In 1656, Pope Alexander VII commissioned Pietro da Cortona (1596–1669) to expand the small Peace Square (“Piazza della Pace”) in front of the 15th-century church of Saint Mary, so as to accommodate the carriages of wealthy parishioners. Cortona's solution involved designing a new church facade with a semicircular portico, demolishing select buildings to create a more spacious approach to the church, adding arches to architecturally unify the piazza, and constructing a series of small-size palaces. The outcome became one of Rome's most charming architectural ensembles.

Inside, you can find several magnificent Renaissance treasures, starting with Raphael's fresco above the first altar on the right, which depicts the Four Sibyls (exact replicas of Michelangelo's but with a more relaxed style). Meanwhile, the Cesi Chapel, located second on the right, features exquisite decorations designed by Sangallo in the mid-16th century. Across from it, you'll find Peruzzi's remarkable fresco of the Madonna and Child. Additionally, the octagon beneath the dome serves as an art gallery in itself, displaying works by Arpino, Gentileschi, and others, while Cozzo's "Eternity" adorns the lantern above.

Behind the church lies its cloister – designed by Bramante, the architect of Saint Peter's Basilica – which stands as the first embodiment of the High Renaissance style in Rome. The cloister now hosts an exhibition space and a delightful coffee bar on its upper level.

In Rome, many of the significant fountains were dedicated to mythological water gods and nymphs as a token of gratitude for the arrival of fresh water through the aqueducts. The Fountain of Neptune, situated on the northern end of Navona Square, exemplifies this tradition. The ancient Aqua Virgo Aqueduct was restored in 1453, and by 1570, numerous pipes connected to it supplied water to different parts of the city. The quantity of public fountains in a particular area was determined by the size of its population, and as evidenced by the three fountains within, Navona Square was densely inhabited.

Commissioned by Pope Gregory XIII in 1574, the Fountain of Neptune was created by Giacomo della Porta. The lower basin is crafted from white marble, while the upper basin is made of Pietrasanta marble. When initially constructed, the fountain did not feature any statues, as public fountains of the time were predominantly utilitarian and adorned sculptures were reserved for private gardens. As the 19th century approached, public fountains lost their significance as water suppliers due to the advent of interior plumbing. Nevertheless, they retained their "status symbol" importance, and in 1878, Antonio della Bitta and Gregorio Zappala won a competition to embellish the fountain with statues. Della Bitta sculpted the central piece, depicting Neptune engaged in a battle with an octopus, while Zappala contributed sculptures of the Nereids, cupids, and walruses.

The focal point of Navona Square, the Fountain of the Four Rivers has been in place since the 17th century. While Rome has a longstanding affinity for fountains, dating back to antiquity, the Baroque era brought a new dimension to these water features, showcasing the generosity of the papacy.

In the case of the Fountain of the Four Rivers, Pope Innocent X, whose family seat – the Pamphili Palace – overlooks the square, entrusted the task to one of the most groundbreaking artists of the time, Gian Lorenzo Bernini. Created in 1651, the fountain was Rome's pinnacle achievement in fountain design, a symbolic masterpiece brimming with the dynamic and dramatic elements sought after by Baroque artists. Its central Egyptian obelisk is crowned with the Pamphili emblem, a dove with an olive twig.

Pope Innocent X chose Bernini after being secretly shown his model. The fountain was innovative, combining sculpture and architecture in a way unmatched by previous Roman fountains.

Here, the travertine base supports sculptures of four river gods, representing the major rivers of the continents over which papal authority had extended at that time. These include the Nile (for Africa), the Danube (for Europe), the Ganges (for Asia), and the Plate (for the Americas). Each figure conveys symbolic details: the Ganges is depicted holding a long oar, symbolizing the river's navigability; the Nile's veiled head signifies its unknown source; the Danube, the largest river near Rome touches the Pope's coat of arms; and the Plate sits atop a pile of coins, reflecting America’s wealth.

The fountain's unveiling on June 12, 1651, was marked by grand celebrations orchestrated by the Pamphili family. Allegorical figures of Fame and Curiosity paraded the streets, urging Romans to witness the reveal. The crowd marveled at the lifelike sculptures and water features, described as naturalistic and astonishing.

However, the project faced significant public opposition. Critics condemned its expense during the famine of 1646 to 1648, expressing their discontent through pasquinades demanding "Bread, not fountains." Street vendors and Roman Jews lamented their displacement from the square's market, which was closed to enhance its splendor.

Despite the controversy, the Fountain of the Four Rivers remains a cornerstone of Rome’s cultural and architectural legacy, blending mythology, artistry, and geographical narratives.

Tip:
To capture the essence of this fountain in photographs, it is recommended to shoot from various angles and positions, so as to get as much detail as possible. With ample space surrounding the fountain, take your time to find the perfect shot-or perhaps even multiple perfect shots.

Situated on the southern end of Navona Square, the impressive Fountain of the Moor is one of the three magnificent statues adorning the square. The original fountain, crafted in 1575 by Giacomo della Porta, features Pietrasanta marble, also known as "holy stone" because of its usage in parts of St. Peter's Basilica. While della Porta allowed his students to add four tritons blowing shells and four masks around the basin's border, the fountain lacked a centerpiece, as public fountains during that era were not intended for embellishment.

An amusing anecdote surrounds the history of the fountain: In 1652, Olympia Maidalchini resided in a house overlooking the fountain and found it unsatisfactory, believing it did not match the grandeur she desired. Determined to rectify the situation, she implored her brother-in-law, Pope Innocent X, to take action. The pope provided a small sum of money to Bernini, instructing him to create something worthy of his rather assertive sister-in-law. Allegedly, the modest payment offended the esteemed artist, and he assigned the task to one of his students, who produced three dolphins holding a shell. Both Bernini and "Donna" Olympia were unimpressed with the student's work. Consequently, Olympia voiced her discontent to the Pope, who dug deeper into his coffers, prompting Bernini to produce the exquisite statue of the Moor holding a dolphin. However, Bernini may have gone slightly overboard, as the statue was so large that the basin had to be enlarged to accommodate it.

During a restoration of the fountain in 1874, the original statues were relocated to the Galleria Borghese and replaced with copies. In September 2011, the fountain suffered damage when a vandal attacked it with a hammer. This unfortunate incident occurred on the same night that the Trevi Fountain was also targeted by the vandal.

Navona Square, one of Rome’s most iconic places, is built on the site of the ancient (1st-century AD) Stadium of Domitian. The stadium’s elongated oval shape defines the square’s layout, which was originally designed for Roman games (or agones). Over time, the name evolved from Circus Agonalis (which means “competition arena”) to Navona. After the fall of the Roman Empire, the stadium fell into ruin and was quarried for materials, leaving few remnants today.

In the late 15th century, Navona Square was designated a public space when the city market moved there from Capitoline Hill. It became a celebrated example of Baroque architecture and art during the mid-17th century under Pope Innocent X, whose family property, the Pamphili Palace, overlooks the square. The latter also features several masterpieces, including Gian Lorenzo Bernini’s Fountain of the Four Rivers at its center, crowned by the Obelisk of Domitian. The renowned Church of Saint Agnes in Agone with its impressive dome further highlights the area's artistic significance. Also noteworthy are the Braschi Palace, presently home to the Museum of Rome, and the Cupis Palace, which now offers pre-booked accommodations.

Navona Square is also home to two additional fountains. The Fountain of the Moor, at the southern end, was originally sculpted by Giacomo della Porta in 1575, with Bernini adding a statue of a Moor wrestling a dolphin in 1673. At the northern end, the Fountain of Neptune, also by della Porta (created in 1574), gained its central Neptune statue in 1878.

The square has a rich cultural history, hosting theatrical performances and festivals, including a popular annual Christmas market, from December to January.

Navona Square made an appearance in several movies, including “Angels & Demons” (of 2008, starring Tom Hanks), “Yesterday, Today and Tomorrow” (with Sophie Loren, made in 1964), and “The Talented Mr. Ripley” (directed in 1999 by Anthony Minghella, featuring Matt Damon). The atmosphere in Navona Square exudes a cool and relaxed vibe which, complete with its cinematic and architectural appeal, makes it an ideal spot for photography.

Tip:
In the evenings, when the central fountain is illuminated, the square becomes particularly scenic.
If looking for more intimate and more value-for-money meals and refreshments, consider venturing onto one of the side streets adjacent to the square, filled with multiple eateries and cafes.

The secret to success at this celebrated espresso bar appears to lie in the water, sourced from a 2,000-year-old aqueduct, and the wood-roasted Sant'Eustachio coffee blends. Established in 1938, it continues to be a popular meeting place for locals in Rome, where they can be certain of enjoying a great cup of coffee in an atmosphere that still echoes its glorious past when it frequently made headlines, even worldwide.

Although unassuming, this place tends to get busy, so expect to wait in line. However, the queue usually moves swiftly, and the service is efficient. Like most caffès in Italy, you place your order at the register, hand in your receipt (if it's busy, you can try leaving your receipt on the counter with a coin tip on top), and then savor your coffee and pastry while standing at the counter (the recommended and traditional way) or sit at a table (though these tend to fill up and may incur an additional fee).

You can't go wrong with any type of coffee creation here, whether it's the classic cappuccino, shots of espresso, the delightful "gran caffè" (which combines the best of both worlds), or the heavenly "granita" (a frozen coffee treat with layers of whipped cream) and "monachella" (espresso, coffee, and cream).

Each espresso shot is pulled behind a metal partition, so the secret to the extra-thick, flavorful "crema" remains a mystery.

Tip:
Sugar is added to the coffee beforehand so make sure that you ask for "senza zucchero" (no sugar) before ordering if you don't want any.

Tucked away just behind the Pantheon in Minerva Square, Santa Maria above Minerva is a Dominican church and a hidden gem of both religious and architectural importance. This is the only surviving example of original Gothic religious architecture in Rome, as most medieval churches were modified with Baroque designs.

Despite its somewhat unassuming facade, the Santa Maria above Minerva – formerly the Dominican order's headquarters – also boasts an intriguing history and some truly magnificent artistic treasures. Chief among them are Michelangelo’s Christ the Redeemer sculpture and the Carafa Chapel's frescoes.

The former is found to the left of the main altar. The sculpture's first version, begun in 1515, was abandoned due to a flaw in the marble. The one we see today, completed in 1521, received acclaim for its artistry, particularly its lifelike knees. Originally, Michelangelo depicted Christ unclothed to symbolize his triumph over sin, however, a bronze loincloth was added in 1546.

The Carafa Chapel, commissioned by Cardinal Oliviero Carafa in honor of Saint Thomas Aquinas, was inaugurated in 1493. Lavishly adorned with frescoes by Florentine painter Filippino Lippi, it shows the scenes of Saint Thomas's life, including him debating with heretics, as well as some allegorical ones like him presenting Cardinal Carafa to the Virgin Mary. These frescoes are widely recognized as the best Renaissance painting in Rome outside the Sistine Chapel.

Looking up, you can't fail to notice the stunning deep blue painted ceiling and the round stained glass windows, rightfully regarded as the finest in the city.

The basilica also holds the remains of the Saint Catherine of Siena and early Renaissance painter Fra Angelico.

In 1628, the Convent of Minerva became the seat of the Congregation of the Holy Office, where the Roman Inquisition held trials, including that of Galileo Galilei. In 1633, Galileo was tried for heresy for supporting the theory that the Earth revolves around the Sun. Facing interrogation under threat of torture, he was found "vehemently suspect of heresy" and forced to recant. Galileo was sentenced to house arrest for life, and his works were banned. His trial marked a defining moment in the conflict between science and religion. Legend claims that, after his abjuration, Galileo allegedly muttered the rebellious phrase: "and yet it moves..."

During the 1600s, elephants were regarded by the Catholic Church as symbols of strength, intelligence, and sexual morality due to their monogamous nature and brief mating periods occurring once every two years. In 1667, Gian Lorenzo Bernini designed the elephant that carries the Obelisk of Santa Maria sopra Minerva for Pope Alexander VII. Obelisks were associated with wisdom, leading Alexander to have an inscription added to the base that reads, "A robust intelligence is required to support solid wisdom."

The red granite obelisk, unearthed in 1665 during excavations near the neighboring church of Santa Maria sopra Minerva, is believed to have been brought to Rome in the 1st century AD for the temple dedicated to the Egyptian goddess Isis, which once stood in this location. Originally erected by Pharaoh Apries of the Twenty-sixth Dynasty of Egypt around 580 BC in his capital city of Sais, the obelisk stands at a height of 5.47 meters and is the smallest among the 13 ancient obelisks currently found in Rome. It is considered to be part of a pair, with the other obelisk located in the city of Urbino.

In more recent times, Salvador Dali's painting "The Elephants" portrays two elephants with elongated legs facing each other while carrying fragmented obelisks, making visual references to the statue of the elephant in Rome.

As with so many of Rome's wonderful squares, upon arriving at the Rotonda Square you will find a sea of people enjoying themselves: some sitting almost up against the fountain, some kids running around, tourist families orienting themselves and deciding whether to venture into the monumental ancient Pantheon.

The Pantheon itself needs no introduction, as its fame is recognized worldwide; however, if you're exploring Rome's fountains, you'll find delight in admiring the Fontana del Pantheon, appreciating its artistic merits, and seeking the best angle to observe its intricate details.

Originally built in 1575, the fountain acquired its current appearance in 1711 under the direction of Pope Clement XI. Atop a lofty pedestal, a magnificent 20-foot red marble Egyptian obelisk was placed. This obelisk, brought to Rome from ancient times, was once part of a pair created for the Temple of Ra in Heliopolis (the other obelisk can still be found in the Minerva Square – or Piazza della Minerva – located behind the Pantheon).

In addition to the ancient obelisk, the Baroque-style art adorning the fountain is playful and distinctive. Take note of the whimsical dolphins, adorned with teeth, which were a popular feature of Baroque design during that period. These dolphins possess cartoon-like expressions and even seem to sport eyebrows, adding a touch of charm and humor to the fountain's overall aesthetic.

The Pantheon is one of Rome’s most iconic landmarks, renowned for its architectural brilliance. Originally a Roman temple, its name comes from the Ancient Greek "pan theos," which means dedication to all gods. Built on the site of a temple commissioned by consul Marcus Agrippa during Augustus’ reign, the current structure was completed under Emperor Hadrian around 126 AD. It was transformed into a Catholic Church of Saint Mary and the Martyrs in 609 AD, ensuring its preservation through centuries.

The Pantheon’s unique design combines a classical portico supported by Corinthian granite columns with a domed cylindrical structure (called a rotunda). The unsupported concrete dome, still the largest of its kind in the world, features a central oculus that provides natural light, ventilation, and symbolic celestial connections. The rotunda's harmonious dimensions-43 meters in both height and diameter-epitomize Roman engineering excellence, while its original massive bronze doors, each weighing over 20 tons, and intricate drainage system (allowing to effectively divert rainwater) highlight the ingenuity of its creators.

Throughout its history, the Pantheon has been a vibrant part of Roman life. It served as a burial site during the Renaissance, housing notable figures like painter Raphael and Italian kings Victor Emmanuel II and Umberto I. Its materials, such as bronze, have been repurposed for other projects like Bernini’s baldachin above the high altar of Saint Peter's Basilica. However, its core structure remains remarkably intact. Today, the church still host religious ceremonies, including masses, weddings, and Pentecost celebrations.

The Pantheon’s influence extends far beyond Rome. Its dome inspired architectural marvels like the Florence Cathedral and Rotunda of the U.S. Capital in Washington D.C., while its combination of classical and modern elements shaped countless government and academic buildings worldwide.

With over six million annual visitors, the Pantheon remains a symbol of Roman ingenuity and artistic achievement. Tourists can enjoy free entry to this historic site or soak in its splendor from Rotonda Square, savoring gelato while marveling at its timeless beauty.

Tip:
Incredible at night (from the outside), it is especially so if you enjoy musicians with talent and engagement... but beware of pickpockets.

The Church of Saint Ignatius of Loyola at the Mars Field in Rome is a Baroque Latin Catholic titular church, dedicated to the founder of the Society of Jesus. Constructed between 1626 and 1650, it initially served as the chapel for the Roman College, later the Pontifical Gregorian University. This grand 17th-century preaching temple exemplifies the Counter-Reformation's architectural and religious fervor.

The church's history is rooted in the Roman College, established in 1551. Built on the land initially intended for a Poor Clares monastery, the available limited space prompted Jesuit architect Giovanni Tristano to complete a modest Church of the Annunciation in 1567. However, the church soon became inadequate for the college's growing student body.

After Ignatius of Loyola's canonization in 1622, Pope Gregory XV proposed building a larger church. His nephew, Cardinal Ludovico Ludovisi, commissioned Jesuit mathematician Orazio Grassi to design the new structure. Construction began in 1626 and culminated in 1650. The new church replaced the smaller one, occupying a quarter of the Roman College's block. Its Rococo square was added later.

The church's Latin cross plan, Corinthian pilasters, marble adornments, and gilded interiors mirror the Jesuit mother church, the Gesù. The grandiose frescoes painted on the nave ceiling by a Jesuit lay brother Andrea Pozzo, using the artistic technique called “deceive the eye,” create the illusion of a vast, open space, and are a major highlight.

Due to a lack of funds for a real dome, Pozzo painted an illusionary one, making the nave’s barrel vault appear as an idealized celestial vision where Saint Ignatius is received into heaven by Christ and the Virgin Mary. The artist's mastery of perspective, light, and shading gives the illusion of a towering cupola, visible from a specific marble disk in the nave floor. Another vantage point further east aligns with a second “deceive the eye” painting that depicts a tall, ribbed dome at the crossing- replacing the dome that was never built. The original painting, completed in 1685, was lost to fire, but in 1823, Francesco Manno faithfully recreated it based on Pozzo’s sketches and studies, preserving its striking visual deception.

After saying goodbye to Joe Bradley at his apartment on Via Margutta, Princess Anne wanders through Rome with 1,000 lire in hand-an amount that, in today’s currency, barely covers a public restroom visit. Despite the modest sum, she manages to buy shoes, enjoy an ice cream, get a haircut, and even give a coin to a flower seller. Her spontaneous adventure leads her to a hair salon near the Trevi Fountain, where she is inspired by a stylish Italian woman’s short hairdo. Entranced by the idea of a transformation, she steps into the barbershop and entrusts her locks to the barber Mario Delani.

The hairdresser’s shop was located at 85 Via della Stamperia, to the east of the Trevi Fountain, an iconic Roman landmark built in 1762. Tradition dictates that tossing coins into the fountain determines one’s fate: one coin ensures a return to Rome, two bring luck in love, three mean marriage, and four promise wealth. Custom also requires that the coin be thrown with the right hand over the left shoulder, standing with one’s back to the fountain. Standing this way, you can clearly see, to your left, the former hairdresser's shop.

Although the barbershop has now transformed into a leather goods store, a poster on the door commemorates its cinematic history. Furthermore, according to legend, a barbershop had been there since the 18th century, when architect Nicola Salvi was building the Trevi Fountain. The shop’s owner, frustrated by the dust and noise from the construction, constantly complained to the architect. In an act of elegant revenge, Salvi placed a decorative stone vase in front of the shop’s windows, permanently blocking the view of the grand fountain-a petty yet poetic gesture that remains to this day.

This historical quirk sparks the thought that the shop should be repurchased and restored to its former glory as a hair salon. The idea of many female tourists flocking to get the famous “shorter, shorter!” haircut is sure tantalizing. And who knows, maybe their enthusiasm would eventually prove sufficient to facilitate the removal of Salvi’s stone obstruction.

The Trevi Fountain is one of Rome’s most iconic landmarks, drawing visitors to the eponymous Trevi Square all day long. Surprisingly, the fountain was not initially built in the heart of the city; instead, the city grew around it. Its name derives from the Latin word "trivium," which means “three streets,” as it sits at the junction of three streets: De Crocicchi, Poli, and Delle Muratte.

The fountain’s history dates back to 1629 when Pope Urban VIII commissioned Gian Lorenzo Bernini to redesign it, though his plans were never realized. Later, Pope Clement XII organized a competition in 1730, leading to Nicola Salvi's selection for the project, who incorporated the fountain into the rear of the Poli Palace. Salvi passed away before its completion. Giuseppe Pannini and other artists finalized the work in 1762.

Measuring over 26 meters in height and 49 meters in width, it is the largest Baroque fountain in Rome.

The Trevi Fountain features a Corinthian façade and bas-reliefs depicting the origins of the Acqua Vergine aqueduct, constructed in 19 BC. According to legend, a virgin guided Roman engineers to the aqueduct’s source, an event depicted in the fountain’s bas-reliefs. The aqueduct, which survived the Gothic invasions and was restored during the Middle Ages, still supplies water to the fountain today.

At the heart of the fountain is Oceanus, depicted riding a shell-shaped chariot drawn by two horses and guided by Tritons. The horses symbolize the sea’s contrasting moods-calm and turbulent. Flanking Oceanus are the statues of Abundance and Salubrity, representing prosperity and health. The symmetrical Rococo design combines dynamic artistry with Baroque grandeur, reflecting 18th-century European trends.

The Trevi Fountain is also known for the tradition of tossing coins, which promises a return to Rome. Popularized by the 1954 Hollywood film "Three Coins in the Fountain," visitors toss coins over their left shoulder with their right hand, generating daily about €3,000. This money, collected by municipal authorities, is donated to charity.

Celebrated in films like Roman Holiday and La Dolce Vita, the Trevi Fountain’s global fame is further evidenced by replicas worldwide. Access to the fountain is now limited to 400 visitors at a time, ensuring a more enjoyable visit to this timeless masterpiece. Surrounding the fountain are charming shops, restaurants, and gelaterias, making it a delightful spot to soak in Rome’s vibrant atmosphere.

Tip:
The fountain holds particular allure at night, especially after 10 pm when it is beautifully illuminated and the crowds dissipate, allowing you to enjoy the site almost exclusively.

The Spanish Square is one of Rome's most popular destinations, known for its blend of historical and cultural significance. Dominated by the iconic Spanish Steps next to it, the square also serves as a hub for high fashion, with designer boutiques lining the surrounding streets.

At the base of the Spanish Steps lies the "Fountain of the Longboat," an Early Baroque masterpiece created between 1627 and 1629. Commissioned by Pope Urban VIII as part of a project to install fountains in Rome’s major squares, it was designed by Pietro Bernini, possibly with assistance from his son, Gian Lorenzo. The fountain’s design, a half-sunken boat overflowing with water, was inspired by a local legend. During a devastating flood of the River Tiber in 1598, a small boat was reportedly carried to the square and left there as the waters receded. The fountain’s water flows gently due to the low pressure of the Acqua Vergine aqueduct, adding a soothing charm.

The fountain also features symbolic details, such as the Barberini family's papal coat of arms, honoring Pope Urban VIII’s ancestry. Its intricate design includes water flowing from seven points, with streams emerging from central balusters, human-faced suns inside the boat, and external spouts. This harmonious blend of engineering and artistry reflects the Baroque era's grandeur.

The Spanish Square is steeped in literary history as well. Adjacent to the fountain is the former residence of English poet John Keats, who died there in 1821. Now a museum, the house preserves memorabilia of the Romantic generation. Keats found solace in the sound of the fountain’s water, which inspired the epitaph on his tombstone: "Here lies one whose name was writ in water."

On the right side of the square stands the Ferrari di Valbona Palace, once home to Cardinal Lorenzo Cybo de Mari. The building, remodeled in 1936 under Fascist-era designs, showcases modern terraces that complement the surrounding Baroque architecture.

Spanish Square invites visitors to relax, bask in the sun, and enjoy its timeless beauty. The gentle gurgle of the Longboat Fountain and its rich history make it a serene yet captivating centerpiece of Rome.

Located at the base of the Spanish Steps, this house holds a poignant history as the final residence of renowned English Romantic poet, John Keats. Sent to Rome in a desperate attempt to find relief from his ailing health, Keats resided in this dwelling until his untimely death on February 23, 1821, at the tender age of 25. The house stands as a testament to Keats' literary legacy and the vibrant bohemian community that thrived in this area, attracting English expatriates of the time.

The house allows visitors to step into the poet's final abode and offers glimpses into his life through various artifacts, including his death mask, manuscript fragments, and letters. Although the original furnishings were unfortunately destroyed after his passing due to health concerns, the house now houses a quaint collection of memorabilia dedicated to Keats and other English literary figures from the era. Notable names such as Lord Byron, Percy Bysshe Shelley, Joseph Severn, and Leigh Hunt are commemorated, while an extensive library on the Romantic poets provides a comprehensive resource for literature enthusiasts.

While Percy Bysshe Shelley shared a close friendship with Keats, it is worth noting that he never resided in the aforementioned house. During Keats' final days, Shelley was residing in Pisa alongside his wife Mary, the renowned author of "Frankenstein". Upon receiving the news of Keats' passing, Shelley was deeply moved and composed his renowned elegy titled "Adonais", which he dedicated to his departed friend. Tragically, Shelley's own life was cut short just a few years later.

The Spanish Steps, a monumental stairway of 135 steps, holds the distinction of being the longest and widest in Europe. The steps link Spanish Square, at the base, with the Trinity of the Mountains Square at the top.

The stairway was completed under Pope Clement XI in 1717, deriving its name from the nearby Spanish Embassy to the Holy See. Financed in part by a French diplomat, it features Baroque elements, inspired by garden stairs, and incorporates symbolic decorations such as the Bourbon heraldic lily flowers and papal eagles.

As a cultural and seasonal hub hosting public events such as Christmas cribs, spring azalea displays, and a flower market, the Spanish Steps have captivated artists and people of letters since the 18th century. Among them was the renowned English poet, John Keats, who lived and died practically next door. His house, at the base of the steps (located to the right, if you face the stairs), is now a museum.

Other nearby landmarks include the Ferrari di Valbona Palace, redesigned in 1936, and Babington's tea room, a resilient establishment that has withstood two world wars and numerous adversities, ultimately becoming a beloved tourist attraction.

The steps' cinematic appeal also made them a backdrop for numerous films, including the Hollywood blockbuster “Roman Holiday” made in 1953, starring Audrey Hepburn and Gregory Peck. In the scene where Joe Bradley, played by Peck, meets Princess Ann, played by Hepburn, she sits on the steps, enjoying the view and eating ice cream. Fresh after the haircut, the princess takes compliments for her new look and makes up a story that she has run away from school. She accepts his proposal to spend the day together before she returns, and thus the Roman Holiday story begins!

Other filmmakers also made a mark on the steps, such as “The Talented Mr. Ripley” movie with Matt Damon, shot in 1999, and “Mission: Impossible – Dead Reckoning Part One,” featuring Tom Cruise, which premiered at the steps on June 19, 2023.

Consequently, the Spanish Steps became a magnet for aspiring models, affluent Romans, international travelers, and people from all walks of life. The tradition of gathering here is deeply ingrained in the locals and visitors alike. Today, the steps are protected by strict regulations against loitering, eating, or damaging, with heavy fines introduced to maintain decorum.

Tip:
The staircase offers picturesque views of Rome from its pinnacle, particularly at sunset-a truly unbeatable sight!
The afternoon and late hours are the best for visiting, so to avoid the heat of the day.
Alongside tourist activities such as carriage rides, you'll find nearby an array of shops and bars worth exploring.