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Lunedì 08:00 - 20:00 Martedì 08:00 - 20:00 Mercoledì 08:00 - 20:00 Giovedì 08:00 - 20:00 Venerdì 08:00 - 20:00 Sabato 08:00 - 20:00 Domenica 08:00 - 20:00

Through Eternity Tours

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Through Eternity Tours

Trusted for 25+ years by travelers from around the world. Through Eternity has been committed to cultural tourism for over 20 years.

Visit our website for easy, secure online booking – explore tours, see live availability, and reserve your next experience in Rome, Florence, Venice, and beyond in just a few clicks. We aim to recreate the the economic, political and social contexts from which Rome's works of art were born; to follow the evolution of the city through the expansions and contractions of its urban spaces; to retrace

the crucial events of the past and the passions that inspired the actions of emperors and artists... Through Eternity's cultural itineraries let you travel through time to reach a warm June day in the first century, watching gladiator games in the Colosseum with the senate and the people of Rome, or back to November 1, 1512, reliving the scandal of the inauguration of the Sistine Chapel. A 360-degree experience of the eyes, mind and heart - to discover, to comprehend and to love the wonders and the secrets of Rome.

23/05/2026

In 1561, Pope Pius IV ordered the creation of a new monumental gateway in Rome’s Aurelian Walls — Porta Pia — designed by an eighty-six-year-old Michelangelo.

The project was part of a wider urban intervention opening up the Via Pia (today Via XX Settembre), a straight new axis linking the Quirinal with the city’s northern approaches. According to Vasari, Michelangelo produced several designs, with the Pope choosing the most economical option.

Michelangelo died in 1564 before the work was fully completed, and the project was carried forward by his pupil Giacomo del Duca.

What survives today on the city-facing side is one of Michelangelo’s most unconventional architectural statements: fractured pediments, layered frames, and sculptural tension pushed far beyond classical restraint. The gate reads almost like a stage set, closing the long perspective of the new avenue.

Two marble basins still flank the inner façade, accompanied by carved cloths — details that later tradition mischievously interpreted as a sly reference to the Pope’s Milanese Medici branch and its reputed barber origins.

On 20 September 1870, Italian troops broke through the wall just west of the gate in the Breccia di Porta Pia, ending papal temporal rule in Rome. The site is still marked today by the monument to the Bersaglieri

22/05/2026

It took three popes, four sculptors, two chief architects, thirty years, public controversy, a revived Roman lottery, and the death of the man who designed it. The Trevi Fountain, inaugurated on this day in 1762, did not come easily.

Pope Clement XII financed the project partly through Rome’s revived Lotto, directing lottery proceeds toward what would become the most famous fountain in the world. The commission that followed was contentious: Alessandro Galilei had initially won the design competition, but Roman opposition to a Florentine architect was so fierce that the project was ultimately handed to the Roman Nicola Salvi instead. An inauspicious beginning.

Construction began in 1732 and immediately ran into the complications that would define the project. The site was awkward — a cramped piazza at the junction of three streets, with the rear wall of the Palazzo Poli pressed against it.

Salvi's solution was to incorporate the palace wall directly into the fountain's design, treating it as a triumphal arch from which Neptune and his attendants burst forward into the piazza — a conceit of brilliant spatial economy that turned a constraint into the fountain's defining feature.

Progress was constantly delayed by quarrels between Salvi and his chief sculptor Maini. The fountain was inaugurated for the first time in 1735 — still unfinished — and again in 1744, still unfinished, under a new pope. By then Salvi was exhausted and unwell.

He died in 1751 with the work half incomplete, his health spent on a project that refused to end. Maini died the following year. Pannini took over, four sculptors were hired, and the work ground on for another decade.

The final inauguration came on 22 May 1762, under Clement XIII — the third pope to preside over the Trevi's fitful progress, and the first to see it finished. The crowd that gathered in the piazza that day saw what Nicola Salvi had never seen: the water flowing from top to bottom of his completed design, Neptune commanding the basin, the whole glorious theatrical excess of it finally complete.

22/05/2026

La Scalinata dei Trinità dei Monti. That’s what Romans call them.

The name Spanish Steps comes from the piazza below, named after the Spanish Embassy to the Holy See.

The church at the top is French. The square is Spanish. The steps are Italian. Only in Rome. What else do you think you know about a famous landmark that turns out to be wrong?

22/05/2026

There was nothing graceful about a Roman chariot crash.

At the Circus Maximus, chariots thundered around the track at breakneck speed, fighting for position as they approached the metae — the tight turning posts at either end of the arena. Drivers aimed to take the corner as closely as possible without overturning. Many failed.

The Romans even had a word for these catastrophic pile-ups: naufragia — “shipwrecks.” Contemporary mosaics and reliefs show shattered chariots, tangled reins, fallen horses and drivers thrown violently onto the sand.

Part of the danger lay in the design itself. Racing chariots were built from lightweight wood for speed, not safety.

Drivers wrapped the reins around their waists to gain better control of the horses, but in a crash this could become a death sentence, dragging them behind the team unless they managed to cut themselves free with the curved knife they carried for exactly that purpose.

And still they raced.

Most charioteers came from low social backgrounds — often slaves or freedmen — yet the greatest became superstars of the Roman world, cheered by enormous crowds and capable of earning fortunes beyond even the dreams of senators.

The Circus Maximus was sport, spectacle and bloodsport all at once: part racetrack, part gladiatorial arena, powered by speed and the constant possibility of disaster.

21/05/2026

Café Gilli has been on Piazza della Repubblica since 1733. Nearly 300 years of Florentines stopping in for a cappuccino.

On a day trip from Rome this is exactly the kind of place that reminds you what Europe does differently.

No rush, no pressure, a beautiful room and a great coffee.

What’s your favorite café stop in Italy?

20/05/2026

The starving artist is a 19th century myth.

In Baroque Rome, talent meant guaranteed work and serious wealth. Bernini designed St. Peter’s Square, the Baldacchino, the Four Rivers Fountain.

He didn’t just live well. He owned the building.

Next time you pass a plaque in Rome, stop and read it.

Did you know artists in Rome could become this wealthy?

20/05/2026

With its six flawless Corinthian columns dominating central Piazza del Comune, the Temple of Minerva is Assisi’s most eloquent echo of Rome. Built in the first century BC, it later served as the residence of Assisi’s magistrates, the town hall, a prison, and finally a church. Known as Santa Maria sopra Minerva, the house of worship preserves the temple’s ancient façade while featuring a Baroque interior. Its survival through so many eras reflects Assisi’s layered identity: pagan and Christian, civic and sacred. This was the first ancient building that the German writer Goethe saw on his famous trip to Italy: ‘I cannot describe the sensations that this work aroused in me,’ he wrote, ‘but I know they are going to bear fruit for ever.’

19/05/2026

Pigneto is the Rome most tourists never find. No tour groups, no souvenir shops.

Just the neighborhoods Romans actually live in, eat in, and spend their evenings. And now with the new Line C stop, you’re nine minutes from the Colosseum.

Would you stay in a neighborhood like this or do you prefer being closer to the sights?

19/05/2026

It’s moments like this that remind you why living in Rome is so special.

Santa Caterina dei Funari, immersed in the historic tangle of streets just north of the Jewish ghetto, reopened its doors recently after many decades of silence. It’s a fair guess that most Romans have never seen inside. I hadn't, and stepping across the threshold for the first time felt very exciting indeed.

The church was rebuilt between 1560 and 1564 by Guidetto Guidetti, a pupil of Michelangelo, after the complex had been entrusted to Ignatius of Loyola by Pope Paul III in the 1530s. Ignatius established a conservatory here for the daughters of prostitutes and women in desperate circumstances — an institution known, in the blunt idiom of the Counter-Reformation, as the ‘Compagnia delle Vergini Miserabili Pericolanti.’

Inside, the single nave glitters with beautiful paintings: Annibale Carracci's altarpiece of Saint Margaret hangs in the first chapel on the right; beyond it, Girolamo Muziano's Deposition is a lesson in Counter-Reformation ideals, while Federico Zuccari's frescoes of the Stories of Saint Catherine spread across the presbytery walls.

The name Funari (ropemakers) recalls the craftsmen who once worked in the neighbourhood, their long fibres stretched along the street above. They are long gone, but the church they gave their name to is back, and open again several days a week.

It’s a very Roman story: doors closed for generations, suddenly opening again onto entire forgotten worlds.

18/05/2026

Fischer’s on Marylebone High Street is a Viennese café that does something most London restaurants don’t.

It slows you down.

The schnitzel is golden and flat the way it should be. The apple strudel is not optional. The kind of lunch you cancel your afternoon for.

What’s your favorite restaurant in London?

17/05/2026

Sandro Botticelli died in Florence on this day in 1510, and was buried in the church of Ognissanti. A long-standing legend claims that he asked to be buried near Simonetta Vespucci, the celebrated beauty of Medicean Florence who had died thirty-four years earlier.

Simonetta — “la bella Simonetta” — was born into the noble Cattaneo family and married into the powerful Vespucci clan at sixteen. After her early death in 1476, she became an almost mythic figure in Florence. Poets including Lorenzo de’ Medici and Angelo Poliziano celebrated her as an ideal of beauty, grace, and courtly refinement.

From there, the association with Botticelli grew. The painter certainly knew the Vespucci circle: his family lived near them in Borgo Ognissanti, and the Vespucci helped secure commissions for him. Many viewers have also seen Simonetta’s features in works like The Birth of Venus and Primavera. But there is no evidence that she posed for Botticelli, or that the two had a romantic relationship. Most scholars today see the connection as part of the broader fascination Simonetta inspired after her death.

Wherever the truth, the last years were not kind ones. Savonarola's Bonfire of the Vanities had consumed the world Botticelli had painted — the pleasure, the mythology, the Neoplatonic dreams of beauty as a path to the divine — and by some accounts he threw his own work onto the flames. Whether he did or not, the luminous, pleasure-saturated world that had produced The Birth of Venus was over.

The Venus hangs in the Uffizi. Botticelli lies in Ognissanti, a 10 minute walk away. Both are worth the visit today.

Indirizzo

Rome

Orario di apertura

Lunedì	08:00 - 20:00
Martedì	08:00 - 20:00
Mercoledì	08:00 - 20:00
Giovedì	08:00 - 20:00
Venerdì	08:00 - 20:00
Sabato	08:00 - 20:00
Domenica	08:00 - 20:00

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