Vatican. But at what cost? Several churches, houses and historic buildings were razed to the ground, severing deep-rooted communities. Plus, in the past, people walking through the alleys of Borgo Pio would have arrived directly in front of the Square, being amazed by the glorious Dome opening in front of their eyes just after a corner, an effect lost forever due to this modernization

Papal Residence of Castel Gandolfo

As you may know, the Castelli Romani are traditional. The porchetta, the red wine, the guanciale, and the Pope. What did you say? The Pope? Yeah, the Pope: in Castel Gandolfo, a little town garnished by Bernini which stands upon the marvellous Albano Lake, the Holy Father has spent summer vacations inside the lovely Papal Residence in the village's heart for centuries. At least, it has been so since Pope Francis’ settlement: traditions still stand strong in Italy, but Bergoglio decided not to benefit from the summer residences, giving up unnecessary luxury. For this reason, nowadays the Papal Residencies are a real museum and tourists can visit the Gardens and the exclusive room where some of the most important Popes in history slept, including Pope John Paul II

an empty chair sitting on top of a wooden floor in front of a stone wall

Pompeii And Herculaneum

Country Italy

The Pompeii's casts

During the excavations of Pompeii were found the remains of more than one thousand victims of the eruption of 79 A.D. During the first eruptive phase, the inhabitants who had not left the city in time were trapped in the environments invaded by pumice stones and lapilli or were hit by the collapse of the volcanic material which deposited up to a height of about three meters; Of these victims, only skeletons have been found. Subsequently, a pyroclastic flow, at high temperature, invaded Pompeii at great speed, filling the spaces not yet invaded by volcanic materials and causing the instant death to thermal shock of those who were still in the city. The bodies of these victims remained in the position in which they had been hit by the pyroclastic flow, as they can be seen nowadays.

an old building with the word gruppa - foll on it's side

Marcus Agrippa

Emperor Hadrian

The Pantheon Inscription

What does the inscription on the facade of the Pantheon mean? “M. Agrippa L. F. Cos. Tertium fecit” literally means that Marcus Agrippa, son of Lucius Agrippa, built the Pantheon during the year of his third consulate. This inscription came from the first Pantheon built in Rome: the first version of this landmark was, in fact, built by Agrippa during the Empire of August, whose Agrippa itself was the son-in-law and a trusted general. The inscription we can see nowadays is part of the first Pantheon, burnt during two fires in 80 and 110 AD, and was reused by Emperor Hadrian during the 112-115 AD reconstruction to commemorate the first building

the top of a building with statues on it

Gian Lorenzo Bernini

Lorenzo Bernini

St. Peter's Square

The St. Peter’s Square and Colonnade are, without any doubt, the biggest works commissioned by Pope Alexander VII. Gian Lorenzo Bernini, appointed by the Pope, carried out the square arrangement of the square between 1657 and 1667. As a symbol of the power of Alexander VII, on the top of the Colonnade, there is his Coat of Arms, representing the Chigi Family. The most incredible particular of this Coat of Arms is the statue on its side: it represents St. Petronilla, the woman traditionally thought to be the daughter of St Peter whose rests were transferred to a nearby Chapel where Michelangelo’s Pietà was originally placed. Also, an interesting game of perspectives makes this statue very small if seen from below; actually, the statue is 3 meters tall