182 Best Sights in Rome, Italy

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.

This church, a 10th-century edifice with a Renaissance facade, is dedicated to the patron saint of motorists. On her feast day, March 9, cars and taxis crowd the Via dei Fori Imperali below for a special blessing—a cardinal and carabinieri (Italian military) are on hand and a special siren starts off the ceremony. The incomparable setting continues to be a favorite for weddings.

The earliest Christian site in the Forum was originally part of an imperial structure at the foot of the Palatine Hill before it was converted into a church sometime in the late 5th century. Within it are some exceptional frescoes dating from the 6th to the 9th century. Buried by a 9th-century earthquake, the church was abandoned, and a replacement was eventually built on top in the 17th century. This newer church was knocked down in 1900 during excavation work on the Forum, which revealed the early medieval church beneath.

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 small, inconspicuous, 9th-century church is known above all for the exquisite Cappella di San Zenone, just to the left of the entrance. It gleams with vivid mosaics that reflect their Byzantine inspiration. Though much less classical and naturalistic than the earlier mosaics of Santa Pudenziana, they are no less splendid, and the composition of four angels hovering on the sky-blue vault is one of the masterstrokes of Byzantine art. Note the square halo over the head of Theodora, mother of St. Paschal I, the pope who built this church. It indicates that she was still alive when she was depicted by the artist.

The chapel also contains one curious relic: a miniature pillar, supposedly part of the column at which Christ was flogged during the Passion. It was brought to Rome in the 13th century. Over the main altar, the magnificent mosaics on the arch and apse are also in rigid Byzantine style. In them, Pope Paschal I wears the square halo of the living and holds a model of his church.

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.)

This synagogue has been the city's largest Jewish temple, and a Roman landmark with its distinctive aluminum dome, since its construction in 1904. The building also houses the Jewish Museum on its lower floor, with displays of precious ritual objects and exhibits that document the uninterrupted presence of a Jewish community in the city for nearly 22 centuries. Until the 16th century, Jews were esteemed citizens of Rome. Among them were bankers and physicians to the popes, who had themselves given permission for the construction of synagogues. But, in 1555, during the Counter-Reformation, Pope Paul IV decreed the building of the walls of the Ghetto, confining the Jews to this small flood-prone area and imposing restrictions, some of which continued to be enforced until 1870. For security reasons, entrance is via guided visit only, and tours in English are available twice a day but should be booked online ahead of time. Entrance to the synagogue is through the museum on Via Catalana.

Built by Domitian and erroneously referred to since the 19th century as the "stadium," this was, in fact, a sunken garden that created a terrace on the slopes of the hill. It may also have been used to stage games (but not chariot races) and other amusements for the emperor's benefit.

In ancient Rome, traitors were hurled to their deaths from here. In the 18th and 19th centuries, the Tarpeian Rock became a popular stop for people making the Grand Tour because of the view it gave of the Palatine Hill. Today, the Belvedere viewing point has been long shuttered for restoration, but you can proceed a short walk down to Via di Monte Tarpeo, where the view is spectacular enough. It was on this rock that, in the 7th century BC, Tarpeia betrayed the Roman citadel to the early Romans' sworn enemies, the Sabines, only asking in return to be given the heavy gold bracelets the Sabines wore on their left arm. The scornful Sabines did, indeed, shower her with their gold, and added the crushing weight of their heavy shields, also carried on their left arms.

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.

Erected by the Senate in honor of Faustina, deified wife of Emperor Antoninus Pius (AD 138–161), Hadrian's successor, this temple was rededicated to the emperor as well upon his death. Because it was transformed into a church (San Lorenzo in Miranda), it's one of the best-preserved ancient structures in the Forum.

The three remaining Corinthian columns of this temple beautifully evoke the former grandeur and elegance of the Forum. This temple was dedicated in 484 BC to Castor and Pollux, the twin brothers of Helen of Troy, who carried to Rome the news of victory at Lake Regillus, southeast of Rome—the definitive defeat of the deposed Tarquin dynasty. The twins flew on their fabulous white steeds 20 km (12 miles) to the city to bring the news to the people before mortal messengers could arrive. Rebuilt over the centuries before Christ, the temple suffered a major fire and was reconstructed by the future Emperor Tiberius in 12 BC, the date of the three standing columns.

What survives of the base of the temple—built by Augustus, Julius Caesar's successor—stands over the spot where Caesar's body was cremated. A pyre was improvised by grief-crazed citizens who kept the flames going with their own possessions.

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.

A picture-perfect, if dollhouse-size, Roman temple, this rectangular edifice from the 2nd century BC is built in the Greek style. Positioned in a bend in the Tiber River and long known as the Temple of Fortuna Virilis (Manly Fortune), it was appropriately dedicated to Portunus, the protector of ports. It now sits on a slip of greenery between two well-trafficked roads and owes its fine state of preservation to the fact that it was consecrated as a church in the 9th century.

This round brick temple with bronze doors behind the Basilica dei Santi Cosma e Damiano is believed to have been dedicated by the Emperor Maxentius to his son, Valerius Romulus, who died in 309 AD and was deified. In the 6th century, the temple was converted into a vestibule for the church. There are various wall decorations in the rotunda, including Christ enthroned between St. Mary Magdalene and St. Mary Salome. To the left of the entrance is a 13th-century painting attributed to Jacopo Torriti depicting the Madonna enthroned and Child between the Medici saints.

Once Rome's largest temple, it was, in fact, originally two temples back-to-back. The half dedicated to Venus, facing the Colosseum, is the section seen today; its twin, which once faced the Forum, was dedicated to the goddess Roma and is now the foundation of the church of Santa Maria Nova. Begun by Hadrian in AD 121, the temple is accessible from the end of the Forum near the Arch of Titus and offers a great view of the Colosseum.

All that remains of Vespasian's temple are three graceful Corinthian columns. They marked the site of the Forum through the centuries while the rest was hidden beneath overgrown rubble. Nearby is the ruined platform that was the Tempio di Concordia.

Although only a fragment of the original building remains, this temple nevertheless conveys the sophisticated architectural elegance that was achieved in the later Roman Empire. Set off by florid Corinthian columns, the tholos (circular building) was rebuilt by Emperor Septimius Severus when he restored the temple (around AD 205), which is dedicated to Vesta, the goddess of the hearth. It was here that the six highly privileged vestal virgins—chosen when they were between six and 10 years old to serve for 30 years—kept Rome's sacred flame burning, a tradition that dated from the very earliest days of the city, when guarding the community's precious fire was essential to its well-being.

Next to the temple, the Casa delle Vestali gives you a glimpse of the splendor in which these women lived. Marble statues of the vestals and fragments of mosaic pavement line the garden courtyard, which once would have been surrounded by lofty colonnades and at least 50 rooms. Their standing in Rome was considerable: among women, they were second in rank only to the Empress. Their intercession could save a condemned man, and they did, in fact, rescue Julius Caesar from the lethal vengeance of his enemy Sulla.

The virgins were handsomely maintained by the state, but if they allowed the sacred fire to go out, they were scourged by the high priest, and if they broke their vows of celibacy, they were buried alive (a punishment doled out only a handful of times throughout the cult's 1,000-year history). The vestal virgins were one of the last of ancient Rome's institutions to die out, enduring until the end of the 4th century AD—even after Rome's emperors had become Christian.

The Terme di Caracalla are some of Rome's most massive—yet least visited—ruins. Begun in AD 206 by the emperor Septimius Severus and completed by his son, Caracalla, the 28-acre complex could accommodate 1,600 bathers at a time. Along with an Olympic-size swimming pool and baths, the complex also had two gyms, a library, and gardens. The impressive baths depended on slave labor, particularly the unseen stokers who toiled in subterranean rooms to keep the fires roaring in order to heat the water.

Rather than a simple dip in a tub, Romans turned "bathing" into one of the most lavish leisure activities imaginable. A bath began in the sudatoria, a series of small rooms resembling saunas, which then led to the caldarium, a circular room that was humid rather than simply hot. Here a strigil, or scraper, was used to get the dirt off the skin. Next stop: the warm(-ish) tepidarium, which helped start the cool-down process. Finally, it ended with a splash around the frigidarium, a chilly swimming pool.

Although some black-and-white mosaic fragments remain, most of the opulent mosaics, frescoes, and sculptures have found their way into Rome's museums. Nevertheless, the towering walls and sheer size of the ruins give one of the best glimpses into ancient Rome's ambitions. A newly installed fountain has returned some water to the baths, while a portable video guide allows a glimpse of the past grandeur, with images and audio that describe how the ruins appeared centuries ago. If you're here in summer, don't miss the chance to catch an open-air opera or ballet in the baths, put on by the Teatro dell'Opera di Roma.

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.

The celebrated "Sacred Way," paved with local volcanic rock, runs through the Roman Forum, lined with temples and shrines. It was also the traditional route of religious and triumphal processions. Pick your way across the paving stones, some rutted with the ironclad wheels of Roman wagons, to walk in the footsteps of Julius Caesar and Marc Antony.

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.

Even in ruins, this villa conveys a real sense of ancient Rome's opulence, as do the archaeological finds in its small on-site museum. Indeed, Emperor Commodus—the villain in the 2000 film epic Gladiator—coveted this once-splendid villa so much that he accused its owners, the Quintili family, of plotting against him, had them executed, and then moved in. He may have used the exedra as a space in which to train for the ostrich fights that were held in the Colosseum. The villa is 5 km (3 miles) from the catacombs and is accessible from both the modern Appia Nuova and from the Appia Antica (by bicycle or on foot only).