Rome, City of Seven Hills

Rome Rewired: Our First Days Exploring the Eternal City

Clare and I travelled to Rome in October 2017, arriving a few days early to explore the city on our own before our Road Scholar tour officially began. The tour was aptly named Roaming Rome: The City of Seven Hills—and true to its name, our guide promised to quiz us at the end on all seven. For the record, here they are: Capitoline, Quirinal, Viminal, Esquiline, Caelian, Aventine, Palatine—and for good measure, Janiculum (which, though technically not one of the traditional seven, often gets an honorary mention).

Having previously visited Madrid and Paris, I thought I knew what to expect from a major European capital. But Rome caught me off guard. The city’s streets were a complete mystery to me. My usually trustworthy navigation instincts failed miserably, and my proud Boy Scout map-reading skills quickly crumbled. It took a few days of getting lost, retracing steps, and connecting fragments of neighbourhoods before I could sort of find my way around.

Unlike the orderly grids and grand boulevards of Paris or the modern traffic systems in Madrid, Rome seems to have skipped urban planning altogether—at least since B.C. (Before Christ). It’s a tangled web of ancient alleyways, narrow cobblestone streets, and unexpected piazzas. And yet, that’s part of what makes it so charming. There’s something about the chaos that makes you want to come back.

We stayed at the Hotel Pace Helvetia, which turned out to be a smart move—it’s centrally located and gave us a great base to explore. I’d recommend it for convenience, though I’d issue one small warning: the shower in our room was tiny. At one point, I slipped and ended up wedged into the bottom like a sardine. It took a fair bit of effort to get unstuck.

I’m mixing things up for this blog. Rather than following the trip day-by-day, I’ll be grouping photos and stories by place. This makes more sense given that I often took photos of the same buildings at different times of day. Plus, Clare and I did quite a bit of sightseeing on our own before the official tour began, visiting places that weren’t even on the itinerary.

Below is a photo from the rooftop of our hotel, with a stunning evening view of the Victor Emmanuel II National Monument. Just around the corner, we found a restaurant we loved—Le Lanterne, at Via della Pilotta 21A. Definitely worth a visit.

After the death of Victor Emmanuel II of Savoy on 9 January 1878, the Italian government approved plans for a grand monument on the northern slope of Rome’s Capitoline Hill. The Victor Emmanuel II National Monument was designed to honour the legacy of Italy’s first king and celebrate the unification of the country. It’s an enormous structure—impossible to miss—and it now stands as a bold symbol of national pride.

At the heart of the monument is the Altar of the Fatherland, which includes the Tomb of the Unknown Soldier, a powerful tribute to Italy’s fallen soldiers. Above the statue of the goddess Roma, you’ll find the towering equestrian statue of Victor Emmanuel II himself, gazing out over the city he helped to unify. Just behind the monument is the beautiful Basilica of St. Mary of the Altar of Heaven, slightly tucked away but well worth a visit.

Not far from there stands another towering symbol of Roman history—Trajan’s Column. Trajan reigned as emperor from AD 98 to 117, overseeing the largest territorial expansion in Roman history. He was both a formidable military leader and a reformer, known for public building projects and progressive social policies. Trajan is often remembered as one of the “Five Good Emperors,” and his rule is seen as a golden age of peace and prosperity.

The column, completed in AD 113, is located in Trajan’s Forum near the Quirinal Hill. It commemorates his victory in the Dacian Wars and is best known for its intricate spiral bas relief—a continuous frieze that winds its way up the shaft, telling the story of the conflict in incredible detail. It’s one of those monuments that rewards a slow, close look. Every band of carvings reveals something new about Roman military life, engineering, and imperial ambition.

One of our stops was the Church of San Pietro in Vincoli—St. Peter in Chains—named for the chains believed to have bound St. Peter during his imprisonments in Rome and Jerusalem. These sacred relics are displayed in a reliquary beneath the main altar, drawing in pilgrims and curious visitors alike.

But what truly captures attention is Michelangelo’s imposing statue of Moses, created for the tomb of Cardinal Giuliano della Rovere—who later became Pope Julius II in 1503. The statue dominates the space with an almost hypnotic presence. Legend has it that Michelangelo, struck by how lifelike the sculpture appeared, struck Moses on the knee and commanded him to speak. It’s not hard to see why—there’s an intensity in the figure’s expression and detail that pulls you in.

If you plan to visit, be ready for a bit of a climb—the church sits at the top of a modest staircase. Nothing too daunting, but you’ll want comfortable shoes and a steady pace.

What trip to Rome would be complete without a visit to the Trevi Fountain? Designed by Italian architect Nicola Salvi and completed by Giuseppe Pannini, it’s the largest Baroque fountain in the city—and easily one of the most iconic fountains in the world. With its dramatic sculptures and the steady roar of water, it’s a magnet for visitors at all hours.

That said, it’s always crowded. Every time we stopped by, the place was packed—shoulder to shoulder with tourists trying to get their perfect photo or toss a coin over their shoulder for good luck. If you’re hoping for a quieter moment to really take it in, I’d recommend going early in the morning or later in the evening. The atmosphere is more relaxed, the lighting is better for photos, and you’ll actually be able to hear yourself think.

It took us a bit of wandering to find it, but eventually, we stumbled upon the Pantheon—and it was well worth the effort. Built over 1,800 years ago, the name Pantheon reflects its original purpose: a temple dedicated to all the gods of Ancient Rome.

What really stops you in your tracks is the dome. Soaring more than 43 metres high, it’s a marvel of ancient engineering that still holds the record as the world’s largest unreinforced concrete dome. At its centre is the oculus, a circular opening that lets in natural light—and occasionally rain. It’s the building’s only source of illumination, and when sunlight streams through, it casts a shifting spotlight that makes the space feel almost otherworldly.

The Colosseum might just be the most jaw-dropping structure left from the Roman Empire. Officially known as the Flavian Amphitheatre, it was the largest building of its time—and even now, it’s hard not to feel awed when you stand in its shadow.

Construction began under Emperor Vespasian in AD 72 and was completed in AD 80. The building is elliptical, measuring roughly 620 by 513 feet, and towering more than 159 feet high. It could hold up to 55,000 spectators, who came to watch everything from gladiator battles to wild animal hunts—most of it free, courtesy of the emperor. These games weren’t just for fun; they were displays of power and a way for emperors to win the favour of the people.

The seating was strictly hierarchical, with the best spots reserved for Rome’s elite. Below the arena floor, a network of rooms and tunnels housed props, machinery, and cages filled with exotic animals. With a clever system of pulleys and trapdoors, animals could be dramatically lifted into the middle of the action, adding even more spectacle to the show.

In the next group of shots, taken while we were exploring around the Colosseum, we stumbled upon even more remarkable remnants of ancient Rome.

One of the standout sites was the Temple of Venus and Roma, which sits between the eastern edge of the Roman Forum and the Colosseum on the Viminal Hill. Dedicated to Venus Felix (“Venus the Bringer of Good Fortune”) and Roma Aeterna (“Eternal Rome”), the temple was designed by none other than Emperor Hadrian himself. Construction began in AD 121 and was completed under Antoninus Pius in AD 141. It was once the largest temple in ancient Rome—and even in its ruined state, it still impresses.

Nearby stands the Arch of Constantine, a triumphal arch built to commemorate Constantine’s victory over the numerically superior forces of Maxentius at the Battle of Milvian Bridge in AD 312. It was dedicated just a few years later, in AD 315, and marked a turning point for both Rome and the rise of Christianity.

Another eye-catching feature in the area is the tall medieval bell tower of the Church of Santa Maria in Cosmedin. The church was originally built in the 6th century on the site of the Statio Annonae, the grain market’s administrative offices. The interior was so beautifully decorated that it was called “Cosmedin,” a name derived from the Greek word for jewel.

The Arch of Septimius Severus, built in AD 203, also stands proudly in the Forum. It was erected in honour of Emperor Severus and his two sons, and remains one of the better-preserved triumphal arches in the city.

The Temple of Antoninus and Faustina is another striking structure. It was first dedicated to Faustina, the deified wife of Emperor Antoninus Pius, after her death in AD 141. When Antoninus died and was deified himself, the temple’s cult expanded to include him as well. The temple later became part of a church, which helped preserve it through the centuries.

The final photo in this group is from the Basilica of Santi Cosma e Damiano. The round building at the entrance to the Forum was originally a Roman temple, likely dedicated to Valerius Romulus, the deified son of Emperor Maxentius. In AD 527, it was converted into a Christian church and now houses significant early Christian art—though much of it has been restored over time.

The Basilica di Santa Maria Maggiore is one of the most important churches in Rome—and certainly the largest dedicated to the Virgin Mary. Built in the mid-fourth century under the orders of Pope Liberius, it actually stands on the site of a former pagan temple to the goddess Cybele, marking yet another layer of Rome’s ever-evolving religious history.

According to legend, the Virgin Mary appeared to the Pope in a dream, giving him instructions for building the church. That same night, on 5 August, snow miraculously fell on the Esquiline Hill—right in the middle of the Roman summer. Taking it as a divine sign, Pope Liberius traced the outline of the basilica in the snow. Because of this story, the church is also known as Our Lady of the Snows.

The Spanish Steps—or Scalinata di Spagna—are a classic example of Roman Baroque style, known for their strikingly elegant, irregular butterfly-shaped design made up of 138 steps. They connect the lively Piazza di Spagna at the base with the upper Piazza Trinità dei Monti, where the twin-towered church stands overlooking the city.

Built between 1723 and 1725, the steps were designed by architect Francesco de Sanctis and funded by a bequest from French diplomat Étienne Gueffier. It’s a blend of French money, Italian design, and Roman flair that somehow works beautifully.

At the base of the staircase sits the Fontana della Barcaccia, or “Fountain of the Old Boat,” an early Baroque fountain credited to Pietro Bernini (father of the more famous Gian Lorenzo Bernini). The fountain, partially submerged below street level, resembles a sinking boat—a nod to the floods of the Tiber River that once reached this area.

Tucked into the corner on the right as you begin your climb is the house where English poet John Keats lived and died in 1821. Today, it’s a museum dedicated to his life and works, and it offers a quiet moment away from the bustle.

The Spanish Steps also make a surprisingly popular backdrop for brides-to-be—we saw several couples posing there, wedding dresses trailing down the stone steps, photographers scrambling to get just the right shot.

One of the true charms of Rome—and honestly, of any great city—isn’t just found in its famous landmarks. It’s tucked away in the less-travelled alleys, in the quiet corners, and the places most tourists never reach. That’s where you really get to see a city’s personality. And in Rome, that means stumbling upon a crumbling statue with a missing head—and if that happens, just find a new one. Rome doesn’t take itself too seriously, which is part of its magic.

If you’ve ever seen the letters SPQR carved into manhole covers, lampposts, and ancient monuments, they stand for Senātus Populusque Rōmānus—The Senate and People of Rome. You’ll see it everywhere. It’s like Rome’s signature.

Next on our itinerary was the Piazza del Popolo—or Square of the People. The square’s most striking feature is the massive Egyptian obelisk at its centre. Originally built by Sety I around 1300 BC, it was later brought to Rome and installed at the Circus Maximus. In 1589, Pope Sixtus V had it relocated to the middle of this square to act as a dramatic focal point.

In 1816, the square got a major redesign by Giuseppe Valadier, who added the surrounding curved walls, giving the piazza its current oval shape. He also added the central fountain and four Egyptian-style lions at the base of the obelisk. If you look closely, you’ll spot statues of sphinxes lining the perimeter—sculpted by Giovanni Ceccarini, adding a slightly surreal flair to the space.

On the western side, you’ll find the Fontana del Nettuno—or Fountain of Neptune—featuring the sea god flanked by two Tritons. Directly opposite is the Fontana della Dea di Roma (Fountain of the Goddess of Rome). The central figure is the goddess Roma herself, flanked by allegorical statues representing the rivers Tiber and Aniene. Below her sits the statue of the she-wolf, suckling Romulus and Remus—Rome’s mythical founders.

At the southern end of the square, you’ll spot two symmetrical churches standing like bookends on either side of Via del Corso, one of the main arteries of Rome. These are Santa Maria dei Miracoli and Santa Maria in Montesanto, designed by Carlo Rainaldi and commissioned in 1658 by Pope Alexander VII. Though they look identical at first glance, they’re not quite twins—more like very closely related siblings.

And then, of course, there’s the Vatican—a world unto itself, perched on Vatican Hill, home to St. Peter’s Basilica and St. Peter’s Square. There’s way too much to say about it all, but if you’re in Rome, it’s simply a must-see. The scale of the place is overwhelming, and the art—everywhere you turn—is unbelievable.

I tried to narrow down my photos, but honestly, it’s nearly impossible to capture what you’re seeing, especially when you’re being hustled through in a crowd. And in some of the most iconic spaces, like the Sistine Chapel, photos aren’t allowed at all. That didn’t stop one of our Road Scholar group members, though—he was sneaking shots every chance he got, completely ignoring the rules. I can’t say I was thrilled.

St. Peter’s Basilica stands on what is believed to be the site where Saint Peter, the chief apostle, was martyred and buried around AD 64. By the mid-15th century, the original church was falling into ruin, so Pope Nicholas V ordered a restoration—and what followed was a monumental construction effort that spanned nearly two centuries. From around 1450 to 1626, through the reigns of several popes and the work of many architects—including Michelangelo—the basilica took shape.

It was finally reconsecrated in 1626 by Pope Urban VIII, exactly 1,300 years after the original church was first consecrated. Since then, St. Peter’s Basilica has stood as the spiritual heart of Christianity—massive, majestic, and deeply moving.

One of the more unexpected stops on our tour was the Foro Italico—originally known as Foro Mussolini. Built between 1928 and 1938, this vast sports complex was Mussolini’s attempt to mirror the grandeur of the ancient Roman forums. Designed to showcase the power and ideology of Fascist Italy, it’s considered one of the most striking examples of Italian Fascist architecture.

The complex includes grand marble statues, wide boulevards, and monumental spaces meant to echo the imperial age—but with a distinctly 20th-century authoritarian twist. Mussolini commissioned the project with high hopes of hosting the 1940 Olympic Games in Rome, using the Foro as a showpiece to impress the world. The Games never happened—due to the outbreak of World War II—but the space remains a fascinating and eerie relic of a different kind of Roman ambition.

Not part of the official Road Scholar itinerary—but high on my personal list—was the Castle of the Holy Angel, or Castel Sant’Angelo. Also known as the Mausoleum of Hadrian, this towering cylindrical structure stands just a short walk from the Vatican and has a long, layered history.

I was especially keen to visit after reading Angels and Demons by Dan Brown, which features the castle prominently. The Roman Emperor Hadrian commissioned it between AD 134 and 139 as a mausoleum for himself and his family. Beginning in 138, Hadrian’s ashes were placed there, followed by those of several succeeding emperors—the last recorded being Caracalla in AD 217.

By the 14th century, the popes had repurposed the mausoleum into a fortress and castle. Pope Nicholas III even had it connected to St. Peter’s Basilica via a covered fortified corridor known as the Passetto di Borgo—an escape route that proved invaluable during times of siege. In fact, Pope Clement VII famously used it during the Sack of Rome in 1527, as described by Benvenuto Cellini, who vividly recalled strolling the ramparts and firing on enemy soldiers.

I was genuinely impressed—not just by the sheer size of the structure, but by the internal defences. It’s built like a layered trap: as you ascend, you’re funneled through ramps and narrow stairways that would have been deadly for any attacker. From above, defenders could rain down arrows, boiling oil, or worse, turning the interior into a gauntlet.

And once you make it to the top? The views over Rome and Vatican City are absolutely spectacular. It’s worth setting aside an afternoon for a visit. Even if you’re not into military architecture, the combination of history, intrigue, and panorama makes it a highlight.

We were very fortunate to visit the Galleria Borghese, home to one of the most stunning art collections in Rome. The gallery’s treasures were originally assembled by Cardinal Scipione Borghese, nephew of Pope Paul V and a passionate art collector with a particular eye for beauty—and power.

The sculpture collection alone is worth the visit. Bernini’s work is displayed throughout, each piece bursting with movement and expression—truly masterpieces in marble. The gallery also houses an extraordinary range of paintings, including works by Caravaggio, Titian, Raphael, Botticelli, and other giants of Renaissance and Baroque art.

Outside, the atmosphere shifts. The gardens surrounding the gallery were filled with families enjoying the day, and we spotted a few artists sketching quietly under the trees. It’s a peaceful contrast to the visual intensity inside. If you have the time, the Galleria Borghese is absolutely worth the detour—the sculptures alone are unforgettable.

Clare and I also spent time wandering through Trastevere, Piazza Navona, and the Jewish Quarter—sometimes with our Road Scholar group, and other times just the two of us, letting the city guide our feet. These areas offered a different, more intimate side of Rome—still rich in history, but quieter, more lived-in.

Rick Steves’ Audio Europe app was a surprisingly helpful companion as we navigated the cobbled lanes and tucked-away piazzas. His walking tours helped us slow down, notice the details, and appreciate the layered stories beneath the surface.

Here are some of the photos I took along our walks through Trastevere and the Jewish Quarter—snapshots of daily life, street corners soaked in golden light, and unexpected finds that made our wanderings so memorable.

Telefono by Phoenix