79 Best Sights in Rome, Italy

As suggested by the paths shaped like a menorah, this was once a Jewish cemetery. All but one tombstone was moved, and the space is now a municipal garden that is open during the few weeks in the warmer months when the roses are in bloom. The garden is laid out to reflect the history of roses from antiquity to the present day and features more than 1,000 varieties. Its location also offers sweeping views across the old chariot track of the Circus Maximus.

The dedication of this church, which is in a quiet area south of Viale di Trastevere, refers to the fact that St. Francis of Assisi stayed nearby during a visit to Rome. The medieval church was rebuilt in the 17th century and houses one of Bernini's last works, the Blessed Ludovica Albertoni. It is perhaps Bernini's most hallucinatory sculpture, a dramatically lighted figure ecstatic at the prospect of entering heaven as she expires on her deathbed. The cell in which Saint Francis is said to have stayed (Il Santuario di San Francesco) is often visitable. If you're a fan of the 20th-century metaphysical painter Giorgio de Chirico, call ahead and ask to visit his tomb in a chapel that contains three of his works.

Imbued with the supreme grace of the Renaissance, this often-overlooked church dedicated to Florence's patron saint, John the Baptist, stands in what was the heart of Rome's Florentine colony, where residents included the goldsmiths, bankers, and money changers who contributed to the building of the church. Talented goldsmith and sculptor Benvenuto Cellini of Florence, known for both his genius and his vindictive nature, lived nearby.

Although the church was designed by Sansovino, Raphael (yes, he was also an architect) was among those who competed for this commission. The interior is the perfect Renaissance space, one so harmonious that it seems to be a 3D Raphael painting. Borromini executed a splendid altar for the Falconieri family chapel in the choir. He's buried under the dome, despite the fact that those who committed suicide normally were refused a Christian burial.

Set amid the greenery of the Celian Hill, this church wears its Baroque facade proudly. Dedicated to St. Gregory the Great (who served as pope 590–604), it was built about 750 by Pope Gregory II to commemorate his predecessor and namesake. The church of San Gregorio itself has the appearance of a typical Baroque structure, the result of remodeling in the 17th and 18th centuries. But you can still see what's said to be the stone slab on which the pious St. Gregory the Great slept; it's in the far right-hand chapel.

Outside are three chapels. The right chapel is dedicated to Gregory's mother, Saint Sylvia, and contains a Guido Reni fresco of the Concert of Angels. The chapel in the center, dedicated to Saint Andrew, contains two monumental frescoes showing scenes from the saint's life. They were painted at the beginning of the 17th century by Domenichino (The Flagellation of St. Andrew) and Guido Reni (The Execution of St. Andrew). It's a striking juxtaposition of the sturdy, if sometimes stiff, classicism of Domenichino with the more flamboyant and heroic Baroque manner of Guido Reni.

The quintessence of Baroque architecture, this church has a facade that is a wonderfully rich mélange of bell towers, concave spaces, and dovetailed stone and marble. It's the creation of Francesco Borromini (1599–1667), a contemporary and rival of Bernini. Next to his new Pamphilj family palace, Pope Innocent X had the adjacent chapel expanded into this full-fledged church. The work was first assigned to the architect Rainaldi. However, Donna Olimpia, the pope's famously domineering sister-in-law, became increasingly impatient with how the work was going and brought in Borromini, whose wonderful concave entrance has the magical effect of making the dome appear much larger than it actually is.

The name of this church comes from the Greek agones, the source of the word navona and a reference to the agonistic competitions held here in Roman times. The saint associated with the church is Agnes, who was martyred here in the piazza's forerunner, the Stadium of Domitian. As she was stripped nude before the crowd, her hair miraculously grew to maintain her modesty before she was killed. The interior is a marvel of modular Baroque space and is ornamented by giant marble reliefs sculpted by Raggi and Ferrata.

Designed by Bernini, this small church is one of the triumphs of the Roman Baroque period. His son wrote that Bernini considered it his best work and that he used to come here occasionally, just to sit and contemplate. Bernini's simple oval plan, a classic form in Baroque architecture, is given drama and movement by the decoration, which depicts St. Andrew's martyrdom and ascension into heaven and starts with the painting over the high altar, up past the figure of the saint above, to the angels at the base of the lantern and the dove of the Holy Spirit that awaits on high.

Topped by the highest dome in Rome after St. Peter's (designed by Maderno), this imposing 17th-century church is remarkably balanced in design. Fortunately, its facade, which had turned a sooty gray from pollution, has been cleaned to a near-sparkling white. Use one of the handy mirrors to examine the early-17th-century frescoes by Domenichino in the choir vault and those by Lanfranco in the dome. One of the earliest ceilings done in full Baroque style, its upward vortex was influenced by Correggio's dome in Parma, of which Lanfranco was also a citizen. (Bring a few coins to light the paintings, which can be very dim.) The three massive paintings of St. Andrew's martyrdom are by Mattia Preti (1650–51). Richly marbled and decorated chapels flank the nave, and in such a space, Puccini set the first act of Tosca.

This eccentric Baroque church, probably Borromini's best, has one of Rome's most delightful "domes"—a dizzying spiral said to have been inspired by a bee's stinger. The apian symbol is a reminder that the church was commissioned by the Barberini pope Urban VIII (a swarm of bees figure on the Barberini family crest), although it was completed by Alexander VII. The interior, open only for two hours on Sunday morning, is worth a look, especially if you share Borromini's taste for complex mathematical architectural idiosyncrasies. "I didn't take up architecture solely to be a copyist," he once said. Sant'Ivo is certainly the proof.

The curving brick facade on the northeast side of Piazza della Repubblica is one small remnant of the colossal Terme di Diocleziano, the largest and most impressive of the baths of ancient Rome. A gift to the city from Emperor Diocletian, the complex was completed in AD 306. In 1561 Michelangelo was commissioned to convert the vast frigidarium, the central hall of the baths, into a church. His work was later altered by Vanvitelli in the 18th century, but the huge transept, which formed the nave in Michelangelo's plan, has remained. The eight enormous monolithic columns of red granite that support the great beams are the original columns of the tepidarium, 45 feet high and more than 5 feet in diameter. The great hall is 92 feet high.

A twin to Santa Maria in Montesanto, this church dedicated to Our Lady of the Miracles was built in the 1670s, started by Carlo Rainaldi and completed by Bernini and Carlo Fontana as an elegant frame for the entrance to Via del Corso from Piazza del Popolo. Inside, there is a gorgeous stucco designed by Bernini pupil Antonio Raggi.

In 1656, Pietro da Cortona (1596–1669) was commissioned by Pope Alexander VII to enlarge the tiny Piazza della Pace in front of the 15th-century church of Santa Maria so that it could accommodate the carriages of its wealthy parishioners. His architectural solution was to design a new church facade complete with semicircular portico, demolish a few buildings here and there to create a more spacious approach, add arches to give architectural unity to the piazza, and then complete it with a series of bijou-size palaces. The result was one of Rome's most delightful little architectural set pieces.

Within are several great Renaissance treasures. Raphael's fresco above the first altar on your right depicts the Four Sibyls—almost exact replicas of Michelangelo's, if more relaxed. The fine decorations of the Cesi Chapel, second on the right, were designed in the mid-16th century by Sangallo. Opposite is Peruzzi's wonderful fresco of the Madonna and Child. The octagon below the dome is something of an art gallery in itself, with works by Cavalliere Arpino, Orazio Gentileschi, and others; Cozzo's Eternity fills the lantern above.

Behind the church is its cloister, designed by Bramante (architect of St. Peter's) as the very first expression of High Renaissance style in Rome. In addition to an exhibit space for contemporary art, the cloister has a lovely coffee bar.

On the eastern side of the Piazza del Popolo, Santa Maria dei Miracoli's Baroque "twin church" was built in the 1660s–70s. It was originally designed by Carlo Rainaldi and finished by Carlo Fontana, who was supervised by his brilliant teacher, Bernini (whose other pupils are responsible for the saints topping the facade). On the last Sunday of the month from October to June, a Mass is held in tribute to artists, with live musical accompaniment, earning the church its nickname of the Church of the Artists.

This church, sometimes known as Chiesa Nuova (New Church), is most famous for its three magnificent altarpieces by Rubens. It was built toward the end of the 16th century at the urging of Philip Neri and, like Il Gesù, is a product of the fervor of the Counter-Reformation. It has a sturdy Baroque interior, all white and gold, with ceiling frescoes by Pietro da Cortona depicting a miracle reputed to have occurred during the church's construction: the Virgin and strong-armed angels hold up the broken roof to prevent it from crashing down upon the congregation. Note that the church closes daily from 12 pm--5 pm.

This 5th-century church is thought to have been inspired by the design of the Church of the Holy Sepulchre in Jerusalem. Its unusual round plan and timbered ceiling set it apart from most other Roman churches. So do the frescoes, which lovingly depict 34 of the goriest martyrdoms in Catholicism—a catalog, above the names of different emperors, of every type of violent death conceivable. (You've been warned: these are not for the fainthearted.)

Begun by Julius Caesar and completed by the emperor Augustus in 13 BC, this theater could house around 14,000 spectators. Like other ancient monuments, it was transformed into a fortress during the Middle Ages. During the Renaissance, it was converted into a residence by the Savelli, one of the city's noble families. Today, only the archaeological park around the theater is open to the public, with its picturesque walkway that curves past the ruins and links to the Portico d'Ottavia. In summer, the small park becomes a magical venue for open-air classical music concerts.

The round layout of the Temple of Hercules Victor led it to be mistakenly identified for centuries as the Temple of Vesta, which has a similar shape but really sits on the other side of Palatine Hill in the Roman Forum. Now called by its correct name, it was built in the 2nd century BC around the same time as its neighbor, the Tempio di Portuno. The little park around the temples was once ancient Rome's cattle market, but now has benches to rest weary feet.

Standing high above the Spanish Steps, this 16th-century church has a rare double-tower facade, suggestive of late–French Gothic style; in fact, the French crown paid for the church's construction. Today, it is known primarily for its dramatic location and magnificent views. The obelisk in front is from the 2nd or 3rd century AD and was originally a centerpiece to an imperial villa.

This small, verdant park across the street from the Piazza del Quirinale is a good spot to stop and take a break. In the center sits an equestrian statue of King Carlo Alberto, the king of Piedmont-Sardinia during the turbulent period of the Reunification of Italy. There are benches to sit and kids often play on the grass. If you happen to be in the area at sunset, cross the street to see the spectacular sunset over Piazza del Quirinale and the rooftops of Rome.

What began as the Pamphilij family’s suburban getaway during the 17th century is now the true green heart of Rome. Spanning more than 180 acres, the beloved park is one of the largest in the city. Made up of towering pine groves and sprawling lawns, the estate is centered around the former Baroque residence known as the Casino del Bel Respiro (beautiful breath) because it once offered a literal escape from the malarial air of the city below. The building can only be admired from outside but the surrounding gardens still offer spectacular views, as well as meandering paths and numerous picnic spots.