Now those same halls host a monumental exhibition: After – Steps Through Work. Fendi / Karl Lagerfeld 1985, on view from 10 July to 25 October 2026.
The Greatest Fashion Partnership
What’s on display retraces the longest creative partnership in fashion history, between Karl Lagerfeld and the Fendi family. Hired in 1965 by the five Fendi sisters to reinvent the family’s traditional fur and leather house, Lagerfeld revolutionised the very idea of luxury outerwear, a collaboration that lasted until his death in 2019.
This is not a typical parade of red-carpet gowns. Instead, it faithfully rebuilds the pioneering 1985 show, originally curated by Ida Panicelli with an installation conceived by Lagerfeld himself, one of the first times fashion entered an Italian museum. It subverts expectations of the “finished product,” offering an intimate look at how Lagerfeld actually worked: how his raw sketches and the iconic double-F motif stepped off the page and came to life in the hands of master artisans.
Inside the Creative Process
Drawing on the Fendi and GNAMC archives, the exhibition brings together around 180 original drawings, 22 paper patterns, 50 sample boards, preparatory canvases and 25 furs, tracing every stage from idea to finished garment. The sketches reveal how Lagerfeld’s hand evolved over time, from soft, naturalistic female forms to bold, expressive marker lines. Look closely at the margins and you’ll find handwritten notes, references and even French words transcribed into Italian, a quiet reminder of the bilingual, real-time dialogue with a Roman atelier.
The show guides visitors through the architecture of couture, from paper patterns and canvas prototypes (toiles) to archival footage of Fendi’s deep Roman roots, including Jacques de Bascher’s 1977 film Histoire d’Eau. At its centre, a cluster of coats suspended in mid-air recreates Lagerfeld’s 1985 “Theatre” installation, once famously called the “dance of the furs.” The exhibition closes with a selection of the vast 1985 press coverage, a rare chance to trace how fashion found its place inside the museum.
For anyone drawn to the enduring legacy of Lagerfeld’s genius inside one of Italy’s most storied fashion houses, this is a must-see. Set on Viale delle Belle Arti, a short walk from the Borghese Gallery, it’s one of several major shows in the city this summer. Planning your visit between now and October? See our guide to Rome in August for more to pair with it.
Celebrate a special occasion on a historic riverboat
Toasting and dancing on the banks of the Tiber is no longer a dream but a real possibility, thanks to The Boat by Gregory’s, a historic Roman riverboat that transforms into the perfect setting for celebrating a special occasion. If you’re looking for a private event venue in Rome that breaks the mold, this is something no villa or rooftop can offer: a party on the water, in the heart of the city.
The Boat by Gregory’s is not open to the public, but can be booked exclusively for private events of all kinds, becoming an authentic floating lounge and ballroom on Lungotevere Arnaldo da Brescia, just steps from Piazza del Popolo and the city center. The venue hosts a wide range of occasions: birthdays, graduation parties, anniversaries, marriage proposals and wedding receptions, as well as corporate events such as company dinners, brand presentations, networking and incentive events for both Italian and international companies.
A venue steeped in history and culture
The riverboat that today hosts The Boat by Gregory’s is the oldest on the Tiber: the structure dates back to 1890, when it was built as the home of a swimming society, the Rari Nantes. In 1920 it was inaugurated as the headquarters of the Dopolavoro Ferroviario, the railway workers’ recreational club, a role it still holds today: not just a mooring point on the river, but a true floating gym dedicated to swimming, diving, rowing and social gatherings. In those years, the bond between Romans and the Tiber was far closer and more part of everyday life than it is today: the riverbanks were a place to meet and unwind, not just a backdrop to be admired from the bridges and photographed for Instagram.
Over the decades, the structure has lived several lives without ever losing its connection to the water where it was born. The latest is The Boat by Gregory’s, born about ten years ago, which has added a new vocation for hospitality and private events to its sporting and social dimension. The riverboat also remains tied to cultural activities, first and foremost jazz, with an occasional program of concerts that every now and then brings the riverside evenings to life.
This musical connection stems from its link to the famous Gregory’s Jazz Club on Via Gregoriana, one of the historic venues of the Roman music scene, which gives the location a distinctive sound identity: piano bar, DJ sets, saxophone and live performances can all be woven into the evening’s program, always tailored to the tastes and needs of the event, without ever turning the space into a themed venue.
The spaces: indoor rooms and a panoramic terrace over the Tiber
The boat is divided into distinct spaces, each with its own function and atmosphere, designed to suit very different occasions. The Jazz Room is the most intimate and welcoming soul of the venue, perfect for dinners, cocktails, presentations or small private events where a cozier indoor atmosphere is preferred. The Marina Room, on the other hand, lends itself to more convivial moments such as buffets, aperitivos and corporate events, while maintaining a constant visual dialogue with the river even under cover.
The true standout feature, however, is the panoramic Terrace, overlooking the Tiber directly, offering an unusual perspective on the city and the adjacent bridge. It’s the ideal spot for sunset aperitivos, toasts, cake cuttings or small moments of entertainment with a view of the water. The combination of indoor and outdoor spaces makes it possible to plan events all year round, always guaranteeing a sheltered alternative in case of bad weather or cooler temperatures, without sacrificing the charm of the location.
Private parties, but corporate events too
For the business world, The Boat by Gregory’s offers an unconventional alternative to the usual meeting rooms: a central, easily accessible position with plenty of parking nearby, combined with a secluded and distinctive atmosphere. Over the course of a single evening, different moments can follow one another, from the welcome drink to dinner and on to the DJ set, making it the ideal format for company dinners, product launches and networking events.
On the wedding front, it stands as an alternative to villas, rooftops and traditional reception halls, ideal for intimate receptions, welcome dinners or post-ceremony parties, where the Tiber becomes an integral part of the story rather than a simple backdrop. The offer is further enhanced by the possibility of adding private cruises and mini tours on the river, turning the venue not just into a place to host events, but into a true starting point for discovering Rome from an unusual perspective: that of its river history.
One final detail worth mentioning: the boat remains moored at all times, so there’s no risk of finding yourself stuck on the river with nosy colleagues or relatives. You can always step off and head back into the city whenever you like.
In the evocative setting of the Roman Theatre of Ostia, a series of performances interweaving classical myth with contemporary language
From June 25 to July 18, 2026, the second edition of the Teatro Ostia Antica Festival 2026, entitled The Sense of the Past, will take place. In the extraordinary setting of the Roman Theatre of Ostia, the festival presents an international programme that intertwines the power of classical myth with the languages of the contemporary world, offering a reflection on the challenges of the present.
From Greek tragedy to avant-garde dance, the Festival stands out for the encounter between tradition and the innovation of the contemporary scene, through the creations of four masters of the national and international stage: Theodoros Terzopoulos, Asterios Peltekis, Angelin Preljocaj and Filippo Dini.
For all Festival performances, a shuttle service is available from the Roman Theatre of Ostia to Rome Piramide, in collaboration with Come Back Home, at a cost of €15.
The Festival opens on June 25 and 26 with The Bacchae by Euripides, directed for the seventh time by the great Greek master Theodoros Terzopoulos, who comments on the tragedy as follows:
“The Bacchae is an emblematic tragedy for my theatrical vision. It is extremely important to present it at this moment, where Dionysus embodies the archetype of the refugee: having set out from Tmolos three thousand years ago, he travelled through the war zones of the Middle East and ends up today in the Mediterranean Sea, on the shores of Crete or Lampedusa. He returns to us as a stranger and invites us to sacrifice our body on the altar of the Unknown and the Transcendent.”
Theodoros Terzopoulos
On July 4 and 5, Lysistrata by Aristophanes will take the stage: a deeply political and human work centred on the moment when a society, exhausted by suffering, urgently seeks a new way of organising itself. The archetypal figure of the heroine does not propose reforms, nor does she introduce new institutional arrangements. On the contrary, Lysistrata proposes something entirely different: the restoration of the body, desire, care and collective responsibility as political action.
On July 10 and 11, the spotlight turns to dance with Requiem(s), directed by Angelin Preljocaj: an intense reflection on memory, loss and the profound relationship between life and death. A series of choreographies brings to the stage a procession of bodies, seeking to place into perspective the mosaic of emotions experienced after a loss.
The programme closes on July 18 with Alcestis by Euripides, directed by Filippo Dini, which tells the story of an unacceptable death, that of a sacrificial victim.
“Alcestis is frightening because it is the story of a woman who, driven only by the blessed fury of her love for her husband, chooses to die in his place. And it is frightening because she returns from Hades. Four centuries before Christ, an extraordinary woman sacrifices herself for love and returns from death. The woman who comes back from down there is not the same one who left: this Alcestis has now seen and experienced horror and despair beyond all limits. It makes me think of the journey of women through history, from the beginning of time to the present day, of their evolution, their tragic daily deaths, and their possibility of returning from horror to finally confront the object of their infinite love.”
Summer 2026: Rome’s piazzas are once again transformed into movie theaters thanks to the Ragazzi del Cinema America
The outdoor film festival Il Cinema in Piazza returns this summer, transforming some of Rome’s most beautiful squares and parks into open-air cinemas from May 28 to July 12.
From Wednesday to Sunday, every evening at 9.15pm, Il Cinema in Piazza presents free screenings in original language with subtitles, as well as Italian classics with English subtitles, making the programme accessible to Rome’s international audience. This year’s edition features 95 screenings, 34 special encounters and several retrospectives across three locations: Piazza San Cosimato in Trastevere, Parco della Cervelletta in Tor Sapienza and Parco di Monte Ciocci in Valle Aurelia.
After the success of last year’s edition, which welcomed over 120,000 attendees, the event, organized by Fondazione Piccolo America, celebrates its twelfth anniversary with a programme that revisits great cinema from the past while also showcasing new independent works from Italy and around the world.
The 2026 edition also welcomes a rich line-up of national and international guests, including Marco Bellocchio, Stefano Nazzi, M¥SS KETA, Fabrizio Gifuni, Barbora Bobulova, Carlotta Gamba, Romana Maggiora Vergano, Bruce LaBruce, Paweł Pawlikowski, David Lowery, Isabella Rossellini, Elettra Rossellini Wiedemann, Ben Russell, Josh O’Connor, Gabriele Muccino, Ian McKellen, Saverio Costanzo, Oliver Stone, Jacques Audiard, Jane Campion, Pablo Larraín, Carlo Verdone, Léa Seydoux, Thom Yorke, Bruce Goldstein, Matteo Garrone, Nicolas Winding Refn, Olivier Assayas, Luca Marinelli and many more.
The programme brings together a rich series of retrospectives dedicated to some of the most influential voices in Italian and international cinema. At Piazza San Cosimato, the focus is on Elio Petri, Josh and Benny Safdie, Hayao Miyazaki and Studio Ghibli, and Gabriele Muccino.
At Parco della Cervelletta, the programme shifts to Alice Rohrwacher, Kenneth Anger, David Lynch’s Twin Peaks and Steven Spielberg, with screenings for both cinephiles and younger audiences.
At Monte Ciocci, the festival explores New York and Rome through Film Forum, alongside retrospectives on Takashi Miike and Edgar Wright, plus a family-friendly selection of DreamWorks Animation classics.
The 2026 program of “Il Cinema in Piazza”
SAN COSIMATO PROGRAMME (28 May – 12 July)
May 28 – Marco Bellocchio and Stefano Nazzi present Portobello episodes 1-2-3, moderated by M¥SS KETA. With a reading by Fabrizio Gifuni.
May 29 – Barbora Bobulova, Carlotta Gamba and Romana Maggiora Vergano present Portobello episodes 4-5-6, moderated by Lisa Ginzburg.
May 30 – Laputa – Castello nel cielo by Hayao Miyazaki
May 31 – Ecco fatto by Gabriele Muccino
June 3 – La decima vittima by Elio Petri
June 4 – The Pleasure of Being Robbed by Josh Safdie
June 5 – Paweł Pawlikowski presents My Summer of Love, moderated by Martina Barone
June 6 – Il mio vicino Totoro by Hayao Miyazaki
June 7 – Come te nessuno mai by Gabriele Muccino
June 10 – A ciascuno il suo by Elio Petri
June 11 – Lenny Cooke by Josh and Benny Safdie
June 12 – FR*CINEMA Gran Finale: Karma B, Porpora Marcasciano, La Tarantina and Loredana Rossi present Ballata Femmenella
June 13 – La città incantata by Hayao Miyazaki
June 14 – Gabriele Muccino presents L’ultimo bacio, moderated by Mariella Lazzarin
June 17 – Indagine su un cittadino al di sopra di ogni sospetto by Elio Petri
June 18 – Jacques Audiard presents Emilia Pérez, moderated by Enrico Maria Artale
June 19 – La classe operaia va in paradiso by Elio Petri
June 20 – Ponyo sulla scogliera by Hayao Miyazaki
June 21 – Ricordati di me by Gabriele Muccino
June 24 – Saverio Costanzo presents Private
June 25 – Heaven Knows What by Josh and Benny Safdie
June 26 – Pablo Larraín presents Jackie
June 27 – I giorni contati by Elio Petri
June 28 – Léa Seydoux presents a surprise carte blanche
July 1 – La proprietà non è più un furto by Elio Petri
July 2 – Good Time by Josh and Benny Safdie
July 3 – Matteo Garrone presents Io Capitano
July 4 – La storia della Principessa Splendente by Isao Takahata
July 5 – A casa tutti bene by Gabriele Muccino
July 8 – Olivier Assayas presents Irma Vep
July 9 – Uncut Gems / Diamanti grezzi by Josh and Benny Safdie
July 10 – Il ragazzo e l’airone by Hayao Miyazaki
July 11 – Gregorio Sassoli and Alejandro Cifuentes present San Damiano
July 12 – Gli anni più belli by Gabriele Muccino
CERVELLETTA PROGRAMME (4 June – 12 July)
June 4 – Blue Velvet / Velluto blu by David Lynch
June 5 – Bruce LaBruce presents short films by Kenneth Anger
June 6 – Corpo celeste by Alice Rohrwacher
June 7 – Isabella Rossellini and Elettra Rossellini Wiedemann present Casablanca
June 10 – Kenneth Anger programme: Lucifer Rising, Don’t Smoke That Cigarette!, Mouse Heaven, Foreplay and The Spells of Kenneth Anger
June 11 – Alice and Alba Rohrwacher present Le meraviglie
June 12 – Twin Peaks – Northwest Passage by David Lynch and Mark Frost
June 13 – Josh O’Connor presents Accattone
June 14 – Hook – Capitan Uncino by Steven Spielberg
June 17 – Oliver Stone presents Any Given Sunday / Ogni maledetta domenica
June 18 – Incontri ravvicinati del terzo tipo by Steven Spielberg
June 19 – Twin Peaks episodes 2-3
June 20 – Lazzaro felice by Alice Rohrwacher
June 21 – L’impero del sole by Steven Spielberg
June 24 – Kenneth Anger programme: Inauguration of the Pleasure Dome, Kustom Kar Kommandos, Invocation of My Demon Brother, The Man We Want to Hang and Elliott’s Suicide
June 25 – Eterobasiche and Tahir Hussain present Twilight
June 26 – Twin Peaks episodes 4-5
June 27 – Futura by Alice Rohrwacher, Pietro Marcello and Francesco Munzi
June 28 – E.T. l’extra-terrestre by Steven Spielberg
July 1 – A Philological Quandary, Kenneth Anger’s ¡Que Viva Mexico! by Bruce Posner and The Loveless by Kathryn Bigelow and Monty Montgomery
July 2 – Thom Yorke presents Children of Men / I figli degli uomini
July 3 – Twin Peaks episodes 6-7
July 4 – La chimera by Alice Rohrwacher
July 5 – Nicolas Winding Refn presents The Hunger / Miriam si sveglia a mezzanotte
July 8 – Jurassic Park by Steven Spielberg
July 9 – Camilla Salvatore presents Il Capitone
July 10 – Twin Peaks episode 8 and Fire Walk with Me / Fuoco cammina con me + Missing Pieces
July 11 – Alice Rohrwacher shorts and works, including Un piccolo spettacolo, Una canzone, Quattro strade, Ad una mela, Le pupille, Omelia contadina and Allégorie Citadine
July 12 – Il GGG by Steven Spielberg
MONTE CIOCCI PROGRAMME (6 June – 12 July)
June 6 – David Lowery presents A Ghost Story
June 7 – Audition by Takashi Miike
June 10 – Shaun of the Dead / L’alba dei morti dementi by Edgar Wright
June 11 – Speedy / A rotta di collo by Ted Wilde
June 12 – Spirit – Cavallo selvaggio by Kelly Asbury and Lorna Cook
June 13 – Visitor Q by Takashi Miike
June 14 – Ian McKellen presents Les Vacances de M. Hulot / Le vacanze del signor Hulot
June 17 – Hot Fuzz by Edgar Wright
June 18 – Risate di gioia by Mario Monicelli
June 19 – Jane Campion presents Il giardino dei Finzi Contini by Vittorio De Sica
June 20 – Laura Samani and Celeste Cescutti present Piccolo corpo
June 21 – Sukiyaki Western Django by Takashi Miike
June 24 – The World’s End / La fine del mondo by Edgar Wright
June 25 – The Naked City / La città nuda by Jules Dassin
June 26 – Kung Fu Panda by Mark Osborne and John Stevenson
June 27 – Carlo Verdone presents Una giornata particolare by Ettore Scola
June 28 – Il robot selvaggio by Chris Sanders
July 1 – 13 Assassins / 13 assassini by Takashi Miike
July 2 – Bruce Goldstein presents The Taking of Pelham One Two Three / Il colpo della metropolitana
July 3 – Baby Boss by Tom McGrath
July 4 – Cine-concert: Häxan / La stregoneria attraverso i secoli
July 5 – Over Your Dead Body by Takashi Miike
July 8 – Cine-concert: Stachka / Sciopero!
July 9 – Lo sceicco bianco by Federico Fellini
July 10 – Alissa Jung, Luca Marinelli, Juli Grabenhenrich and Cristina Bartoletti present Paternal Leave
July 11 – Last Night in Soho / Ultima notte a Soho by Edgar Wright + Àcanto by Collettivo MMMH
July 12 – First Love / L’ultimo yakuza by Takashi Miike
CINEMA TROISI PROGRAMME
June 3, 9.30pm – Bruce LaBruce presents The Visitor by Bruce LaBruce, moderated by Mariella Lazzarin
June 10, 9.30pm – Ben Russell presents A Spell to Ward Off the Darkness by Ben Rivers and Ben Russell, moderated by Pier Giovanni Adamo
June 13, 5pm – Rosario Dawson and Gabriele Muccino present Seven Pounds / Sette Anime by Gabriele Muccino
June 28, 9.30pm – Scott Pilgrim vs. The World by Edgar Wright
July 5, 5.30pm – Nicolas Winding Refn presents Her Private Hell
July 5, 9.30pm – The Running Man by Edgar Wright
July 10, 9.30pm – The Smashing Machine by Benny Safdie
July 11, 9.30pm – Marty Supreme by Josh Safdie
All films will be shown in the original languagewith Italian subtitles.
Cinema in Piazza is organized by “Fondazione Piccolo America,” a group dedicated to promoting culture and film. They say the goal of “Il Cinema in Piazza” is in “the contemporary involvement of the center and the suburbs” which seeks to uniquely “rebuild a sense of community, promoting a knowledge accessible to all with free and shared projections.” Additionally, Cinema In Piazza promotes the cultural importance of the event, saying “the projection does not end in the mere vision of the show, but becomes an experience of intense civil and social value.”
The event had previously been held in Piazza San Cosimato under the name “Festival Trastevere Rione del Cinema,” but faced a dispute with Rome’s deputy mayor and culture councilor, Luca Bergamo. Instead of limiting the hours, like Bergamo wanted, the event grew after being supported by well-known figures in film, such as Martin Scorsese and “Pif” Pierfrancesco Diliberto.
Now, Cinema In Piazza’s project is continuing in an even more concrete direction, seeking to unite all of Rome through film by “connecting three nerve centers [in the city] through the construction of three contemporary arenas.”
FROM 28 MAY TO 12 JULY 2026
Locations:
Piazza San Cosimato – Trastevere
Monte Ciocci – Via Domizia Lucilla, 76
Casale della Cervelletta – Parco della Cervelletta in Tor Sapienza
There is a before and after in the Flaminio neighborhood, and Mostò stands right in the middle.
When it first opened, natural wine was not yet a trend. In fact, in Rome, few people were really talking about it. Mostò was one of the first wine bars in the city to truly believe in it, focusing on small producers, short supply chains, and a more authentic way of drinking. At the time, Flaminio was still a fairly quiet neighborhood, with only a handful of interesting addresses. Mostò quickly became a point of reference: a place that attracted people, brought them together, and helped change the face of the area.
Behind the project are three partners: Ciro, Alessia, and Valerio. Their idea was to create a place that could be a wine bar, a neighborhood shop, and a convivial space all at once. Somewhere to drop by, stop for a chat, enjoy a glass of wine, have an aperitivo, or stay for a proper dinner.
Wine is at the heart of everything. The list features around 350 to 400 labels, with a strong focus on Italian wines but also interesting selections from France, Spain, and other European countries. Ciro personally knows many of the producers and suppliers, and the selection has been built over time through direct relationships and thoughtful choices. By the glass, there are around 15 options, perfect for exploring.
The same attention goes into the ingredients. The cured meats come from quality producers such as Re Norcino, with the coppa and mortadella not to be missed, while the cheeses are selected from small local producers, including Ammano.
In the kitchen is the third partner, Valerio Romani, a chef and pastry chef with over 25 years of experience and an impressive background that includes time at Troiani and Terrinoni. The menu changes often, following the seasons and the chef’s inspiration, but always keeps a clear identity: generous, satisfying dishes that are never predictable.
Among the current dishes are flavorful panelle with creamed salt cod, as well as green falafel with fava beans, served with pecorino sauce. One of the signature dishes is the Daje de Taco, daje de punta, a taco filled with veal brisket, broccoli guacamole, and lentil chili. Also very tempting is the hot dog with Re Norcino würstel, friarielli, and potatoes.
Desserts are part of the experience too, such as the sesame cream with mango and sesame brittle, a balanced way to end the meal.
Mostò is a neighborhood wine bar in the truest sense of the term: a lively, informal yet carefully curated place, the kind of place you want to return to. Not just to drink well, but to feel part of something.
Mostò is open Monday to Saturday from 5:30pm to 11:30pm, and on Sunday from 12:00pm to 6:00pm.
In a changing Rome, Mostò remains a point of reference. Not because it follows trends, but because it anticipated them.
The exhibition Bernini and the Barberini, curated by Andrea Bacchi and Maurizia Cicconi, opened its doors just a few days ago, coinciding with the 400th anniversary of the consecration of the new St Peter’s Basilica, one of the places where Bernini’s genius had the chance to develop projects and ideas, commissioned by Maffeo Barberini, better known as Pope Urban VIII.
The exhibition focuses precisely on these two key figures of the Roman Baroque and on the patron-artist relationship that grew between them. It was the so-called mirabil congiuntura, mentioned in ancient sources, that gave rise to one of the most fascinating artistic and intellectual partnerships in art history.
It was Pope Barberini who immediately recognised the young artist’s incredible potential, taking him under his protective wing and entrusting him with numerous commissions.
Bernini and the Barberini is arranged in six sections tracing Gian Lorenzo Bernini’s journey from his early years in his father’s workshop to full artistic maturity, while highlighting the decisive role of Maffeo Barberini (later Pope Urban VIII) in shaping a visual language that would become a model for the European Baroque.
Gian Lorenzo Bernini, San Sebastiano, 1617, Marmo, Collezione privata
Gian Lorenzo Bernini (attribuito). San Sebastiano, 1617 -1618, Marmo, Jouy en Josas (Yvelines), chiesa di San Martino
1) Claiming Him as His Own: Maffeo “discovers” Bernini The opening section reconstructs the moment Barberini recognises the young prodigy and helps him step out from Pietro Bernini’s shadow. Works by father and son appear alongside key early masterpieces by Gian Lorenzo, already marked by lifelike movement, sensuous surfaces and direct emotional impact, foreshadowing the Baroque.
2) Ne plus ultra: The New Saint Peter’s Dedicated to Bernini’s work in St Peter’s Basilica after its consecration in 1626, this section centres on the Baldacchino, commissioned when he was just over twenty-five. Drawings and models reveal how Bernini fused architecture, sculpture and decoration into a single theatrical statement, conceived in dialogue with the basilica’s surrounding elements.
3) The Pope’s Image: Bernini as Portraitist Here the focus shifts to Bernini’s papal portraiture, from his early busts of Paolo V and Gregorio XV to the extraordinary series of portraits of Urban VIII. Shown together, these busts chart the evolution of a portrait formula that combines psychological intensity with a powerful image of spiritual and temporal authority.
Guido Reni, Putto dormiente, 1627 Affresco strappato, Roma, Galleria Nazionale di Arte Antica, Palazzo Barberini
4) Palazzo Barberini: A Choral Masterpiece This section highlights the exhibition’s setting, Palazzo Barberini, presented as a collaborative Baroque achievement shaped by Bernini, Borromini and Pietro da Cortona. Drawings, models and artworks reveal Bernini’s role beyond sculpture, from architectural ideas to furnishings and decorative design, alongside masterpieces from the Barberini collection, including works by Guido Reni.
5) Apes Urbana: The Faces of Barberini Rome An anthology of portraits from Urban VIII’s Rome brings together cardinals, intellectuals, courtesans and eccentric figures orbiting the court. Bernini’s busts are shown alongside Algardi, Duquesnoy and Finelli, in a lively comparison of styles. Standouts include Finelli’s razor-sharp Bust of Michelangelo Buonarroti the Younger and Duquesnoy’s striking portrait of Michel Magnan, capturing the court’s complexity beyond official stereotypes.
Gian Lorenzo Bernini (Napoli, 1598 – Roma, 1680) Busto di Costanza Piccolomini Bonarelli, 1636 -1637 circa, Marmo, Firenze, Museo Nazionale del Bargello
6) Bernini’s Freedom, Urban VIII’s Power The final section explores the more intimate and tension-filled side of their bond, focusing on artistic freedom, protection and control. It includes rarely displayed works and paintings attributed to Bernini, created outside major public commissions. At its heart is the celebrated, uncommissioned Bust of Costanza Bonarelli (Bargello, Florence), one of the peaks of Baroque portraiture. The section closes with a more private portrait of Urban VIII attributed to Bernini, hinting at a relationship shaped by complicity, power and human emotion.
A hands-on shoemaking experience with Francesca, in a real Roman atelier, where you craft a pair you can actually wear
Rome is a city shaped by craftsmanship. Beyond its monuments and museums, the city lives through the hands of artisans who continue traditions passed down for generations. One of these traditions is shoemaking – and now, visitors can experience it firsthand thanks to a sandal-making workshop by Le Mastro.
Located in a working artisan atelier, this experience invites participants to slow down, step away from sightseeing, and spend a few hours learning how something personal is made: a pair of handmade leather sandals.
@romeing_magazine Ever thought about making your own leather sandals in Rome? In this hands-on sandal-making workshop, you’ll step inside a real artisan studio and create your own pair of 100% Made in Italy leather sandals, from start to finish. You’ll choose the style, colors, and details, then sit around the workbench using professional shoemaking tools while being guided step by step through traditional techniques. The workshop is led by a master artisan who previously worked for the Rome Opera House, bringing years of craftsmanship into every detail. You’ll leave not only with a unique pair of sandals, but with the experience of having made them yourself. Tap the link in bio to discover more #visitrome#italiancraftmanship#sandals♬ audio originale – Romeing Magazine
Behind Le Mastro is Francesca, a professional shoemaker. Her journey began at the Teatro dell’Opera di Roma, where she worked in the costume department designing shoes for dancers.
The name Le Mastro itself reflects her position in the craft: mastro traditionally refers to a male master artisan. Adding the feminine article is a quiet statement — one that acknowledges both tradition and change.
The sandal-making workshop translates this philosophy directly to participants. Rather than customising an item made by someone else, visitors sit at the artisan’s bench and actively take part in the process
Over the course of about two hours, participants choose from three sandal model options and a range of leather colours. With guidance from the Francesca, they work with real tools — cutting, assembling, and finishing their sandals step by step. No previous experience is required, and the small group size (maximum five people) ensures a calm, personal atmosphere.
What makes this workshop stand out is its simplicity and authenticity: it takes place in a real working studio, using the same materials and techniques employed for professional commissions. The result is not just a souvenir, but a wearable object shaped by your own hands. Now bookable via Romeing, the Sandal Making Workshop offers a rare opportunity to experience Rome through making rather than observing.
Discover the new Trevi Fountain access rules, and which museums are now free for Rome residents
From 1 February 2026, Rome will introduce a €2 ticket for tourists and non-residents who want to step into the Trevi Fountain’s inner perimeter (“catino”) – basically the close-up area by the water and steps where everyone lines up for the classic coin toss and selfie.
The key point: the Trevi Fountain remains free to see from the piazza. The new fee only applies if you want the front-row, right-by-the-water spot.
Online via the official site listed as fontanaditrevi.roma.it (not yet active)
Via Sistema Musei ticket offices
At Tourist Infopoints
Through affiliated/partner sales points
Planning tips (so you don’t waste time)
If you just want the iconic view: skip the ticket and enjoy the piazza.
If you want the “coin-toss spot” photo: go early (right after 9:00) or aim for later in the evening.
Expect the inner area to operate with regulated flows/capacity, meaning you may queue even with the €2 fee.
What’s changing for Rome’s civic museums
The Trevi ticket is part of a broader reform affecting museums and monuments managed by Roma Capitale.
Big change for locals
From 1 February 2026, residents of the Metropolitan City of Rome will get free admission to the city-run museums and archaeological areas (including major ones like the Capitoline Museums, Ara Pacis, Trajan’s Markets, Centrale Montemartini, and more).
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