The construction of the architectural complex was intended to create a house for the Order of exceptional size compared to other convents, meant to become a spiritual, cultural, and administrative reference point for the entire Capuchin family. Unfortunately, of the original layout, only the church and the crypt remain intact today, with the latter being an integral part of the museum route.
The Museum and Crypt of the Capuchins in Rome, inaugurated in 2012, is part of a significant complex, the origins of which date back to the 17th century. The convent, located along the present-day Via Veneto, was built starting in 1626 at the initiative of Pope Urban VIII Barberini, whose brother, Cardinal Antonio Barberini, was a member of the Order. The project was entrusted to Brother Michele from Bergamo, a highly renowned and valuable Capuchin architect. By 1631, the convent was already inhabited by a large fraternity, quickly becoming a center of primary importance for the entire Order.
The Museum and Crypt of the Capuchins in Rome: A Journey Through Centuries of Faith and Art
The Museum, inaugurated in 2012, aims to preserve and promote the historical and artistic heritage of the Capuchin Friars Minor. The eight exhibition rooms offer a journey through the history of the Order, highlighting its profound spirituality and the role it has played in the religious and social life of Rome. Among the exhibited pieces are highly valuable paintings, including the renowned Saint Francis in Meditation by Caravaggio, sculptures, liturgical objects, and artifacts related to the daily life of the friars, many of which have been restored and brought back to their former glory thanks to an extensive restoration campaign. These objects bear witness to the austere and simple lifestyle that has always characterized the Order, while also reflecting the Capuchins' ability to produce sacred craftsmanship in line with their ideal of poverty.
The Crypt of the Capuchins is truly a unique place, perhaps even macabre for some. It consists of a long and narrow corridor, along which five chapels are located, decorated on the vaults and walls with the mortal remains of about 4,000 friars who lived between the 1500s and the 1800s. The peculiar feature of these "decorations" is that they form rosettes, pilasters, stars, hourglasses, clocks, butterflies, chandeliers, and crosses.
On the walls of the chapels, hundreds of tibiae, femurs, and skulls are piled up, transformed into building materials to create niches and architectural structures that house skeletons dressed in the habits of some friars. One of the most famous inscriptions in the crypt reads: "What you are, we were; what we are, you will be," a powerful memento mori that invites visitors to reflect on the fleeting nature of life.
On the walls of the chapels, hundreds of tibiae, femurs, and skulls are piled up, transformed into building materials to create niches and architectural structures that house skeletons dressed in the habits of some friars. One of the most famous inscriptions in the crypt reads: "What you are, we were; what we are, you will be," a powerful memento mori that invites visitors to reflect on the fleeting nature of life.
The crypt of the Skulls is adorned with Capuchins lying and standing inside niches enriched with skulls and bones. The back wall is characterized by a winged hourglass, symbolizing the passage of time. The vault is decorated with bands of fibulae and humeri and features a central sphere decorated with flowers and ribs. The crosses on the floor mark the burial of seven Capuchins. The corridor is beautified with triangles made of mandibles and a small rosette formed by shoulder bones, while the chandelier is suspended from an eight-pointed star.
The side walls of the Pelvises crypt house Capuchins lying under arcosolia, while the back wall features a composition of bones and skulls. Three Capuchins are depicted in niches, with the central one under a canopy decorated with bones and vertebrae, topped with skulls and rosettes. The vault is adorned with transverse bands of pelvises, vertebrae, and long bones, ending in eight-pointed stars. At the center, the rosette is made of scapulas and vertebrae. The lateral crosses refer to the instruments of Christ's Passion and mark the burial of seven Capuchins.
The crypt of the Tibiae and Femurs is decorated with fascinating and symbolic details. The side walls feature niches with statues of Capuchins, including the venerated friar Antonio from Canton and Father Raimondo from Olot, known for his translation of the biography of Saint Francis into Arabic. Piles of bones and skulls adorn the arches and capitals. The back wall and the vault are richly decorated with bones and skulls, with floral patterns and crosses made of vertebrae. A massive lamp and a decorative embrasure with a sacred bone and a winged skull complete the ornamentation.
The crypt houses three youthful skeletons, symbols of the fragility of life and the universality of death. Decorated with bones arranged in intricate floral patterns, the crypt is the resting place of deceased Capuchin friars and features a central figure, likely a Barberini princess, holding a scythe and a scale to represent death and divine judgment. The tombstones commemorate friars revered for their sanctity, giving the space profound symbolic and historical significance tied to the Barberini family.
Rome is the city with the largest number of obelisks in the world. These monuments, mostly of Egyptian origin, were transported to the capital of the Roman Empire starting from the Augustan era, under whose rule Egypt was conquered after the Battle of Actium in 31 BC. In some cases, obelisks were made directly during the Roman period using the same granite employed by the Egyptians: the monolith would either remain without inscriptions, or hieroglyphs from pharaonic-era models were copied onto it, often with errors and misunderstandings. There are also modern obelisks, built in Rome in the second half of the 20th century.
The Egyptian obelisks used during the imperial era were re-erected in papal Rome, starting with Pope Sixtus V, as focal points and visual convergences in the city's newly designed urban layout. They became a distinctive feature, later revisited in modern times with new forms.
The Egyptian obelisks used during the imperial era were re-erected in papal Rome, starting with Pope Sixtus V, as focal points and visual convergences in the city's newly designed urban layout. They became a distinctive feature, later revisited in modern times with new forms.
This pontiff strategically used the repositioning of ancient obelisks as a symbol of the Church’s power and his papacy, as well as focal points for the reorganization of the city that he had undertaken. This included straightening roads, creating direct routes, and constructing or reconstructing buildings. His architect, Domenico Fontana, was entrusted with the task of repositioning all the obelisks.
The Vatican Obelisk is one of the thirteen ancient obelisks of Rome and is located in St. Peter's Square. Made of red granite, it rises to a height of 25.3 meters, and with its base (featuring four bronze lions crafted by Prospero Antichi) and the cross, it reaches nearly 40 meters. The inscription reads: ECCE CRUX DOMINI - FVGITE - PARTES ADVERSAE - VICIT LEO DE TRIBV IVDA, which translates into Italian as: "Behold the cross of the Lord, flee, adversary forces, the lion of the tribe of Judah triumphs."
Of Egyptian origin and without hieroglyphs, the obelisk comes, according to Pliny, from the city of Heliopolis. It was initially placed in the Forum Iulium of Alexandria, Egypt, before being brought to Rome by Caligula in 40 AD and positioned on the spine of Nero's Circus. It remained in this location even after the circus fell into disuse and was overtaken by a necropolis. Later, it was found near the ancient St. Peter's Basilica, next to the Rotunda of St. Andrew.
Of Egyptian origin and without hieroglyphs, the obelisk comes, according to Pliny, from the city of Heliopolis. It was initially placed in the Forum Iulium of Alexandria, Egypt, before being brought to Rome by Caligula in 40 AD and positioned on the spine of Nero's Circus. It remained in this location even after the circus fell into disuse and was overtaken by a necropolis. Later, it was found near the ancient St. Peter's Basilica, next to the Rotunda of St. Andrew.
Visiting Rome’s Obelisks: Pearls of Ancient and Modern Times
Obelisks of Sixtus V
The Obelisk of Dogali (located near Via delle Terme di Diocleziano) was brought to Rome along with the Pantheon Obelisk and the Minerva Obelisk, originally coming from Heliopolis. It was rediscovered in 1883 and re-erected in 1887 by architect Francesco Azzurri in front of Termini Station.
The monument is dedicated to the fallen soldiers of the military column led by Lieutenant Colonel Tommaso Giovanni De Cristoforis, consisting of 500 Italian soldiers, who were defeated on January 26, 1887, at the Battle of Dogali near Massawa (modern-day Eritrea) by Ethiopian forces under Ras Alula during the Eritrean War.
In 1925, the obelisk was moved to the gardens near Via delle Terme di Diocleziano.
The monument is dedicated to the fallen soldiers of the military column led by Lieutenant Colonel Tommaso Giovanni De Cristoforis, consisting of 500 Italian soldiers, who were defeated on January 26, 1887, at the Battle of Dogali near Massawa (modern-day Eritrea) by Ethiopian forces under Ras Alula during the Eritrean War.
In 1925, the obelisk was moved to the gardens near Via delle Terme di Diocleziano.
The Pincian Obelisk or Obelisk of Antinoo is one of the thirteen ancient obelisks of Rome, located in Piazza Bucharest, along the Viale dell’Obelisco (Pincio). It was created in the 2nd century during the reign of the Roman Emperor Hadrian, in honor of Antinous, the Greek youth whom he loved. Initially, it was placed to adorn a monument dedicated to the young man after his mysterious death in the Nile. The emperor had the stone quarried in Egypt, intending to transport the finished work to Rome to be placed in front of the monument built in honor of his beloved youth. However, the precise original location planned for the monument remains unknown. Hadrian directed a cult devoted to his deceased lover, which led to the creation of numerous sanctuaries, especially in the Hellenized eastern regions of the Empire. A statue of Antinous as a Delphi god, discovered in the sanctuary of Apollo at Delphi, highlights the wide reach of his cult.
The obelisk was found broken into three pieces in 1589, just outside the modern Porta Maggiore, near the Aurelian Walls. It was re-erected on a base by Giuseppe Valadier in the Pincio Gardens in Rome in 1822, at the request of Pope Pius VII during the latter part of his pontificate. The obelisk is 9.24 meters tall and, with its base and the star at its top, reaches a height of 17.26 meters.
The obelisk was found broken into three pieces in 1589, just outside the modern Porta Maggiore, near the Aurelian Walls. It was re-erected on a base by Giuseppe Valadier in the Pincio Gardens in Rome in 1822, at the request of Pope Pius VII during the latter part of his pontificate. The obelisk is 9.24 meters tall and, with its base and the star at its top, reaches a height of 17.26 meters.
The Obelisk of Villa Celimontana is one of the thirteen ancient obelisks of Rome. Among the antiquities of the Mattei family, preserved in the villa on the Caelian Hill, there was a fragmentary obelisk (only the upper half is original), dating back to the time of Pharaoh Ramses II. It was re-erected in the gardens of Villa Celimontana in 1820.
The obelisk originally came from the ruins of the Temple of Isis in the Campus Martius. During the medieval period, it was placed on the Capitoline Hill near the side entrance of the Basilica of Santa Maria in Aracoeli.
A drawing from 1532 shows the obelisk visible on the far right, near the southern side of the Basilica of Santa Maria in Aracoeli. In 1582, it was donated to Ciriaco Mattei, who had it transported to the Villa Mattei on the Caelian Hill. The original part of the obelisk is 2.68 meters tall, but with its restoration, base, and globe, it now reaches a height of 12.23 meters.
The obelisk originally came from the ruins of the Temple of Isis in the Campus Martius. During the medieval period, it was placed on the Capitoline Hill near the side entrance of the Basilica of Santa Maria in Aracoeli.
A drawing from 1532 shows the obelisk visible on the far right, near the southern side of the Basilica of Santa Maria in Aracoeli. In 1582, it was donated to Ciriaco Mattei, who had it transported to the Villa Mattei on the Caelian Hill. The original part of the obelisk is 2.68 meters tall, but with its restoration, base, and globe, it now reaches a height of 12.23 meters.
The Pantheon Obelisk stands 6.34 meters tall, and with the fountain, base, and cross, it reaches a height of 14.52 meters. It was created during the reign of Ramses II and brought to Rome by Emperor Domitian, who placed it as a decoration in the Iseo Campense (a temple dedicated to the Egyptian goddess Isis), along with the Minerva Obelisk, the Dogali Obelisk, and the Boboli Obelisk (now located in Florence).
The obelisk was rediscovered in 1373 near Piazza San Macuto, which gave it the nickname "Macuteo Obelisk." In 1711, Pope Clement XI ordered its relocation in front of the Pantheon, where it was placed atop the preexisting fountain by Giacomo Della Porta, under the direction of architect Filippo Barigioni.
The obelisk was rediscovered in 1373 near Piazza San Macuto, which gave it the nickname "Macuteo Obelisk." In 1711, Pope Clement XI ordered its relocation in front of the Pantheon, where it was placed atop the preexisting fountain by Giacomo Della Porta, under the direction of architect Filippo Barigioni.
The Minerva Obelisk is located in a square of the same name, in front of the Basilica of Santa Maria sopra Minerva. The Egyptian obelisk, dating back to the 4th century BC, stands approximately 5.50 meters tall, with its peak reaching a height of 12.70 meters from the ground. Originally, it was situated in the Egyptian city of Heliopolis. Like other works from this location, such as the obelisks now at the Pantheon, the Dogali War Memorial, and the Boboli Gardens in Florence, it was transported to Rome under Emperor Domitian to adorn the Temple of Isis in the Campus Martius.
The Minerva Obelisk is mounted on the back of a marble elephant sculpted by Ercole Ferrata based on a design by Gian Lorenzo Bernini in 1667. The entire monument is popularly known as the Pulcin della Minerva: “pulcino” in the Roman dialect of the time referred to “porcino” (piglet), humorously applied to the elephant due to its small size and rounded shape.
The Minerva Obelisk is mounted on the back of a marble elephant sculpted by Ercole Ferrata based on a design by Gian Lorenzo Bernini in 1667. The entire monument is popularly known as the Pulcin della Minerva: “pulcino” in the Roman dialect of the time referred to “porcino” (piglet), humorously applied to the elephant due to its small size and rounded shape.
The Montecitorio Obelisk dates back to the time of Pharaoh Psamtik II (595–589 BC) and was originally located in the city of Heliopolis in Egypt. In 10 BC, Emperor Augustus brought it to Rome, along with the Flaminio Obelisk, and placed it as the gnomon of Augustus’ sundial (Solarium Augusti) in the Campus Martius, where it was consecrated that same year. The large meridian line, a creation of the mathematician Facundius Novus, consisted of travertine slabs marked with bronze letters indicating the days and zodiac signs. Between the 9th and 11th centuries, likely due to a fire, earthquake (possibly the 849 earthquake), or during the 1084 sack of Rome by Robert Guiscard, the obelisk collapsed and gradually became buried.
From 1789 to 1792, Pope Pius VI initiated restoration works on the obelisk, which was subsequently erected again and restored as a solar clock. The project was directed by architect Giovanni Antinori, who repaired the great red granite monolith (measuring 21.79 meters in height, or 33.97 meters with the base and globe), partly using granite from the large Column of Antoninus Pius (whose base with reliefs is still preserved in the Vatican Museums). Today, the Montecitorio Obelisk stands in the square of the same name in Rome, with a height of 30 meters, and remains a testament to its transport to Rome by Augustus in 10 BC.
From 1789 to 1792, Pope Pius VI initiated restoration works on the obelisk, which was subsequently erected again and restored as a solar clock. The project was directed by architect Giovanni Antinori, who repaired the great red granite monolith (measuring 21.79 meters in height, or 33.97 meters with the base and globe), partly using granite from the large Column of Antoninus Pius (whose base with reliefs is still preserved in the Vatican Museums). Today, the Montecitorio Obelisk stands in the square of the same name in Rome, with a height of 30 meters, and remains a testament to its transport to Rome by Augustus in 10 BC.
The Sallustian Obelisk was created during the Roman Imperial era, probably between the 2nd and 3rd centuries, as an imitation of Egyptian obelisks. Originally, it was intended to be placed in the Gardens of Sallust to decorate the spine of the private hippodrome and was set on a granite base. Pope Pius VI determined the obelisk’s final location, transferring it to the Trinità dei Monti, in front of the church of the same name. In 1789, the monolith was erected. Its top was adorned with the Pope’s heraldic symbols and a cross, which served as a reliquary to hold a fragment of the Holy Cross. The obelisk is entirely made of red granite, set on a marble base, and topped with a bronze fleur-de-lis and a cross. The obelisk alone measures 13.91 meters in height, reaching 30.45 meters when including the base and the bronze pinnacle.
The Quirinal Obelisk is 14.63 meters tall and, with its base, reaches a height of 28.94 meters. It was crafted in Egypt from red granite from Aswan and transported to Rome in the 1st century AD, likely during the reign of Domitian. Along with the Esquiline Obelisk, it was originally placed at the entrance of the Mausoleum of Augustus. The absence of inscriptions suggests that its construction is not as ancient as most Egyptian obelisks. The obelisk was rediscovered in 1527 along with its twin but was only erected in 1786 by order of Pope Pius VI. It was placed next to the statues of the Dioscuri, which originated from the nearby Baths of Constantine, under the direction of architect Giovanni Antinori.
The Agonal Obelisk was created in the quarries of Aswan during the reign of Emperor Domitian, imitating Egyptian models, and was decorated with hieroglyphs only after its arrival in Rome. Initially, it was placed between the Temple of Serapis and the Temple of Isis [the specific site referred to is unclear], where it remained for about two centuries until 311, when Maxentius moved it to the circus of his private villa on the Via Appia, in memory of his firstborn, Valerius Romulus, who likely died in 309.
During the medieval period, the obelisk collapsed, possibly during the pontificate of Sixtus V [although Sixtus V is not considered a medieval pope], who did not take steps to recover it. This task was undertaken years later by Innocent X. The pope had the obelisk divided into four pieces, similar to what Stella did with the obelisk of Jesi, and decided to place it in Piazza Navona, where it was integrated into the Fountain of the Four Rivers designed by Gian Lorenzo Bernini. The bronze dove, likely added during this period, symbolizes peace but is also present on the Pamphili family crest, and was placed atop the monolith.
During the medieval period, the obelisk collapsed, possibly during the pontificate of Sixtus V [although Sixtus V is not considered a medieval pope], who did not take steps to recover it. This task was undertaken years later by Innocent X. The pope had the obelisk divided into four pieces, similar to what Stella did with the obelisk of Jesi, and decided to place it in Piazza Navona, where it was integrated into the Fountain of the Four Rivers designed by Gian Lorenzo Bernini. The bronze dove, likely added during this period, symbolizes peace but is also present on the Pamphili family crest, and was placed atop the monolith.
The Flaminio Obelisk The Flaminio Obelisk stands 25.90 meters tall, and with its base and cross, it reaches 36.50 meters. It was partially created in 1300 BC during the reign of Pharaoh Seti I and completed by his son Ramses II (13th century BC) to be placed in the Temple of the Sun or Ra in Heliopolis, Egypt. In 10 BC, the obelisk was transported by ship to Rome, at the request of Emperor Augustus, along with the Montecitorio Obelisk, and placed on the spine of the Circus Maximus, followed three centuries later by the Lateran Obelisk. Likely toppled during the barbarian invasions, it was rediscovered in 1587, broken into three pieces alongside the Lateran Obelisk. It was re-erected in Piazza del Popolo by order of Pope Sixtus V, under the direction of Domenico Fontana, in 1589. In 1823, Giuseppe Valadier adorned it with a base featuring four circular basins and an equal number of Egyptian-style stone lions, following the orders of Pope Leo XII.
The Esquiline Obelisk is one of Rome's thirteen ancient obelisks, located in Piazza dell'Esquilino, behind the apse of the Basilica of Santa Maria Maggiore, at the center of the Esquiline district from which it takes its name. It stands 14.75 meters tall, and with its base and cross, it reaches a total height of 25.53 meters. The obelisk was likely created during the reign of Domitian, imitating Egyptian obelisks, and was originally placed alongside the Quirinal Obelisk at the entrance of the Mausoleum of Augustus. It was rediscovered there in 1527, together with its twin, and was re-erected in 1587 by order of Pope Sixtus V, under the direction of Domenico Fontana.
The Lateran Obelisk (Piazza San Giovanni in Laterano) stands 32.18 meters tall. It was created during the time of Pharaohs Thutmose III and Thutmose IV (15th century BC) and originates from the Temple of Amun in Thebes (Karnak), Egypt. It was brought to Rome at the behest of Emperor Constantius II in 357 and erected on the spina of the Circus Maximus, where the Flaminio Obelisk was already located. It was rediscovered in three pieces in 1587 and re-erected in 1588 by architect Domenico Fontana, not in front of the façade of the basilica, but aligned with the Loggia of the Lateran Blessings. This point marks the end of the roadway segment formed by Via Merulana—opened by Pope Sixtus V—in a visual alignment with the Basilica of Santa Maria Maggiore.
Other Obelisks
Obelisks of Pius VI
Obelisk of Innocent X
Rome, the eternal city and a renowned tourism center, boasts the world's largest collection of obelisks (18), making it a must-visit destination for travelers seeking harmony and joy in life. These timeless monuments, mostly of Egyptian origin, were brought to Rome during the Augustan era after Egypt’s conquest in 31 BC. Some were crafted in the Roman era using the same precious granite, showcasing intricate hieroglyphs or standing proudly unadorned. Modern obelisks add a contemporary touch to this historic treasure trove. Exploring these majestic symbols offers a journey through time, revealing Rome's unique blend of ancient perls and modern marvels.
The Novecento Obelisk or Monument to the Twentieth Century, is a monumental bronze sculpture created by Arnaldo Pomodoro, located near the Palazzo dello Sport in Rome since the early 2000s. The work was commissioned by the City of Rome for the Jubilee of 2000 and was inaugurated on October 23, 2004, in the presence of Mayor Walter Veltroni. Inspired by Egyptian obelisks and depictions of the Tower of Babel, the bronze sculpture takes the form of a rising spiral wrapped around a central cylindrical column. It symbolizes the passage of time and is interspersed with geometric solids of various shapes and abstract forms, aiming to represent the complexity and contradictions of the 20th century.
Standing 21 meters tall and 7 meters wide, the monument is situated at the center of a circular fountain in Piazzale Pier Luigi Nervi in the EUR district, near the bifurcation of Via Cristoforo Colombo and close to the Palazzo dello Sport.
Standing 21 meters tall and 7 meters wide, the monument is situated at the center of a circular fountain in Piazzale Pier Luigi Nervi in the EUR district, near the bifurcation of Via Cristoforo Colombo and close to the Palazzo dello Sport.
The Marconi Obelisk or the EUR Obelisk, is a modern obelisk in Rome, counted among the city's most contemporary examples, along with those of Novecento, the Foro Italico, Villa Torlonia, and Villa Medici.
Created by sculptor Arturo Dazzi, it is dedicated to the physicist, inventor, and senator Guglielmo Marconi. The obelisk was commissioned in 1939, during the Fascist period, by the Ministry of Popular Culture to decorate Piazza Imperiale, which was envisioned as the central square of the newly built EUR district for the planned 1942 Universal Exposition of Rome (Esposizione Universale di Roma). It was also intended to commemorate Marconi's scientific contributions. The outbreak of World War II in 1940 abruptly halted construction. Work resumed in 1951, and the obelisk was completed and inaugurated on December 12, 1959.
Created by sculptor Arturo Dazzi, it is dedicated to the physicist, inventor, and senator Guglielmo Marconi. The obelisk was commissioned in 1939, during the Fascist period, by the Ministry of Popular Culture to decorate Piazza Imperiale, which was envisioned as the central square of the newly built EUR district for the planned 1942 Universal Exposition of Rome (Esposizione Universale di Roma). It was also intended to commemorate Marconi's scientific contributions. The outbreak of World War II in 1940 abruptly halted construction. Work resumed in 1951, and the obelisk was completed and inaugurated on December 12, 1959.
The Obelisk of the Foro Italico, commissioned by Renato Ricci, is made from a monolithic block of Carrara marble. It was erected in 1932 in front of the sports complex of the Foro Italico, located at the base of Monte Mario, which was originally named after Benito Mussolini, to whom the obelisk was dedicated.
This obelisk was part of the last major transport conducted via the Tiber River.
This obelisk was part of the last major transport conducted via the Tiber River.
Obelisks of Villa Torlonia
Among the eccentricities of Villa Torlonia are the two obelisks positioned in front of the main and rear façades of the Casino Nobile. Made of pink granite, they differ significantly from the Egyptian obelisks that adorn Roman squares, as they lack any fractures or abrasions. Both obelisks were erected in 1842 by Alessandro Torlonia, who, following the taste of the time, wanted to include Egyptian-style obelisks in his villa as a tribute to his parents. Obelisks were, in fact, typical elements of Rome's urban design.
The two obelisks of Villa Torlonia are each 10.27 meters tall. The obelisk dedicated to Giovanni Raimondo Torlonia is positioned in front of the main façade of the Casino Nobile, facing north and the monumental entrance on Via Nomentana. The obelisk dedicated to Anna Maria Torlonia is located on the opposite side of the Casino, in front of the rear façade.
Among the eccentricities of Villa Torlonia are the two obelisks positioned in front of the main and rear façades of the Casino Nobile. Made of pink granite, they differ significantly from the Egyptian obelisks that adorn Roman squares, as they lack any fractures or abrasions. Both obelisks were erected in 1842 by Alessandro Torlonia, who, following the taste of the time, wanted to include Egyptian-style obelisks in his villa as a tribute to his parents. Obelisks were, in fact, typical elements of Rome's urban design.
The two obelisks of Villa Torlonia are each 10.27 meters tall. The obelisk dedicated to Giovanni Raimondo Torlonia is positioned in front of the main façade of the Casino Nobile, facing north and the monumental entrance on Via Nomentana. The obelisk dedicated to Anna Maria Torlonia is located on the opposite side of the Casino, in front of the rear façade.
The Obelisk of Villa Medici, also known as the Boboli Obelisk, was originally part of the Medici collection preserved in the villa on the Pincio in Rome and was moved to Florence in 1790. In the 19th century, a replica of the obelisk was created. Currently, the replica is located at the Ennio Quirino Visconti Classical High School in Rome.
The original obelisk dates back to the reign of Ramses II (1297–1213 BC) and, like other Roman obelisks, originated from Heliopolis. It was brought to Rome by Emperor Domitian and placed in the Temple of Isis in the Campus Martius, alongside the obelisks of Dogali, the Pantheon, and the Minerva, all of which remained in Rome.
The original obelisk dates back to the reign of Ramses II (1297–1213 BC) and, like other Roman obelisks, originated from Heliopolis. It was brought to Rome by Emperor Domitian and placed in the Temple of Isis in the Campus Martius, alongside the obelisks of Dogali, the Pantheon, and the Minerva, all of which remained in Rome.
Modern Obelisks
Church of San Luigi dei Francesi, Rome
Caravaggio, pseudonym of Michelangelo Merisi (Milan, 29 September 1571 – Porto Ercole, 18 July 1610), was a great Italian painter. Trained in Milan and active for most of his artistic life in Rome. During the last four years of his life he lived between Naples, the island of Malta and Sicily. Caravaggio acquired great international fame while he was alive and after his death he inspired the pictorial movement of Caravaggism, having exerted a strong influence on the baroque painting of the 17th century, but was then forgotten until his critical rediscovery in the 20th century, and is today considered one of the most famous representatives of Western art of all time, founder of the modern naturalistic current.
Three masterpieces by Merisi are preserved there. The interior of the church, in the Contarelli Chapel, is, in fact, the first public work created by Caravaggio. The dedication of the Contarelli Chapel is to Saint Matthew, protector of Cardinal Matteo Contarelli; here Caravaggio illustrates three scenes from the life of the Saint: the vocation, the inspiration and the martyrdom of Saint Matthew.
A ray of light performs the Saint under a portico; on the right, Jesus invites Matthew to get up and follow him after having healed a sick person: it is the Vocation of Saint Matthew (1599-1600). A young man shakes the Saint, in disbelief at the vision; an arm still stretched out towards the money and the cave brought to the heart, in an awareness of one's destiny.
A ray of light performs the Saint under a portico; on the right, Jesus invites Matthew to get up and follow him after having healed a sick person: it is the Vocation of Saint Matthew (1599-1600). A young man shakes the Saint, in disbelief at the vision; an arm still stretched out towards the money and the cave brought to the heart, in an awareness of one's destiny.
Continuing the reading of the works in the Contarelli Chapel, from left to right, is Saint Matthew and the Angel (1602): in the guise of a philosopher, the Saint, with a white beard and double purple cloak, in a play of contrasts and chiaroscuro, he is about to write the Gospel guided by an angel suspended in a white mantle. Saint Matthew has the clearer and more defined aspect of the sage, of the intellectual who, although astonished, develops "a strictly rational process of analysis and explanation of celestial origin". Here, as in the Catholic conception, man collaborates with God: the angel computes the beginning of the Gospel with his fingers, summarizing the divine lineage of Christ who descends from David.
The Martyrdom of Saint Matthew (1600-1601) is a masterpiece in which the spectator seems to virtually enter the canvas, participating in the scene that unfolds in front of his eyes. The scene is represented within an architectural structure that resembles that of a church and therefore would comply with the Golden Legend according to which St. Matthew was murdered after a mass. The characters have been arranged on a sort of inclined platform, in a theatrical manner, which has the effect of bringing them closer to the spectator and increasing the pathos of the depiction. At the center of the painting there is Saint Matthew lying on the ground after being hit by his executioner, the half-naked character who blocks his arm; the body of the latter is turned, in memory of the Adam of Michelangelo's Sistine Chapel.
His paintings demonstrate an exceptional sensitivity in the rendering of the human, physical and emotional dimension, also through fidelity to the live model and the scenographic use of light, characteristics that were considered revolutionary at the time. The main component of his style consists in realizing perspective and three-dimensionality through the dramatic and theatrical use of the chiaroscuro technique.
Merisi is undoubtedly one of the most appreciated artists and it is therefore natural that tourists, but not only, include places in which to admire his paintings in their itineraries in the capital: but where to see Caravaggio's works for free in Rome? Today I will guide you to three places in the Eternal City that house six paintings by Michelangelo Merisi da Caravagio.
Discover Caravaggio's Genius – Free Admission in Rome
Second stop to discover Caravaggio's paintings to be admired for free in Rome, the church of Sant'Agostino, where the Madonna dei Pellegrini (1604-1606) is kept, a work destined to immediately shock. Caravaggio, in fact, not at all intimidated by the public destination of the painting, depicts the Virgin in the guise of a prostitute in the act of welcoming two pilgrims, exhausted after the long journey. But the one portrayed is not just any woman: it is Maddalena Antognetti, Michelangelo's woman.
Critic Robert Hughes has stated: “…his [Caravaggio’s] project was to give traditional motifs the immediacy of real life, rather than dignify the actual with fragments of the Classical. And once there was a perfect standoff between the two: this Madonna [di Loreto], leaning very elegantly against a pilaster with those two wrinkled and almost incongruously and devout plebians adoring her. Compared to the pilgrims, the Madonna looks wooden; but perhaps she was meant to since the cult of the shrine of the Madonna at Loreto centered around a miraculous statue of the Virgin Mary which, like a benevolent female version of Mozart’s Commendatore, was said to come alive when venerated.”
Critic Robert Hughes has stated: “…his [Caravaggio’s] project was to give traditional motifs the immediacy of real life, rather than dignify the actual with fragments of the Classical. And once there was a perfect standoff between the two: this Madonna [di Loreto], leaning very elegantly against a pilaster with those two wrinkled and almost incongruously and devout plebians adoring her. Compared to the pilgrims, the Madonna looks wooden; but perhaps she was meant to since the cult of the shrine of the Madonna at Loreto centered around a miraculous statue of the Virgin Mary which, like a benevolent female version of Mozart’s Commendatore, was said to come alive when venerated.”
Caravaggio, a great Italian painter of the late Renaissance, profoundly influenced the transition into the Baroque era. Born Michelangelo Merisi in 1571, his short but intense life shaped the course of art history. In Rome, his groundbreaking paintings, such as The Calling of St. Matthew, redefined religious art with dramatic realism and chiaroscuro—contrasting light and shadow. Caravaggio rejected idealized beauty, focusing instead on raw human emotion and ordinary subjects, making his work relatable and revolutionary. His style, Caravaggism, inspired countless Caravaggists across Europe, leaving an epoch-making legacy that bridged Renaissance ideals with Baroque drama and intensity.
Also in the Cerasi Chapel of the Basilica of Santa Maria del Popolo is the Conversion of Saint Paul, a work by Caravaggio. Commissioned by Monsignor Cerasi to paint the two paintings dedicated to the two Saints, Michelangelo Merisi represents Saul at the moment of Christ's appearance on the road to Damascus; flooded by a blinding light, Saint Paul is invited to stop persecuting Jesus and to follow him by becoming his minister. Christ is not present in the scene, but his intervention is well conveyed by the flashes of the beam of light that illuminates the characters and blinds Saint Paul who spreads his arms as a sign of divine dedication. Occupying a large part of the painting is Paolo's horse, held back by the groom, symbol of the irrationality of sin held back by Reason.
Parish Basilica Santa Maria del Popolo, Rome
Church of Sant'Agostino, Rome
Last stop on the trail of Caravaggio's free works in Rome, the Basilica of Santa Maria del Popolo, where you can admire two masterpieces by Merisi: the Crucifixion of St. Peter (1600-1601) and the Conversion of St. Paul (1601).
Nel martirio del Primo Pontefice eletto da Gesù (Crucifixion of St. Peter), la luce investe i carnefici quasi intenti in in comune e faticoso lavoro. La particolare illuminazione mette in risalto dettagli e particolari: le venature del legno della croce; il piede sinistro dell’aguzzino inginocchiato, nero per la sporcizia; le rughe sul viso dell’altro. E poi, San Pietro che si fa crocifiggere a testa in giù in segno di umiltà nei confronti di Cristo; una scena che risalta sullo sfondo reso cupo dal Merisi per accentuare la tensione drammatica di una composizione patetica e realistica.
Nel martirio del Primo Pontefice eletto da Gesù (Crucifixion of St. Peter), la luce investe i carnefici quasi intenti in in comune e faticoso lavoro. La particolare illuminazione mette in risalto dettagli e particolari: le venature del legno della croce; il piede sinistro dell’aguzzino inginocchiato, nero per la sporcizia; le rughe sul viso dell’altro. E poi, San Pietro che si fa crocifiggere a testa in giù in segno di umiltà nei confronti di Cristo; una scena che risalta sullo sfondo reso cupo dal Merisi per accentuare la tensione drammatica di una composizione patetica e realistica.
Saint Mary Major: The Pearl of Rome’s Eternal Charm and Life Harmony
The Basilica of Saint Mary Major (Italian: Basilica di Santa Maria Maggiore), or church of Santa Maria Maggiore (also referred to as Santa Maria delle Nevi from its Latin origin Sancta Maria ad Nives), is one of the four major papal basilicas as well as one of the Seven Pilgrim Churches of Rome and the largest Marian church in Rome, Italy.
The 12th-century Façade has been masked by a reconstruction, with a screening loggia, that was added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy) to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing the Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial constituting a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII to celebrate the end of the French Wars of Religion.
A legend from the 13th century is associated with the founding of this church. In the 4th century, the Virgin Mary appeared in a dream to three people: Pope Liberius, the Roman patrician John (Giovanni) and his wife. The patrician and his wife were childless, and for many years they prayed for the birth of a child. The Virgin Mary told the patrician in a dream that she would send him the long-awaited child if he built a church on Esquiline Hill, in the place where he discovered snow the next day. The next morning, the patrician shared his dream with his wife, and it turned out that she had seen the same dream. Together, the patrician and his wife went to the pope, and then it turned out that the Virgin Mary appeared to him and spoke in a dream about the need to build a new church and about the snow indicating the place. It was August 5, 352, a hot Roman summer, when Pope Liberius, the patrician John and his wife, accompanied by a procession of clergy, set out for the Esquiline. On the hill, among the greenery, lay pure white snow. A church was immediately founded on this site. The event itself was called the “miracle of the snow”, and in honor of it the church (and later many others in other countries) was named after the Virgin Mary of the Snows (Italian: Madonna della Neve).
The present church was built on the Cispian spur of Rome's Esquiline Hill under Pope Celestine I (422–432) not under Pope Sixtus III (432–440), who consecrated the basilica on 5 August 434 to the Virgin Mary. The dedicatory inscription on the triumphal arch, Latin: Sixtus Episcopus plebi Dei (Sixtus the bishop to the people of God), is an indication of that Pope's role in the construction. As well as this church on the summit of the Esquiline Hill, Pope Sixtus III is said to have commissioned extensive building projects throughout the city, which were continued by his successor Pope Leo I, the Great. The basilica was restored, redecorated and extended by various popes, including Eugene III (1145–1153), Nicholas IV (1288–92), Clement X (1670–76), and Benedict XIV (1740–58), who in the 1740s commissioned Ferdinando Fuga to build the present façade and to modify the interior. The interior of the Santa Maria Maggiore underwent a broad renovation encompassing all of its altars between the years 1575 and 1630.
The Athenian marble columns supporting the nave are even older, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals. The 14th-century Campanile, or bell tower, is the highest in Rome, at 246 feet, (about 75 m.).
The Esquiline Obelisk is one of the thirteen ancient obelisks of Rome, located in Piazza dell'Esquilino, behind the apse of the Basilica of Santa Maria Maggiore, the center of the Esquiline district from which it takes its name. It has a height of 14.75 meters and with the base and the cross reaches 25.53 meters. It was probably created at the time of Domitian in imitation of the Egyptian obelisks and placed together with the Quirinale obelisk at the entrance to the Mausoleum of Augustus. Here it was found in 1527 together with its twin and was built in 1587 by order of Pope Sixtus V and by Domenico Fontana.
In the square in front of the facade rises a column with a Corinthian capital, topped with a statue of the Virgin and the child Jesus. This Martial column was erected in 1614 to the designs of Carlo Maderno during the papacy of Paul V. Maderno's fountain at the base combines the armorial eagles and dragons of Paul V (Borghese). The column itself was the sole intact remainder from the Basilica of Maxentius and Constantine in the Roman Forum. The statue atop the column was made by Domenico Ferri. In a papal bull from the year of its installation, the pope decreed three years of indulgences to those who uttered a prayer to the Virgin while saluting the column.
The Athenian marble columns supporting the nave are old, and either come from the first basilica, or from another antique Roman building; thirty-six are marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.
The Cosmatesque floor, redone during the Fuga's restoration, and a portico against the façade (reworked under Pope Gregory XIII and then destroyed in the eighteenth century to make room for the new baroque front of the Fuga) date back to the mid-12th century, to the time of Pope Eugene III). The basilica was the subject of important interventions in view of the first jubilee of the year 1300; in particular during the pontificate of Nicholas IV the transept was added and a new apse was created which was decorated with rich mosaics created by Jacopo Torriti (Coronation of Mary and Stories of Mary), dated 1295. This is the first Coronation of the Virgin in the apse. Sitting on the same sumptuous throne and next to the Redeemer, Mary is dressed in regal clothes, typical of the Byzantine form of the time and also specific to the Marian cult in Rome. This mosaic, a synthesis between oriental ways and Roman artistic spirit, concludes a thousand-year period of Christian-Byzantine-Roman art.
The mosaics on the facade date back to the same period, the work of Filippo Rusuti, whose commission is to be reported to Cardinal Pietro Colonna, and the creation of the chapel of the Nativity scene by Arnolfo di Cambio (destroyed to make room for the Sistine Chapel). The surviving figures of the nativity scene are today exhibited in the basilica museum.
The mosaics on the facade date back to the same period, the work of Filippo Rusuti, whose commission is to be reported to Cardinal Pietro Colonna, and the creation of the chapel of the Nativity scene by Arnolfo di Cambio (destroyed to make room for the Sistine Chapel). The surviving figures of the nativity scene are today exhibited in the basilica museum.
The main Altar contains the relics of the Apostle Matthias. Under the main altar in the crypt rest the relics of Blessed Jerome of Stridon.
In the crypt under the throne in a precious ark there is a “Sacra Culla” (Latin: Sancta Сunabula - Holy Cradle) - five wooden planks, according to legend, left over from the manger of Jesus Christ in Bethlehem. The reliquary, made of crystal and silver with partial gilding, was made by Giuseppe Valadier in 1802. Two staircases lead to the crypt to the right and left of the altar. In front of the reliquary is a sculpture of the kneeling Pope Pius IX by Alberto Giacometti.
In the crypt under the throne in a precious ark there is a “Sacra Culla” (Latin: Sancta Сunabula - Holy Cradle) - five wooden planks, according to legend, left over from the manger of Jesus Christ in Bethlehem. The reliquary, made of crystal and silver with partial gilding, was made by Giuseppe Valadier in 1802. Two staircases lead to the crypt to the right and left of the altar. In front of the reliquary is a sculpture of the kneeling Pope Pius IX by Alberto Giacometti.
Fragments of the sculpture of the Nativity believed to be by 13th-century Arnolfo di Cambio were transferred to beneath the altar of the large Sistine Chapel off the right transept of the church. This chapel of the Blessed Sacrament is named after Pope Sixtus V, and is not to be confused with the Sistine Chapel of the Vatican, named after Pope Sixtus IV. The architect Domenico Fontana designed the chapel, which contains the tombs of Sixtus V himself and of his early patron Pope Pius V. The main altar in the chapel has four gilded bronze angels by Sebastiano Torregiani, holding up the ciborium, which is a model of the chapel itself.
In June 1605 Pope Paul V Borghese decided to build the family chapel into a basilica, in the shape of a Greek cross and the size of a small church. The architectural part was entrusted to Flaminio Ponzio, bound in the plan by the mirrored chapel of Pope Sixtus V. Once the structure was completed in 1611, the decorative part, with colored marbles, gold and precious stones, was finished at the end of 1616. On the side walls are placed the two tombs of Popes Clement VIII (a notorious character who sent more than 30 people to the stake during his papal period, including the great Giordano Bruno) and Paul V, enclosed in a triumphal arch architecture with their statue and pictorial bas-reliefs in the centre.
On the altar of the Borghese Chapel is the icon of the Salus populi romani, a painted image of the Virgin of the orientalizing Roman type (12th-13th centuries).
On the altar of the Borghese Chapel is the icon of the Salus populi romani, a painted image of the Virgin of the orientalizing Roman type (12th-13th centuries).
Also buried in the basilica are: Pius V, Clement IX, Paul V, Pauline Bonaparte. To the right of the ciborium, without any monument, is the burial place of one of the most prominent architects and sculptors of the Roman Baroque of the Renaissance, Gian Lorenzo Bernini, containing two marble steps. In the floor slab there is a family coat of arms, and on the lower step there is a Latin inscription: “Ioannes Laurentius Bernini - Decus Artium et Urbis - Hic Humiliter Quiescit” (Giovanni Lorenzo Bernini, glory of the arts and the city, rests here humbly).
The Basilica of Saint Mary Major in Rome, Italy, is a remarkable blend of Renaissance and Baroque style, showcasing glorious art and architectural creations. As one of Rome’s four papal basilicas, it holds immense religious and cultural significance. Inside, visitors are captivated by stunning mosaics, intricate sculptures, and richly adorned ceilings that reflect centuries of artistic mastery. A true tourist pearl, it offers a harmonious experience of faith and beauty, making it a prime sightseeing destination. For anyone exploring Rome, this basilica is a must-visit, embodying the glory of Italian tourism.
Ara Pacis: Augustus' Triumph and the Symbol of Pax Romana
The Ara Pacis Augustae (Latin, "Altar of Augustan Peace"; commonly shortened to Ara Pacis) is an altar in Rome dedicated to the Pax Romana. The monument was commissioned by the Roman Senate on July 4, 13 BC to honour the return of Augustus to Rome after three years in Hispania and Gaul and consecrated on January 30, 9 BC.
The altar reflects the Augustan vision of Roman civil religion. The lower register of its frieze depicts agricultural work meant to communicate the abundance and prosperity of the Roman Peace (Latin: Pax Romana).
The altar reflects the Augustan vision of Roman civil religion. The lower register of its frieze depicts agricultural work meant to communicate the abundance and prosperity of the Roman Peace (Latin: Pax Romana).
Originally located on the northern outskirts of Rome, a Roman mile from the boundary of the pomerium on the west side of the Via Flaminia, the Ara Pacis stood in the northeastern corner of the Campus Martius, the former flood plain of the Tiber River and gradually became buried under 4 metres of silt deposits. It was reassembled in its current location, now the Museum of the Ara Pacis, in 1938, turned 90° counterclockwise from its original orientation so that the original western side now faces south. The current museum was inaugurated in 2006.
The monument as a whole serves a dual civic ritual and propaganda function for Augustus and his regime, easing notions of autocracy and dynastic succession that might otherwise be unpalatable to traditional Roman culture.
The exterior walls of the Ara Pacis are divided between allegorical and pseudo-historical relief panels on the upper register while the lower register comprises scenes of nature: harmonic, intertwined vines that contain wildlife and connote nature under control. The upper register of the northern and southern walls depict scenes of the emperor, his family, and members of the regime in the act of processing to or performing a sacrifice. Various figures in togas are shown with their heads covered (capite velato), signifying their role as both priests and sacrificiants. Other figures wear laurel crowns, traditional Roman symbols of victory. Members of individual priestly colleges are depicted in traditional garb appropriate to their office, while lictors can be identified by their iconographic fasces. Women and children are also included among the procession.
The east panel is more controversial in its subject, but far better preserved. A goddess sits amid a scene of fertility and prosperity with twins on her lap. Scholars have variously suggested that the goddess is Italia, Tellus (Earth), Venus Genetrix or Pax (Peace), although other views also circulate. Due to the widespread depiction around the sculpture of scenes of peace, and because the altar is named for "peace", the favoured conclusion is that the goddess is Pax.
On the main side, oriented to the west, there is the Sacrifice of Aeneas to the Penates. Aeneas is recognized there, as the son of Venus (but some claim Numa Pompilius), with his son Ascanius or Augustus (believed to be a descendant of Venus) near a rustic altar, assisted by two young Camilli. The altar is wrapped in festoons and first fruits and the white Laurento sow are sacrificed there. The sacrifice is intended for the Penates (protectors) of Lavinio, who attend the scene looking out from a small temple on the rock, located in the background at the top left. Aeneas has a veiled head and wears a cloak that leaves part of his athletic torso uncovered. In his hand he holds the sceptrum. Ascanius is behind him (according to some it could also be Achates) and we have only reached us in the fragment of the right hand resting on a spear and part of the oriental robes.
North wall: the collegium of the quindecimviri sacris faciundis, also identified by the incense box carried by a public slave among them. Although the name suggests this college has exactly fifteen members, the size of the college has grown to 23, including Augustus and Agrippa, who appear on the South Frieze. The other twenty-one members are present here.
The South Wall has seen a great deal of scholarship and the greatest number of academic debates. Unlike the North Wall, where most of the heads are new (not authentic ancient heads, but modern creations), the heads of the figures on the South Wall are mostly original. Some half dozen figures are recognizable from looking at other surviving statues of members of the imperial family. Nevertheless, much debate has taken place over many of these figures, including Augustus, Agrippa, Tiberius, Julia, and Antonia.
The internal surface of the monument bears vertical grooves in the lower register simulating a palisade, a reproduction of the temporary one erected at the constitutio of the altar. This fence, present in the most ancient Roman altars since the 7th-6th century BC, was still built for the auspicious temples that preceded the actual sacred place.
In the upper one there are festoons supported by bucrania, that is, ox skulls with garlands, with phialai in the centre, above the garlands. This motif also derives from the temporary wooden construction of 13 BC. between the two orders runs a band of palmettes and lotus flowers.
In the upper one there are festoons supported by bucrania, that is, ox skulls with garlands, with phialai in the centre, above the garlands. This motif also derives from the temporary wooden construction of 13 BC. between the two orders runs a band of palmettes and lotus flowers.
The Altar consists of a podium with three steps on each side, on which rests a base which has another five steps on one side only, where the priest passed while celebrating the sacrifice on the table, used for the offerings of the remains of animals and squeezed between two lateral foreparts.
The canteen occupies the entire internal space of the enclosure from which it is separated by a narrow corridor whose floor is slightly inclined towards the outside. The two side banks have a crowning pulvino with vegetal spires and winged lions.
The altar is decorated with female characters on the plinth, perhaps allegories of the provinces of the Empire, while in the upper frieze that runs inside and outside the table there is a depiction of the sacrifice that was celebrated there annually, with the Vestals and the pontifex maximus (inside), accompanied (in the external relief) by camilli, victim priests and animals destined for the suovetaurilia: only the left side of this relief is well preserved.
The canteen occupies the entire internal space of the enclosure from which it is separated by a narrow corridor whose floor is slightly inclined towards the outside. The two side banks have a crowning pulvino with vegetal spires and winged lions.
The altar is decorated with female characters on the plinth, perhaps allegories of the provinces of the Empire, while in the upper frieze that runs inside and outside the table there is a depiction of the sacrifice that was celebrated there annually, with the Vestals and the pontifex maximus (inside), accompanied (in the external relief) by camilli, victim priests and animals destined for the suovetaurilia: only the left side of this relief is well preserved.
The Museum of Ara Pacis in Rome, Italy, houses the Ara Pacis Augustae, a magnificent altar de dicated to the Pax Romana, symbolizing peace, glory, and the harmony of life during the Roman Empire. Commissioned by the Senate in 13 BC to honor Imperator Augustus upon his return from Hispania and Gaul, the altar was consecrated in 9 BC. This iconic monument celebrates the ideals of peace and prosperity that defined Augustus's rule, making it a vital testament to the power and legacy of ancient Rome.
The Wasa Ship: A Voyage Through Time at Stockholm's Iconic Museum
The Wasa (Vasa) Museum is a maritime museum in Stockholm, Sweden. Located on the island of Djurgården, the museum displays the only almost fully intact 17th-century ship that has ever been salvaged, the 64-gun warship Vasa that sank on her maiden voyage in 1628. The Vasa Museum opened in 1990 and, according to the official website, is the most visited museum in Scandinavia. Together with other museums such as the Stockholm Maritime Museum, it belongs to the Swedish National Maritime Museums (SNMM).
The ship was built on the orders of the King of Sweden Gustavus Adolphus as part of the military expansion he initiated in a war with Poland-Lithuania (1621–1629). It was constructed at the navy yard in Stockholm under a contract with private entrepreneurs in 1626–1627 and armed primarily with bronze cannons cast in Stockholm specifically for the ship. Richly decorated as a symbol of the king's ambitions for Sweden and himself, upon completion it was one of the most powerfully armed vessels in the world. However, Vasa was dangerously unstable, with too much weight in the upper structure of the hull.
On 10 August 1628 Vasa departed from Skeppsgården ('navy yard') on its maiden voyage to the naval station at Älvsnabben. The day was calm, and the only wind was a light breeze from the southwest. As Vasa passed under the lee of the bluffs to the south (now called Södermalm), a gust of wind filled her sails, and she heeled suddenly to port. The sheets were cast off, and the ship slowly righted herself as the gust passed. At Tegelviken, where there is a gap in the bluffs, an even stronger gust again forced the ship onto her port side, this time pushing the open lower gunports under the surface, allowing water to rush in onto the lower gundeck. The water building up on the deck quickly exceeded the ship's minimal righting ability, and water continued to pour in until it ran down into the hold. The ship swiftly sank to a depth of 32 m (105 ft) only 120 m (390 ft) from shore.
During the 1961 recovery, thousands of artifacts and the remains of at least 15 people were found in and around Vasa's hull by marine archaeologists. Among the many items found were clothing, weapons, cannons, tools, coins, cutlery, food, drink and six of the ten sails. The artifacts and the ship herself have provided scholars with invaluable insights into details of naval warfare, shipbuilding techniques and everyday life in early 17th-century Sweden. The final lift began on 8 April 1961, and on the morning of 24 April, Vasa was ready to return to the world for the first time in 333 years. Press from all over the world, television cameras, 400 invited guests on barges and boats, and thousands of spectators on shore watched as the first timbers broke the surface.
Vasa was decorated with sculptures intended to glorify the authority, wisdom and martial prowess of the monarch and also to deride, taunt and intimidate the enemy. The sculptures made up a considerable part of the effort and cost of building the ship. The symbolism used in decorating the ship was mostly based on the Renaissance idealization of Roman and Greek antiquity, which had been imported from Italy through German and Dutch artists. Imagery borrowed from Mediterranean antiquity dominates the motifs, but also include figures from the Old Testament and even a few from ancient Egypt.
Tthe ship was armed with powerful guns and built with a high stern, which would act as a firing platform in boarding actions for some of the 300 soldiers she was supposed to carry, but the high-sided hull and narrow upper deck were not optimized for boarding. She was neither the largest ship ever built, nor the one carrying the greatest number of guns. What made her arguably the most powerful warship of the time was the combined weight of shot that could be fired from the cannons of one side: 588 pounds (267 kg), excluding stormstycken, guns used for firing anti-personnel ammunition instead of solid shot.
The Wasa Museum in Stockholm, Sweden, is a must-visit for history enthusiasts. Located on Djurgården island, this fascinating maritime museum showcases the Vasa, a 64-gun warship that sank on her maiden voyage in 1628. Remarkably preserved, it's the only almost fully intact 17th-century ship ever salvaged. A visit to the Wasa Museum offers a captivating journey through history, providing insight into naval life and the harmony between craftsmanship and ambition. It’s an interesting glimpse into a bygone era that enriches any voyage to Stockholm.
Many of the figures are in Dutch grotesque style, depicting fantastic and frightening creatures, including mermaids, wild men, sea monsters and tritons. The entire ornamentation was once painted in vivid colors. The sides of the beakhead (the protruding structure below the bowsprit), the bulwarks (the protective railing around the weather deck), the roofs of the quarter galleries, and the background of the transom (the flat surface at the stern of the ship) were all painted red, while the sculptures were decorated in bright colors, and the dazzling effect of these was in some places emphasized with gold leaf.
A Voyage of Joy and Life Harmony at Mini-Europe Park, Brussels
Founded in 1989, the Mini-Europe Park is a miniature park located in the Bruparck entertainment park, at the foot of the Atomium, in Brussels, Belgium. Mini-Europe has reproductions of monuments in the European Union and other countries within the continent of Europe on display, at a scale of 1:25. Roughly 80 cities and 350 buildings are represented. Mini-Europe receives 350,000 visitors per year and has a turnover of €4 million.The park encourages exchange and emotion during the visit, which lasts between one and a half and two hours. More than 10 million visitors have walked the park’s trails.
From Spain, there is shown the Cathedral of Santiago de Compostela, an important church of pilgrimage - placed at the spot, where the remainders of the apostle Jakobus the Elder are said to having been found. Apart from that, the windmills of la Mancha are shown, to remind of Don Quijote by Cervantes, as well as the statue of Columbus in Barcelona and the bullfighter's arena in Sevilla. By the way: mancha is a loanword from Arabic, "manxa", which means "dry ground".
Main Attractions
Of course Pisa must have its place among Italy's sights. The "Piazza dei Miracoli", that is the square of miracles, is a great visitors and tourists area - here the Leaning Tower is to be found. This bell tower was conceived wrongly at the start, because it stands on soft ground and the tower started leaning already while it was being built. The tower, with a height of 54 meters consists of 14.200 tons of white marble from Carrara - even the model is made of this marble, but weighs only 800 kg. Apart from the Campanile the baptisterium and not at least the cathedral are shown. The latter was built, when Pisa had won a battle against Palermo in 1063.
The Tower of Belem, standing since about 400 years in Lisbon, can also be seen at the estuary of the Tejo into the Atlantic Ocean. It was ordered to be built in 1515 by King Emanuel I and it is one of the few buildings, that have survived the earthquake of 1755. Throughout the years the tower served as jail as well as a storage for weapons. Portugal has not only the highest average temperature in Europe, but also most hours of sunshine. And the "azulejos", the blue ornamented glazed tiles, with which, among other things, the faces of houses are clad, are typical for Portugal as well. Portugal was founded in 1143 and has the oldest borders of Europe.
After jumping over the English Channel, we notice that Great Britain still has ten sites to show, mainly though the "Houses of Parliament", which are 286 m long and on the Northern side are completed by the clock-tower with the Big Ben. The clock, which weighes not less than 14 tons, has got its name after the builder Ben(jamin) Hall, who is said to have possessed a corpulent figure.
Lithuania is the biggest of the three Baltic countries, either counting by area or by population. It seems also to be a very tolerant country. So was Vilnius, the capital, called the "Jerusalem of the West", because here different religions could thrive together. Today 98 percent of the Russians, living in Lithuania, have been naturalized, which of course almost disintegrates the problems, which their neigbours have with foreigners. The country is represented by its university, which was founded in 1579 in the Old Town, near the Palace of the Bishops.
The Royal Salt Works in Arc-Et-Senans and the "Ladies' Castle" the Castle of Chenonceau, are examples of French culture. But not at least the church of Sacre-Coeur on the Montmartre in Paris is another nice instance of that. Again this is a paradox, though: the building was started in 1875, as a reconciliation after the German-French War - and it was fulfilled in 1914, when World War I started. France ist the biggest country in Europe, measured in area, but within the EU, the French work the least - only 1568 hours a year.
But these borders even neighbour Spain shared, Spain, which is represented five times. Instructions for the building El Escorial were given by Philipp II of Habsburg, as a memory for the victory over France in the year 1557. El Escorial, situated 45 kilometres to the Northeast of Madrid, was at the same time a monastery, a residence and a mausoleum. Yet today there are all Spanish kings buried there, since Charles V of Habsburg (in Spain Carlos I). At that time Spain was through seafaring a leading power in the world, which got gold and silver in abundance from Southern America.
The Independence Monument is a victory column located on Maidan Nezalezhnosti (Independence Square) in Kyiv, commemorating the independence of Ukraine in 1991. Stylistically, it presents a mix of Ukrainian Baroque and Empire style. The monument was built in the center of the square for the 10th anniversary of the independence in 2001. The monument itself is a column with a figurine of a woman (Berehynia) with guelder-rose branch in her hand.
Santorini, officially Thira, is a Greek island in the southern Aegean Sea, about 200 km (120 mi) southeast from its mainland. It is the largest island of a small, circular archipelago formed by the Santorini caldera.
Middelburg is a city and municipality in the south-western Netherlands serving as the capital of the province of Zeeland. It is situated on the central peninsula of the Zeeland province.
Qrendi is a village in the Southern Region of Malta. It is located close to Mqabba, Żurrieq and Siggiewi. Within its boundaries are two well-known Neolithic temples called Mnajdra and Ħaġar Qim. In this village two feasts are held annually. The feast of Our Lady of Lourdes is celebrated either on the last Sunday of June or on the first Sunday of July, with 15 August the titular feast of the Ascension of Our Lady. This feast is popularly known as the feast of Santa Maria.
The Church of St. Mark is the parish church of old Zagreb, Croatia, located in St. Mark's Square. It is one of the oldest architectural monuments in Zagreb.
Mini-Europe Park in Brussels, Belgium, offers a unique voyage through Europe's landmarks in miniature. This captivating attraction showcases over 350 meticulously crafted models, allowing visitors to "travel" across the continent in just a few hours. From the Eiffel Tower to Big Ben, each replica brings joy and wonder to guests of all ages. The park's interactive features and educational elements create a harmonious blend of learning and entertainment. A visit to Mini-Europe is more than just sightseeing; it's an opportunity to appreciate Europe's diverse culture and architecture, fostering a sense of unity and happiness among travelers seeking life's little pleasures.
Immerse in Life's Harmony: A Journey Through Turin's Egyptian Museum
Founded in 1824, the Egyptian Museum of Turin is the oldest museum dedicated to Egyptian civilization and the most important outside Egypt for its collection which includes over 40,000 pieces arranged according to specific chronological routes. In 1824 Carlo Felice, king of Sardinia, purchased the large collection of Egyptian antiquities from Bernardino Drovetti, Piedmontese by birth and consul general of France in Alexandria, Egypt.
On the ground floor, the exhibits appear to be in dialogue with the visitor thanks to their majestic style. Serenity that mixes with a fascinating installation The statues of sphinxes, deities and pharaohs will take your breath away!
Ramses II, Sethi II, Thutmose III, Amenhotep II, Tutankhamun, Horemheb, and Amun,
Hathor and Sekhmet still seem to tell us about their time, stories, myths, legends and the mysteries that have always made this civilization great!
Ramses II, Sethi II, Thutmose III, Amenhotep II, Tutankhamun, Horemheb, and Amun,
Hathor and Sekhmet still seem to tell us about their time, stories, myths, legends and the mysteries that have always made this civilization great!
On the first floor we can admire the finds found by Schiaparelli in the village of Deir el-Medina, today's Luxor, as well as many other testimonies dating back to the Ptolemaic, Roman and Late Antique periods, and the fabulous collections present in the Gallery of Sarcophagi and in the Papyroteca!
The undisputed jewel of this Plan is the intact and inviolate tomb of Kha and his wife Merit. The discovery included not only the mummies inside the precious, richly decorated sarcophagi, but also the entire funerary objects, the jewellery, the textile objects, a cubit covered in gold leaf bearing an inscription of the pharaoh Amenhotep II, the objects used for personal care, Merit's wig, the canopic jars and the splendid papyrus of the "Book of the Dead" , found folded inside the intermediate sarcophagus of Kha.
The story between Kha and Merit is a story of a nobleman and the love of an almost royal couple, which comes to us from Egypt in 1400 BC, through objects and the reconstruction of their lives! Kha was “Chief Superintendent of Works of the Great See” and “Royal Scribe” in the service of the pharaohs Thutmose IV, Amenhotep II and III.
Today we could say that Kha was the Director and Architect of the works of the great necropolis of the Valley of the Kings.
Today we could say that Kha was the Director and Architect of the works of the great necropolis of the Valley of the Kings.
Visiting of the second floor, it is worth focusing on the details displayed in the Gallery of Material Culture, an infinite number of finds, which until the modernization of the Museum in 2015, were kept in the warehouses of the Egyptian Museum. Showcases and shelves contain a wide range of artefacts, around 10,000 , which better understand moments of everyday life and life, at the time of the ancient Egyptians.
Also on the second floor we find the spectacular Tomb of Ifi and Neferu, dating back to 2118-1980 BC, with the stunning paintings on its walls.
The Egyptian Museum in Turin, Italy, is a voyage through time, unveiling the mysteries of ancient Egyptian civilization. This pearl of Italy houses an exceptional collection, narrating stories of life and harmony cherished by the pharaohs. From intricate hieroglyphics to mesmerizing artifacts, the museum offers a captivating glimpse into the grandeur of Egypt's bygone era. A visit to this extraordinary institution is a must for anyone seeking to unravel the enigmatic tapestry woven by one of the world's oldest cultures, making it a highlight of any trip to Turin.
Discover Life in Miniature: A Journey through Madurodam
Madurodam is a miniature park of approximately 18000 m², created in Holland, between The Hague and Scheveningen (the maritime suburb of The Hague), where approximately 300 buildings (main monuments, windmills) have been reproduced in 1:25 scale , bridges, ports, etc.) of the Netherlands (hence also known to us as "Holland in miniature").
The park, inaugurated in July 1952, owes its name to George Maduro, a Jew, lieutenant originally from the Netherlands Antilles, who died in 1945 in the Dachau concentration camp (Germany) after fighting against the Nazi occupation in the Netherlands and honor of which – at the behest of the parents – the place was built.
The park itself is designed in such a way as to introduce visitors not only to the architecture, but also to the history, culture, way of life and technological achievements of the Dutch. Therefore, the park features not only famous buildings, but also other “typical Dutch things”, such as traditional houses, cheese markets and even modern shopping centers and highways. Many interactive models demonstrate the principles of operation of real objects: for example, you can raise and lower locks and draw bridges to move a boat from one location to another, get acquainted with the principle of operation of a dam or a windmill.
Madurodam has a pronounced educational and educational orientation. The slogan of the official Madurodam website is: “Discover Holland in one hour.” Near many interactive models there are terminals where you can watch short videos introducing visitors to this or that element of history and some technological achievement of the Dutch.
Main attractions
1. The Discover Amsterdam
We walk through the park and soak up the beautiful Amsterdam buildings: the Royal Palace on Dam Square, canal houses, the Rijksmuseum, Anne Frank’s house, the Wallen district. These are the biggest attractions in Amsterdam, the capital of the Netherlands.
We walk through the park and soak up the beautiful Amsterdam buildings: the Royal Palace on Dam Square, canal houses, the Rijksmuseum, Anne Frank’s house, the Wallen district. These are the biggest attractions in Amsterdam, the capital of the Netherlands.
2. Beautiful Palaces in Amsterdam
We admire the The Peace Palace, Drakensteyn Castle, Huis ten Bosch Palace, Het Loo Palace.
We admire the The Peace Palace, Drakensteyn Castle, Huis ten Bosch Palace, Het Loo Palace.
3. Defeat the Waterwolf
We will be able to create land from water. At the pumping station, we can work together to set the world’s greatest steam engine in motion and alongside our family and friends we will experience first-hand how the Dutch turned an impossible stretch of water into land. The steam engine slowly starts to work, the sails begin to turn, the boilers ignite, steam escapes and the Madurodam pumping station shakes on its foundations.
We will be able to create land from water. At the pumping station, we can work together to set the world’s greatest steam engine in motion and alongside our family and friends we will experience first-hand how the Dutch turned an impossible stretch of water into land. The steam engine slowly starts to work, the sails begin to turn, the boilers ignite, steam escapes and the Madurodam pumping station shakes on its foundations.
4. Fly over the Netherlands
We can spot all the Madurodam aeroplanes and find out what it feels like to be a pilot.You can learn to fly at Schiphol! We can also take a look around with an air stewardess. She will lead you on a whirlwind tour through one of largest and most modern airports in the world.
We can spot all the Madurodam aeroplanes and find out what it feels like to be a pilot.You can learn to fly at Schiphol! We can also take a look around with an air stewardess. She will lead you on a whirlwind tour through one of largest and most modern airports in the world.
5. Moving trains
We admire the beautifully built Rotterdam, Utrecht and Groningen Centraal stations. Does the high-speed line really go that fast? We can see for yourself. And what the old museum tram and the Randstad railway look like in miniature.
We admire the beautifully built Rotterdam, Utrecht and Groningen Centraal stations. Does the high-speed line really go that fast? We can see for yourself. And what the old museum tram and the Randstad railway look like in miniature.
6. Playing with water
Building dikes. The Netherlands does it best! Why is this so important for our country? We can find out through the moving sluices, rivers and Delta Works.
Building dikes. The Netherlands does it best! Why is this so important for our country? We can find out through the moving sluices, rivers and Delta Works.
Madurodam, a captivating miniature park nestled in the Scheveningen district of The Hague, Netherlands, offers a unique voyage into the heart of Dutch life and culture. This remarkable attraction showcases intricate scaled-down replicas of iconic Dutch landmarks, buildings, and landscapes, inviting visitors to embark on a delightful exploration of Holland's rich heritage. With meticulous attention to detail, Madurodam harmoniously blends tourism and artistry, creating a miniature world that celebrates the nation's architectural marvels and the essence of its vibrant communities.
Turin's Mole Antonelliana: Where Cinema and Life's Harmony Intertwine
An architectural landmark of the city of Turin, Mole Antonelliana was initially conceived as a synagogue, before being bought by the Municipality of Turin and made into a monument to national unity. Planned and begun by architect Alessandro Antonelli in 1863, it was only completed in 1889. With a height of 167.5 metres, it was the tallest brick building in Europe at the time.
The panoramic lift was inaugurated in 1961, during the celebrations for the centenary of the Italian Unification and it was renovated in 1999. Today it still allows visitors to go up to the panoramic terrace which is 85 metres high and take in the amazing views of the city and the surrounding Alps. Visitors can also climb on foot along the cavity of the dome stairs, up to the panoramic terrace.
In 1996 the City of Turin restored the building and made it the seat of the National Cinema Museum. The museum, one of the most visited in Italy, hosts various multimedia and interactive stations, very rare pre-cinematic optical machines, equipment and materials from Italian and international sets as well as a vast collection of films, books, prints, posters, posters, paintings and photographs.
With the entry of the single euro currency, in 2002 the Italian State Mint minted the reverse of the two cent coins with the Mole Antonelliana.
Full of interactive installations, in this museum we can enter the sets of famous films, walk through a western movie saloon and sit on iconic "chaise longues" to watch videos projected on the walls of the dome! Everything is theatrical and exciting in this museum tour. Through the different areas of the Cinema Museum we will discover the history and techniques of the Seventh Art , up to knowing how the film industry developed in the last century.
The section dedicated to the Archeology of Cinema is an exploration through lenses and perspective, scientific experiments and entertainment of past centuries. Magic lanterns and shadow theater are explained in detail, as is the functioning of a camera obscura, set up in life-size to understand how lenses can turn an image upside down.
From photography with serial images to cinema it is a short step and the next area of the museum will lead us to the Aula del Tempio, an incredible room, in the void of the dome of the Mole Antonelliana. Below, we little ones, while above we are dominated by cinema screens and the latch of the panoramic glass elevator !
From the Temple Hall we can also experience the sets of the most famous films and see the temporary exhibitions by climbing the helical ramp that runs along the dome of the Mole.
The National Cinema Museum still continues with the Cinema Machine section . In this area you will go behind the scenes of a real film production. A video made for the museum will illustrate how a film is produced and what the different phases are. In fact, just a good story is not enough, you need to create specific storyboards and coordinate the actors with the screenwriters, the director with the costume designers, and so on. You will be fascinated by this part and you will no longer be able to watch a film without thinking of the enormous work of the production studios.
The last step, before leaving the museum and going up with the panoramic lift towards the dome, is the Poster Gallery . The National Cinema Museum hosts more than 535,000 examples of promotional posters of the French Nouvelle Vague . You will see German cinema posters, but also many American ones. Well-known and lesser-known films follow one another along this route, the last step before saying goodbye to this original museum of cinematographic art.
Embark on a cinematic voyage at the iconic Mole Antonelliana in Turin, Italy. This striking architectural marvel houses the National Museum of Cinema, a must-visit destination for film enthusiasts and cultural explorers alike. Immerse yourself in the museum's captivating exhibits, where the rich history and artistry of cinema intertwine, fostering a harmonious experience. Enjoy a journey through celluloid dreams, reveling in the happiness that great films can bring. A visit to this Italian gem promises an unforgettable adventure into the world of cinema and life's joyous melodies.
Finding Harmony in Rome: Exploring the Incantation of MagicLand
Embark on a captivating journey to MagicLand, nestled in the heart of Rome's metropolitan city of Valmontone. This enchanting amusement park promises boundless entertainment and unforgettable experiences. Dive into a world of thrilling rides, captivating shows, and magical attractions that will transport you to realms of joy and wonder. A visit to MagicLand is not just about seeking amusement; it's a voyage towards life harmony and happiness. Discover the magic of Rome in this extraordinary destination where dreams come alive.
The theme park opened on May 25, 2011 and opened to the public on May 26, 2011.
The MagicLand amusement park in Valmontone, a few kilometers from Rome, awaits us with many family-friendly attractions and guaranteed fun.
It offers its visitors 39 attractions divided into: for "brave", for "everyone" and for "children", the key element of which is magic!
The MagicLand amusement park in Valmontone, a few kilometers from Rome, awaits us with many family-friendly attractions and guaranteed fun.
It offers its visitors 39 attractions divided into: for "brave", for "everyone" and for "children", the key element of which is magic!
Yucatan: for "everyone"
One of the most sought after is certainly the Yucatan, a spill water for the whole family where getting out dry is impossible, with rapids set in the Mayan ruins with scary titans and dizzying descents that on board a boat, together with the Huntik prospectors you can experience new adventures discovery of secrets in the ruins of ancient lost civilizations.
One of the most sought after is certainly the Yucatan, a spill water for the whole family where getting out dry is impossible, with rapids set in the Mayan ruins with scary titans and dizzying descents that on board a boat, together with the Huntik prospectors you can experience new adventures discovery of secrets in the ruins of ancient lost civilizations.
Battleship: for "everyone"
Among the waters of the lake lies Miogar, a sea monster that destroys boats in the cold seas of the North. To defend yourself from the brave fighters you have to get on the ships, protect yourself with Viking shields and fight a heated naval battle with the last splash of water.
Among the waters of the lake lies Miogar, a sea monster that destroys boats in the cold seas of the North. To defend yourself from the brave fighters you have to get on the ships, protect yourself with Viking shields and fight a heated naval battle with the last splash of water.
Flying Island: for "everyone"
The Flying Island, from over 50 meters high, will make you discover the land of magic, set between lush greenery and suggestive mountains. Don't miss a truly unique view of the Amusement Park, on a relaxing journey upwards, truly suitable for everyone, including small children and the elderly.
The Flying Island, from over 50 meters high, will make you discover the land of magic, set between lush greenery and suggestive mountains. Don't miss a truly unique view of the Amusement Park, on a relaxing journey upwards, truly suitable for everyone, including small children and the elderly.
Jungle Express: for "children"
The Jungle Express is the ideal way to comfortably observe nature and be surprised at every turn. All that remains is to go!
The Jungle Express is the ideal way to comfortably observe nature and be surprised at every turn. All that remains is to go!
Ping in Spider: for "children"
Children will have a lot of fun on this attraction at the Rainbow Magicland amusement park. The cute little spider Ronny will make them swing up and down between his paws until their heads spin.
Children will have a lot of fun on this attraction at the Rainbow Magicland amusement park. The cute little spider Ronny will make them swing up and down between his paws until their heads spin.
Magic Pillar: for "children"
A large stone column stands out among the trees, strange inscriptions are carved directly into it from base to top. Perhaps by translating them it will be possible to discover the meaning of this object. With an ingenious system of seats and pulleys the explorers manage to climb to the top, new discoveries are ever closer! It takes energy and strength, but if you let yourself laugh... you'll fall back and you'll have to start over from the beginning!
A large stone column stands out among the trees, strange inscriptions are carved directly into it from base to top. Perhaps by translating them it will be possible to discover the meaning of this object. With an ingenious system of seats and pulleys the explorers manage to climb to the top, new discoveries are ever closer! It takes energy and strength, but if you let yourself laugh... you'll fall back and you'll have to start over from the beginning!
Shock: for "brave"
The result of the experiment of some crazy scientists, Shock is the steam-machine that succeeded so well that it shocked everyone who wanted to try it. The result of their experiment is one of the most fun launch coasters in Europe, capable of launching its "ships" from zero to one hundred kilometers in 2 seconds!
Shock is a reckless journey in search of thrills, a race at the speed of light between loops, spins and steep dives. Let yourself be overwhelmed by the strong emotions of the most exciting roller coaster in MagicLand! Attraction recommended only for the bravest.
The result of the experiment of some crazy scientists, Shock is the steam-machine that succeeded so well that it shocked everyone who wanted to try it. The result of their experiment is one of the most fun launch coasters in Europe, capable of launching its "ships" from zero to one hundred kilometers in 2 seconds!
Shock is a reckless journey in search of thrills, a race at the speed of light between loops, spins and steep dives. Let yourself be overwhelmed by the strong emotions of the most exciting roller coaster in MagicLand! Attraction recommended only for the bravest.
Wild Rodeo: for "brave"
An attraction, unique in Italy, with a high level of adrenaline: Wild Rodeo will leave even the bravest breathless, guaranteeing wild fun in full Far West style. It is a Giant Frisbee, an attraction only for the most adventurous. A gigantic pendulum - weighing 60 tons - supported by gigantic 20 meter high columns which, in addition to rotating on itself, performs a complete 360° turn offering an upside down flight at more than 30 meters in height. Chills and emotions guaranteed!
An attraction, unique in Italy, with a high level of adrenaline: Wild Rodeo will leave even the bravest breathless, guaranteeing wild fun in full Far West style. It is a Giant Frisbee, an attraction only for the most adventurous. A gigantic pendulum - weighing 60 tons - supported by gigantic 20 meter high columns which, in addition to rotating on itself, performs a complete 360° turn offering an upside down flight at more than 30 meters in height. Chills and emotions guaranteed!
Cagliostro: for "brave"
Welcome to Count Cagliostro's castle, where the wizard alchemist has been locked up for his dangerous illusions! As soon as we enter we will lose the perception of time and space, you will begin a whirlwind, dark and unexpected journey in one of the most extravagant castles we have ever seen, in which you will only find the fearless guards to protect the magician capable of making everyone lose their minds its visitors. An Indoor Spinning Coaster that will make us lose our sense of orientation and spin around, suitable only for the bravest!
Welcome to Count Cagliostro's castle, where the wizard alchemist has been locked up for his dangerous illusions! As soon as we enter we will lose the perception of time and space, you will begin a whirlwind, dark and unexpected journey in one of the most extravagant castles we have ever seen, in which you will only find the fearless guards to protect the magician capable of making everyone lose their minds its visitors. An Indoor Spinning Coaster that will make us lose our sense of orientation and spin around, suitable only for the bravest!
A visit to MagicLand in Rome is an essential experience for anyone seeking joy, happiness, and life harmony. This themed entertainment park offers a gateway to a world of enchantment and excitement. Nestled in the heart of Rome, MagicLand promises an unforgettable voyage filled with thrilling rides, captivating shows, and magical experiences. Whether you're a traveler exploring the city or a local seeking adventure, a trip to MagicLand is sure to infuse your journey with boundless joy and unforgettable memories. Don't miss the opportunity to immerse yourself in the wonder of MagicLand and let it cast its spell on you.
Embracing Life's Harmony: A Visit to Trevi Fountain in Rome
The Trevi Fountain, the terminal showpiece of the Acqua Vergine aqueduct, the only one of the ancient aqueducts continuously in use to this day, is the most famous of the Roman fountains. Its name derives from a toponym in use in the area since the mid-12th century, regio Trivii, referring to the confluence of three roads in the square, or from the triple outlet of water from the original fountain. The realization of the current Trevi Fountain is due to Pope Clement XII who, in 1732, announced a competition in which the greatest artists of the time participated. Among the various projects presented, that of the architect Nicola Salvi was chosen.
The theme of the entire composition is the sea. It is set within a large rectangular pool with rounded corners, surrounded by a walkway that runs from one side to the other, enclosed by a short staircase just below the street level of the square. Salvi resorted to the staircase system to compensate for the difference in height between the two sides of the square: the left side (towards the Quirinal Hill) is indeed much higher than the other, so much so that a short parapet had to be erected to delineate the road, partially covered by rocks, on one of which is carved a cardinal's coat of arms depicting a rampant lion.
The scenery is dominated by a rocky cliff that occupies the entire bottom part of the palace, at the center of which we find a large niche delimited by columns that make it stand out as if it were under a triumphal arch. Here stands a large statue of Ocean by Pietro Bracci (1759-1762, based on a design started by Giovanni Battista Maini), with muscular and opulent forms and a proud and haughty gaze: the god, draped in a cloth that barely covers his hips and groin, is depicted striding on a chariot shaped like a shell pulled by two winged horses, nicknamed respectively "agitated horse" (the one on the left) and "placid horse," referring to the analogous moments of the sea sometimes calm and sometimes stormy. On the sides of the large central niche, there are two smaller niches occupied by the statues of Health (to the left of Ocean) and Abundance (to the right of Ocean), the latter depicted holding the symbolic horn filled with fruits and coins. Both of these statues are by Filippo della Valle. The three niches are delimited by four large columns.
On either side of the main arch, above the two niches, there are two bas-relief panels depicting Agrippa approving the construction of the Aqua Virgo aqueduct by Giovan Battista Grossi (above the statue of Abundance). And the "virgin" showing the soldiers the place where the water sources are located, by Andrea Bergondi (above the statue of Health). The fountain is also adorned with numerous marble decorations depicting plant species: we find, in fact, a caper plant on the facade of Palazzo Poli, a wild fig rooted at the top of the balustrade, a mullein bush, a prickly pear, four ivy tendrils, reeds and lake rushes, an oak trunk under the statue of Health, an artichoke, a vine with four bunches of grapes, a taro floating on the water, a fig, a borage, and a group of evergreen plants where the travertine cliff ends. The entire composition is completed by a snail crawling on the taro and a lizard hiding in a small cavity open on the facade.
The four large Corinthian columns support the upper façade, on which, corresponding to each column, there are four smaller allegorical statues: from left to right, the Abundance of Fruit by Agostino Corsini, the Fertility of Fields by Bernardino Ludovisi, the Wealth of Autumn by Francesco Queirolo, and the Pleasantness of Gardens by Bartolomeo Pincellotti (1735). In the middle, between the two central statues, surmounted by an imposing Corsini heraldic emblem of Pope Clement XII supported by two representations of Fame by Paolo Benaglia.
The imposing travertine cliff, enlivened by sculpted plant and animal essences, brought to life by the abundant flow of water, is created, like the sculptures, by artists within the Bernini circle such as Maini, Pincellotti, Bracci, and Della Valle. Together with a host of craftsmen with diverse specializations (tinners, brass workers and silversmiths, carpenters, painters, stonemasons, carvers...), they were masterfully directed and organized by Salvi. In the central part, the unique Corinthian order, typologically related to Roman triumphal arches, divides the space into lateral compartments with sculptures and bas-reliefs related to the history of the discovery and management of the Aqua Virgo water.
The water gushes from the rocks at various points: under Ocean's chariot, it fills three basins before flowing into the main pool. The three basins were not part of Salvi's original design but were added following modifications made by Giuseppe Pannini, who replaced him after his death. Another substantial change concerned the subjects of the two side statues, which initially depicted Agrippa and the "virgin Trivia."
Completing the description of the work is the curious and unexpected sculpture of an object that recalls an anecdote: on the rocks covering the parapet to the left of the fountain, a large travertine vase has been carved (known as the "Ace of Cups" for its shape resembling that symbol depicted on playing cards). The gossip of the time (though the anecdote is fairly credible) suggests that Salvi had it placed there to obstruct the view of a barber who had a shop next door and kept criticizing the architect's work.
Trevi Fountain in Rome is a timeless pearl of artistic grandeur, beckoning travelers from around the globe to experience its enchanting beauty. As a symbol of life's harmony, it captivates visitors with its majestic design, where cascading waters dance amidst intricate sculptures and ornate architecture. A voyage to Trevi Fountain is not just a visit to a landmark; it's an immersion into the heart of Rome's soul, a place where art, history, and life converge in perfect harmony, making it an essential stop for any traveler seeking the essence of the Eternal City.
Discovering Harmony: Exploring the ABBA Museum in Stockholm
ABBA is a Swedish pop supergroup formed in Stockholm in 1972 by Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad. The group's name is an acronym of the first letters of their first names arranged as a palindrome. They are one of the most popular and successful musical groups of all time, and are one of the best-selling music acts in the history of popular music.
ABBA gained worldwide fame after a landslide victory at the Eurovision Song Contest in Brighton (UK) in 1974. The next eight years were a triumph for the group. ABBA was rightly called the “Swedish miracle”.
In a short time, ABBA The Museum has become one of the most popular attractions in Stockholm. We would say that it’s something quite different from the traditional. It’s not only a place to see costumes, musical instruments and old albums that have marked the journey of the Swedish band. It’s modern, interactive and fun. Their most famous songs animate the visit while we walk through the museum.
In the exhibition, you can sing, play quiz, mix original music and become the fifth member of ABBA by performing on our large hologram stage together with Agnetha, Björn, Benny and Frida.
Abba didn’t just write great songs, they made great records and that was their secret.
At the peak of their fame, a feature-documentary film, 'ABBA: The Movie', was created about the tour of the legendary Swedish pop group ABBA in Australia in 1977. The film has a very simple plot, which is a connection between the ABBA concert numbers filmed during the entire tour.
In 1984, Björn Ulvaeus and Benny Andersson collaborated on the musical 'Chess'.
It is dedicated to a politically driven, Cold War-era chess tournament between two grandmasters, one American and the other Soviet, and their fight over a woman who manages one and falls in love with the other. The elements of the story may have been inspired by the chess careers of Russian grandmasters Viktor Korchnoi and Anatoly KarpovThis musical has been staged on many stages in all six continents.
It is dedicated to a politically driven, Cold War-era chess tournament between two grandmasters, one American and the other Soviet, and their fight over a woman who manages one and falls in love with the other. The elements of the story may have been inspired by the chess careers of Russian grandmasters Viktor Korchnoi and Anatoly KarpovThis musical has been staged on many stages in all six continents.
'Mamma Mia!' is a jukebox musical written by British playwright Catherine Johnson based on songs recorded by Swedish group ABBA and composed by members Benny Andersson and Björn Ulvaeus. The musical's title is taken from the group's 1975 chart-topper "Mamma Mia". Ulvaeus and Andersson were involved in the development of the show from the beginning, while singer Anni-Frid Lyngstad was involved financially in the production and also appeared at many of the premieres around the world. Mamma Mia! has been played in more than 60 countries in all six continents.
In 2008, the first film ‘Mamma Mia! The Movie’ was released. It's a 2008 jukebox musical romantic comedy film, based on the musical Mamma Mia.
A sequel 'Mamma Mia! Here We Go Again' was released on July 20, 2018, with much of the cast returning. Benny Andersson and Björn Ulvaeus starred in a cameo role.
ABBA members also met after the group's concert activities were suspended. In 2021 they will release the hte latest disc 'Voyage'.
On 21 March 2024, all four members of ABBA were appointed Commander, First Class, of the Royal Order of Vasa by His Majesty King Carl XVI Gustaf of Sweden. This was the first time in almost 50 years that the Swedish Royal Orders of Knighthood was bestowed on Swedes, also the 50th anniversary of ABBA winning the Eurovision Song Contest.
On 21 March 2024, all four members of ABBA were appointed Commander, First Class, of the Royal Order of Vasa by His Majesty King Carl XVI Gustaf of Sweden. This was the first time in almost 50 years that the Swedish Royal Orders of Knighthood was bestowed on Swedes, also the 50th anniversary of ABBA winning the Eurovision Song Contest.
Embark on a journey through the Scandinavian miracle of music at 'ABBA the Museum'. Delve into the timeless melodies and harmonies of ABBA, Sweden's iconic pop group. Immerse yourself in their story, from chart-topping hits to personal narratives, celebrating the essence of life harmony through music. At the museum, experience the magic of ABBA's legacy, a voyage through decades of pop culture and musical innovation. Discover why 'ABBA the Museum' stands as a beacon for music enthusiasts worldwide, beckoning all to witness the unforgettable legacy of this legendary band.
A Journey to Harmony: Discovering the Fabled Fountains of Villa d'Este
Villa d'Este is one of the symbols of the Italian Renaissance, an architectural and scenic jewel of Tivoli, declared a World Heritage Site by UNESCO in 2001. Today this extraordinary complex is famous throughout the world for the splendid fountains that decorate it, characterized by the valuable and evocative water features and for being the most beautiful "Italian garden" in Europe.
The most attractive fountains
Fontana dell’Ovato
The fountain is an allegory: it represents the Tivoli waterfall, surrounded by rocks that represent the Tiburtini Mountains. Three rivers flow down from these mountains, represented by three statues: the Aniene river, the Erculaneo river and the Albuneo river.
The fountain is an allegory: it represents the Tivoli waterfall, surrounded by rocks that represent the Tiburtini Mountains. Three rivers flow down from these mountains, represented by three statues: the Aniene river, the Erculaneo river and the Albuneo river.
Today there are more than five hundred fountains on the territory of the villa. All of them were carefully planned by architects and carry their own philosophical meaning.
Viale delle Cento Fontane
The Viale continues the allegory of the three rivers of the Ovato fountain. The three floors in fact represent the symbolic flow of the Aniene, the Erculaneum and the Albuneo.
The Hundred Fountains are decorated at the top with eagles, ships, lilies and obelisks. Under these decorations there are high stucco reliefs representing some scenes from Ovid's Metamorphoses, today partly destroyed or covered by vegetation.
The Viale continues the allegory of the three rivers of the Ovato fountain. The three floors in fact represent the symbolic flow of the Aniene, the Erculaneum and the Albuneo.
The Hundred Fountains are decorated at the top with eagles, ships, lilies and obelisks. Under these decorations there are high stucco reliefs representing some scenes from Ovid's Metamorphoses, today partly destroyed or covered by vegetation.
Fontana della Rometta
On the opposite side of the Ovato fountain, still on Viale delle Cento Fontane, we find the Rometta fountain. Comparing the drawings from the 1500s with the fountain that has survived to the present day, we can see that it has come down to us incomplete.
There are no longer many of the miniature Roman buildings that were the backdrop to the She-Wolf of Rome, in Rome armed with helmet and spear. The water at the foot of this statue obviously represents the Tiber river.
On the opposite side of the Ovato fountain, still on Viale delle Cento Fontane, we find the Rometta fountain. Comparing the drawings from the 1500s with the fountain that has survived to the present day, we can see that it has come down to us incomplete.
There are no longer many of the miniature Roman buildings that were the backdrop to the She-Wolf of Rome, in Rome armed with helmet and spear. The water at the foot of this statue obviously represents the Tiber river.
Fontana della Civetta
The water that violently penetrated the cavities pushed the air into the cavities of the branches and the sound of the ocarinas came out of the birds' mouths. This whole mechanism was intended to amaze Hippolytus II's guests. He founded the Villa d'Este.
On the top of the fountain is the official coat of arms of Ippolito II d'Este, supported by two angels.
The water that violently penetrated the cavities pushed the air into the cavities of the branches and the sound of the ocarinas came out of the birds' mouths. This whole mechanism was intended to amaze Hippolytus II's guests. He founded the Villa d'Este.
On the top of the fountain is the official coat of arms of Ippolito II d'Este, supported by two angels.
Fontana dei Draghi
The fountain was built, according to legend, in a single night, in September 1572, as a tribute to Pope Gregory XIII, who was a guest of the villa, whose family coat of arms, the Boncompagni, had symbolized winged dragons. It is made up of a central sculptural group, made up of four hideous dragons arranged in a circle, with their backs to each other, and which spit out a jet of water, while a powerful and high jet starts from the center of the circle. Behind, under the balcony of the upper avenue of the Hundred Fountains, there is a niche in which there is a large statue of Hercules.
The fountain was built, according to legend, in a single night, in September 1572, as a tribute to Pope Gregory XIII, who was a guest of the villa, whose family coat of arms, the Boncompagni, had symbolized winged dragons. It is made up of a central sculptural group, made up of four hideous dragons arranged in a circle, with their backs to each other, and which spit out a jet of water, while a powerful and high jet starts from the center of the circle. Behind, under the balcony of the upper avenue of the Hundred Fountains, there is a niche in which there is a large statue of Hercules.
Fontana dell'Organo
It's a sounding fountain. Its construction took more than forty years. It was between 1567 and 1569 that the Frenchman Claude Venard designed and built an automatic hydraulic organ for this fountain which amazed the courts of Italy and Europe.
The fall of the water caused the air to escape from the pipes, while at the same time another device pressed the keys. It amazes visitors to the villa, tourists from all over the world.
It's a sounding fountain. Its construction took more than forty years. It was between 1567 and 1569 that the Frenchman Claude Venard designed and built an automatic hydraulic organ for this fountain which amazed the courts of Italy and Europe.
The fall of the water caused the air to escape from the pipes, while at the same time another device pressed the keys. It amazes visitors to the villa, tourists from all over the world.
Fontana di Nettuno
Without a doubt the most majestic fountain in Villa d'Este. On the opposite side to this there is a view of the Tiburtina plain, with Rome in the distance. Rays of sunlight often arrive from that direction and color the enormous and very high jets of water that develop from the Neptune fountain. Between the overlook and this fountain there are three fish ponds.
It is surprising how much water is sprayed high in this fountain. The force with which it is pushed towards the sky is surprising.
A waterfall descends among the jets, under which you can glimpse the bust of the statue of Neptune.
Without a doubt the most majestic fountain in Villa d'Este. On the opposite side to this there is a view of the Tiburtina plain, with Rome in the distance. Rays of sunlight often arrive from that direction and color the enormous and very high jets of water that develop from the Neptune fountain. Between the overlook and this fountain there are three fish ponds.
It is surprising how much water is sprayed high in this fountain. The force with which it is pushed towards the sky is surprising.
A waterfall descends among the jets, under which you can glimpse the bust of the statue of Neptune.
Fontana della Dea Natura o dell’Abbondanza
This fountain features in the center the insertion of the statue of Diana of Ephesus, the goddess with numerous breasts, symbol of abundance and fertility.
This fountain features in the center the insertion of the statue of Diana of Ephesus, the goddess with numerous breasts, symbol of abundance and fertility.
Fontana del Bicchierone
The fountain, of architectural taste, depicts a notched chalice (the 'Bicchierone' precisely) superimposed on a similar one, both supported by a large shell.
The fountain, of architectural taste, depicts a notched chalice (the 'Bicchierone' precisely) superimposed on a similar one, both supported by a large shell.
Embark on a transformative voyage to Villa d'Este in Tivoli, just a stone's throw away from Rome, and immerse yourself in the exquisite harmony of life and art. Nestled amidst verdant landscapes, the fountains of Villa d'Este stand as timeless marvels, each a testament to Renaissance ingenuity and beauty. Travelers seeking solace and inspiration find sanctuary here, where the gentle murmur of cascading waters and the majestic allure of architectural wonders create an unparalleled sense of serenity. Discover the essence of tranquility amidst the splendor of Villa d'Este's fountains—a journey that promises to rejuvenate the soul and ignite the spirit of wanderlust.
Future Voyages: Discovering Life Harmony and Artificial Intelligence at Dubai's Museum of the Future
One of Dubai's most famous landmarks, the Museum of the Future (MOTF), takes pride of place on the city's Sheikh Zayed Road. Founded by the Dubai Future Foundation and opening on February 22, 2022, the museum explores how society can evolve in the coming decades through science and technology. The Museum of the Future was designed by Killa Design and engineered by Buro Happold.
Dubbed a “living museum,” it incorporates elements of traditional exhibitions, immersive theater and themed attractions so visitors can look beyond the present to the limitless possibilities of the future.
Unlike usual museum sites, this museum was built on a lawn and has a particular oval shape. Its architectural characteristics are not random: the green garden over which it is suspended represents the earth, the oval building represents humanity, while the empty space in the center represents the unknown future.
Unlike usual museum sites, this museum was built on a lawn and has a particular oval shape. Its architectural characteristics are not random: the green garden over which it is suspended represents the earth, the oval building represents humanity, while the empty space in the center represents the unknown future.
The Museum of the Future says it aims to help solve the problems facing cities of the future, as well as housing innovation and a hub that brings together researchers, designers, inventors and financiers under one roof.
The museum houses innovation labs dedicated to several sectors, including healthcare, education, smart cities, energy and transport. It supports and tests new inventions in partnership with research institutes and universities.
The museum houses innovation labs dedicated to several sectors, including healthcare, education, smart cities, energy and transport. It supports and tests new inventions in partnership with research institutes and universities.
The building's exterior facade consists of windows that form Arabic quotes spoken by the ruler of Dubai about the future of the emirate. The phrases inscribed on the Dubai Future Museum represent three quotes from Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the United States. United Arab Emirates are:
-- “We will not live for hundreds of years, but the products of our creativity can leave a legacy long after we are gone.
-- “The future will belong to those who can imagine, design and build it, the future does not wait, the future can be designed and built today.”
-- “The secret of the renewal of life, the development of civilization and the progress of mankind lies in one word: innovation.”
-- “We will not live for hundreds of years, but the products of our creativity can leave a legacy long after we are gone.
-- “The future will belong to those who can imagine, design and build it, the future does not wait, the future can be designed and built today.”
-- “The secret of the renewal of life, the development of civilization and the progress of mankind lies in one word: innovation.”
As part of the experience, the Museum of the Future takes us on a journey to the year 2071. Home to seven floors in total, the museum dedicates five of its floors to exhibits based on different themes. The visitor journey begins from the fifth floor and takes guests down floor-by-floor.
Fifth Floor - Orbital Space Station (OSS) Hope: Orbital Space Station Hope is the first chapter in the Museum of the Future visitor journey. Visitors get to experience life in space in the year 2071. Looking at how the future of space travel can help humanity with their most-pressing challenges.
Third Floor - Al Waha: "Al Waha" is Arabic for "the oasis" and is the third chapter in the Museum of the Future's visitor journey. Guest's can experience different therapies on this floor to connect deeply to their senses. Al Waha encourages people to focus on themselves and stay grounded.
Second Floor - Tomorrow, Today: Looking at cutting-edge technology and innovative concepts, the Tomorrow, Today exhibit aims to present solutions in response to the world's most urgent challenges. This floor also reflects the museum's work with its strategic partners as it acts as an incubator and laboratory for global foresight.
Fourth Floor - The HEAL Institute: Institute: Shedding light on ecology and biodiversity in the future, the HEAL Institute is an exhibit where visitors can focus on repairing, restoring and renewing life on Earth.
First Floor - Future Heroes: Future Heroes is an entire floor in the Museum of the Future that is dedicated to young ones under the age of 10-years-old. With an edutainment approach, this space offers children interactive activities, hands-on play and reward-based challenges. Encouraging collaboration and creativity, the Future Heroes exhibition allows children to design their own avatars as part of the experience.
Embark on a voyage into the heart of innovation at the Museum of the Future in Dubai. This architectural masterpiece seamlessly integrates high-tech marvels and artificial intelligence to showcase the limitless possibilities of the future. Visitors are immersed in a world where life harmony and technological advancement converge. Explore interactive exhibits, marvel at futuristic designs, and glimpse into the possibilities that lie ahead. A visit here promises a journey into the future like no other.
Tickets to Museum of the Future can be booked either through the official website or directly at the museum box office. The Museum of the Future timings are from 9:30am to 9pm every day, and last entry is at 7pm.
Rome's Eternal Harmony: Embarking on a Voyage Through the Arch of Constantine
The Arch of Constantine is a three-arch triumphal arch (with a central passage flanked by two smaller side passages), located in Rome, a short distance from the Colosseum. The Arch can be considered as a true museum of official Roman sculpture, extraordinary for its richness and importance.
The arch was dedicated by the Senate to commemorate the victory of Constantine against Maxentius in the battle of the Milvian Bridge (28 October 312) and inaugurated in 315 (July, 25th) on the occasion of the emperor's decennalia (ten years of reign).
It is built in opus quadratum marble in the pylons, while the attic, which houses an accessible space, is made of masonry and cement covered on the outside with marble blocks.
The Constantinian allegorical figures are in the classicist style of the recovery of the figurative tradition desired by Constantine himself.
On the arch there is a single large frieze of about 3 m in height with battle scenes. The frieze depicts the deeds of the emperor Trajan during the campaigns of conquest of Dacia (102-107)
On the main faces of the arch and on the sides, reliefs from the age of Trajan, Hadrian, Marcus Aurelius ("good emperors") and finally, in the lower sector, from the age of Constantine alternate, according to symmetrical patterns.
During their reign, which was characterized by stability and the absence of repression, the Roman Empire reached its highest, pre-decline heyday.
During their reign, which was characterized by stability and the absence of repression, the Roman Empire reached its highest, pre-decline heyday.
The Arch of Constantine, a masterpiece of Ancient Rome, stands as an irresistible magnet for tourists worldwide. Its intricate design and historical significance make it a must-visit destination for anyone exploring Rome's rich tapestry. As a symbol of harmony and architectural brilliance, it encapsulates the essence of the eternal city, offering visitors a glimpse into its storied past. To experience the allure of Rome's heritage and immerse oneself in its timeless charm, a visit to the Arch of Constantine is indispensable.
All the faces of the emperors that appear in the reliefs have been remodeled in the likeness of Constantine, with the nimbus to connote his imperial majesty.
Eight circular reliefs from the time of Emperor Hadrian over 2 m high are placed above the lateral arches, on the two facades, inserted two by two in a rectangular field. They describe the emperor's hunts in the years 130-138
On the attic, on the sides of the inscription, there are eight rectangular reliefs (more than 3 meters high) which depict various episodes of the exploits of the emperor Marcus Aurelius against the Quadi and the Marcomanni (finally defeated in 175.
Above the lateral arches and under the Hadrianic roundels, you can see a continuous frieze (just under 1 m high) which concerns the episodes of the war against Maxentius and the celebration of Constantine's victory in Rome.
Embark on a Spectacular Voyage: Exploring the Wonders of Burj Khalifa
The Burj Khalifa Tower is a true vertical city, capable of accommodating approximately 35 thousand people simultaneously. The tower rises above the ground to a height of 828 meters. The total number of floors is 163 (excluding technical floors - 46 in the spire and 2 underground). The total outer surface area is approximately equal to 17 football fields.
The neo-futuristic design of the Burj Khalifa tower was conceived by American architect Adrian Smith and the firm Skidmore, Owings & Merrill in collaboration with Samsung C&T Corporation. Construction took place from 2004 to 2010, with the total cost of the project amounting to 1.5 billion US dollars. The design was inspired by the desert lilies of the Hymenocallis genus, which grow in the UAE desert. When viewed from above, the skyscraper's wide foundation forms a Y-shaped configuration. Then, the tower gradually tapers towards the top, reducing its footprint. The skyscraper was intentionally given an asymmetrical shape to minimize the possibility of swaying due to wind.
The external walls of the Burj Khalifa consist of special double-layered glass panels that help maintain a comfortable microclimate inside. The first layer is coated with a thin layer of metal acting as a sunblock, reflecting solar heat radiation. The second layer is coated with a layer of silver, providing protection against infrared rays.
Despite its height, the Burj Khalifa tower has a very stable form. Its structure is referred to as a "reinforced core." This means that the tallest building in the world consists of several sculptural volumes that support each other. Each volume has its own framework and additional columns. To withstand wind loads, which are the main enemy of tall buildings, the tower is also protected by the various forms of its sculptural volumes. Thanks to them, the powerful wind flow is broken down into components incapable of causing serious damage. The overall design of the Burj Khalifa is inspired by the geometry of a flower growing in the Dubai desert and traditional patterns of Islamic architecture.
Functionally, the tallest building in the world is a versatile complex consisting of offices, retail spaces, residential areas, and the Giorgio Armani Hotel (occupying the first 39 floors). Located at the heart of Dubai's new business center, the building houses 57 elevators, one of which leads to the observation deck on the 124th floor. At ground level, the Burj Khalifa tower is surrounded by gardens, water features, and pedestrian boulevards.
The famous restaurant AT.MOSPHERE, with a capacity of 80 people, located on the 122nd floor, enjoys special popularity. It is one of the most romantic places in the Emirates and worldwide, where you can spend time in a relaxed atmosphere with a stunning view of one of the most dynamically developing metropolises on Earth.
The tallest building in the world is a true center of innovation. All systems of the Burj Khalifa - such as electricity supply, vibration sensors, air conditioning, and others - are connected to a single control center, from where their operation is constantly monitored and adjusted if necessary. Additionally, a powerful fire safety system is supplemented by nine fire refuges capable of withstanding fire for 2 hours.
Visiting the observation deck with panoramic views of the metropolis and surroundings, known as "At the Top," located on the 124th floor at a height of 452 meters (and the 125th floor at 456 meters), has gained worldwide popularity. The world's fastest elevator, with a speed of 10 m/s, transports visitors to the top in less than a minute. In 2014, a new observation deck called "SKY" was opened at a height of 555 meters, offering more comfortable and exclusive visiting conditions, including a guide, drinks, light snacks, and an interactive panel.
In the same year, the entire southeast face of the Burj Khalifa turned into an interactive LED display, showcasing various animations, videos, shows, and visual effects, adding spectacle to the already fantastic structure. The traditional New Year's fireworks display, famous worldwide, received a stunning illumination accompaniment.
Embark on a transcendent travel experience and journey to the epitome of architectural marvels – Burj Khalifa. As the tallest building in the world, it beckons adventurers and seekers of harmony alike. Ascend to its lofty heights and immerse yourself in a voyage of awe-inspiring vistas, where the skyline meets the heavens. Discover the perfect harmony between innovation and elegance as you explore its majestic interiors and panoramic views. Witness the beauty of Dubai unfold beneath you, a testament to human ingenuity and the allure of exploration. Come, let Burj Khalifa be the pinnacle of your travel aspirations.
Discovery of the World: Travel as a Path to Exciting Adventures and Harmony
Traveling is not just an opportunity to see new places and immerse oneself in different cultures, but also a way to enrich one's life with unforgettable experiences and unique adventures. In our world, where each day flies by at a high speed, travel serves as an oasis of tranquility, a source of inspiration, and an opportunity for self-development.
One of the most exciting aspects of travel is the adventures they offer. Each new place is an opportunity to discover something new, to challenge oneself in unusual situations, and to experience incredible emotions. Whether it's rock climbing in the mountains, diving in the depths of the ocean, or simply hiking along a picturesque coastline, travel is full of opportunities for adventure.
Travel also has a profound impact on the harmonious development of individuals. It broadens horizons, fosters tolerance, and contributes to personal growth. Encounters with new cultures and people help improve communication skills and learn to see the world from different perspectives. This experience enriches our understanding of ourselves and the world around us.
There are numerous types of leisure activities that can be realized through travel and tourism. From active pursuits like skiing or cycling to relaxing beach holidays or cultural excursions, everyone can find something to suit their taste. Additionally, travel offers opportunities to explore local cuisine, investigate historical landmarks, and enjoy nature in all its unique beauty.
Organizing tourist trips is a whole art that requires planning and organization. From choosing a destination to booking accommodation and transportation, it all requires a careful approach and resourcefulness. However, despite all the challenges, travel is always worth the effort, as it brings us not only pleasure but also expands our horizons.
Travel is a healing balm for the soul, allowing us to detach from everyday worries and find inner harmony. It enriches our lives with meaning, memorable moments, and new acquaintances. Forward, to new adventures and unexplored horizons!
