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.

08/10/2026

What if your morning commute took you through 2,000 years of Roman history? That is the extraordinary experience that awaits at Rome’s shiny new Colosseo–Fori Imperiali station on Metro C, opened at the end of last year.

Digging a new Metro line beneath the ancient centre inevitably meant digging through the past. So instead of treating the archaeology as an obstacle, the architects made it part of the station.

As you descend, you encounter ancient wells, fragments of Roman houses, and ancient sculptures discovered during the construction of the line.

And this is more than a pretty piece of architecture. The opening of the station has made the Metro far more useful for getting around central Rome, creating a direct interchange between Lines C and B and extending Line C into the heart of the historic city.

The station has also been nominated for the 2026 Prix Versailles, the international architecture and design award presented at UNESCO in Paris.

A metro station that doubles as an archaeological museum, makes getting around Rome easier, and has architectural ambitions worthy of an international prize? Not bad!

07/10/2026

This museum in Rome rebuilds a 2,400-year-old tomb around you, because the real one is now an empty shell.

The François Tomb was discovered at Vulci in 1857, its walls covered in frescoes. But in the 1800s, collectors sawed the paintings right off the walls and carried them away, and for over 160 years they vanished into a private collection. The actual tomb has sat empty ever since.

So before you see the frescoes, this dark room reconstructs the tomb around you: where it was, how it looked underground, the whole story. Then you walk in and stand with the paintings hung exactly where they once were. It's the only way left to see this tomb whole.

Want Rob's top 3 museums in Rome? Comment MUSEUMS and I'll send you the list. Follow along for more.

07/10/2026

On October 7, 1571, in the Gulf of Patras off the coast of Greece, the largest fleet assembled in Europe since antiquity collided with the navy of the Ottoman Empire. More than 400 galleys and as many as 140,000 men joined the fray. After chaotic hours of cannon fire, musketry and hand-to-hand fighting, the Ottoman fleet had suffered a crushing defeat, and Christian Europe had one of its most celebrated victories.

Command of the Holy League’s fleet went to the 24-year-old Don John of Austria, half-brother to the King of Spain. At his side, commanding the papal galleys, was a Roman nobleman: Marcantonio II Colonna.

At the battle’s most desperate moment, Colonna drove his flagship through the chaos to rescue Don John’s own ship, the Real, which was under furious attack. The Turkish commander Ali Pasha was killed, and the banner of the Holy League was raised over the captured ship, breaking the morale of the Ottoman galleys still fighting nearby.

Rome welcomed Colonna home as a conquering hero, and his family made sure nobody would forget it. Just under a century later, his descendants built the Great Hall of Palazzo Colonna, a gilded gallery that rivals the Hall of Mirrors at Versailles, and gave its ceiling entirely to his triumph. Stunning frescoes from Marcantonio’s life include galleys crashing across the vault, and at the gallery’s end Marcantonio is presented to the Virgin Mary herself - forever thanked for a victory painted larger than life.

Four hundred and fifty-five years later, you can still stand beneath it. If you want to see how a Roman family turned one of the great battles of the 16th century into a permanent monument to its own glory, visit the Colonna Gallery with us! Comment below for more.

Florence’s Bargello is full of masterpieces, but upstairs you’ll find something rather more unexpected: an entire flock ...
06/10/2026

Florence’s Bargello is full of masterpieces, but upstairs you’ll find something rather more unexpected: an entire flock of Renaissance bronze birds gathered beneath the arches of a magnificent open loggia.

Peacocks, eagles, owls, falcons, a rooster and even a turkey stare out from the shadows, their feathers, claws and expressions rendered with astonishing naturalism.

The members of this bronze avian troupe
once belonged to the Medici's Grotta degli Animali at the Villa di Castello, a theatrical artificial grotto where art, nature and water came together in a spectacular display. Bronze animals stood among rocks, shells and mosaics, with water flowing from the sculptures themselves.

It was the Renaissance at its most wonderfully extravagant: nature recreated as spectacle, then improved upon by the Medici. Today the animals have a quieter setting in the Bargello. But look closely at the astonishingly observed feathers, poses and expressions and you can still sense the illusion they were designed to create.

The Bargello is one of Florence’s most rewarding museums, and still somehow escapes the crowds. If you haven’t been, you owe yourself a visit!

06/10/2026

One of Rome’s great architectural surprises is hiding in plain sight. Walk into Santa Maria sopra Minerva and you could almost forget you are in Rome.

The church is one of the city’s rare surviving Gothic interiors. The nave stretches out beneath a soaring painted ceiling, slender columns carry the eye towards the choir, and the whole space has a wonderful sense of height and light. In a city defined by ochre stone, Renaissance palaces and Baroque churches, the effect is extraordinary.

Santa Maria sopra Minerva was the principal Dominican church in Rome, rebuilt in the 13th century, and its importance attracted artists including Fra Angelico, Filippino Lippi and Michelangelo, whose Christ the Redeemer stands in the left transept.

But there is a twist to its medieval appearance. Much of what you see today dates from a major restoration between 1848 and 1855, when the Dominican architect Girolamo Bianchedi removed many of the Baroque additions and sought to restore the church’s Gothic character. The marble revetment and painted decoration are largely products of that 19th-century intervention.

So this is medieval Rome as reshaped by the 19th century: a Gothic church whose medieval identity was deliberately recovered after centuries of alteration. Santa Maria sopra Minerva is one of those places that completely changes your idea of what Rome looks like.

05/10/2026

The worst thing you can do in Rome is eat your first meal right next to the big sights. Here's how to spot the traps.

If a restaurant has photos on the menu, a guy out front waving you in, menus in ten languages, and it's a stone's throw from a monument, keep walking. That's a tourist trap, and you'll pay more for worse food.

The real places are a few quiet streets back, and the fastest way to learn them is a food tour on day one. In three hours a local shows you where they actually eat, and after that you can spot the good spots yourself for the whole rest of your trip.

Want to do it with a local? Comment FOOD and I'll send you the tour. Follow along for more.

05/10/2026

People often ask me what I love most about living in Rome. The answer is probably moments like this.

A couple of years ago, I went out for a wander on a rainy evening and happened to stumble across an opera being projected onto the facade of Sant’Agnese in Agone. I had no idea it was happening. One minute I was walking through Piazza Navona; the next, Borromini’s already theatrical masterpiece had become a giant stage.

Borromini and Bernini could never have imagined the technology, but they would certainly have understood the instinct. The Baroque was all about spectacle: architecture, sculpture, movement, illusion and drama conspiring to astonish.

You can’t really manufacture that kind of magic. In Rome, you just have to be out wandering when it happens. So keep wandering, and keep your eyes peeled - you never know what’s waiting around the next corner!

Eight hundred years ago, a young man from Assisi died having turned his back on almost everything his privileged upbring...
04/10/2026

Eight hundred years ago, a young man from Assisi died having turned his back on almost everything his privileged upbringing had promised him.

Francis Bernardone, better known as St. Francis, had renounced his inheritance, embraced absolute poverty and founded a religious movement that would transform medieval Christianity. His feast day, October 4, is being celebrated in Italy this year with the restoration of a national public holiday, marking the 800th anniversary of his death.

There is nowhere better to explore his legacy than the Basilica of San Francesco in Assisi, begun in 1228 to house his remains. Its extraordinary architecture unfolds across two levels: a shadowy lower church containing Francis’s tomb and a soaring Gothic upper basilica whose walls became a canvas for some of the greatest painters of the Middle Ages.

Among them were Cimabue, whose monumental Crucifixion frescoes retain a powerful, sometimes disturbing intensity, and Giotto, traditionally credited with the celebrated cycle narrating Francis’s life. Here the saint’s story unfolds with a new immediacy: expressive faces, convincing gestures and a remarkable interest in the physical world animate paintings that make the distant medieval past feel startlingly close.

The basilica is a fitting monument to a man who preached humility and simplicity, even if the artistic riches accumulated in his honour might have surprised him. Eight centuries later, Francis’s story is still alive in the streets of Assisi and in the extraordinary paintings that helped change the course of European art.

Yesterday marked 800 years since Francis of Assisi died - poor, scarred with the stigmata, and already on the way to be...
04/10/2026

Yesterday marked 800 years since Francis of Assisi died - poor, scarred with the stigmata, and already on the way to becoming one of the most beloved figures in Christian history even before his body was cold.

Today, on his feast day, Italy marks the anniversary in a fittingly historic fashion: October 4 returns as a national public holiday for the first time since 1977, with the restoration timed to coincide with this milestone year.

Francis wasn't born to sainthood. As the son of a prosperous cloth merchant, he spent his youth the way a wealthy young man of his time might be expected to - fine clothes, soldiering, a taste for the high life. His transformation was neither sudden nor simple: a year as a prisoner of war, illness, a long unraveling of certainty, and finally a vision in the ruined chapel of San Damiano, where Christ's voice from the crucifix called on him to "rebuild my church." He took it literally at first, hauling stones. Only later did he understand that the church in question was rather larger than one chapel.

What followed was one of the strangest career pivots in European history: a wealthy young man stripping off his clothes in the piazza before his furious father and walking away from his inheritance to embrace a life of absolute poverty. He preached to birds, tamed a wolf (so the legend goes), and founded an order on the radical idea that poverty wasn't a problem to be solved but a freedom to be chosen.

That legacy has its home in Assisi, in the basilica built to house his remains. Spend long enough there and you start to feel as though you're walking through the hinge of art history itself. Begun just two years after Francis's death, the basilica stacks two churches one above the other: a dim, Romanesque-feeling lower basilica holding the saint's tomb, and above it a soaring Gothic upper church flooded with light and colour.

The Legend of St. Francis cycle, traditionally attributed to Giotto and his workshop, tells the saint's story in twenty-eight scenes that feel startlingly alive: expressive faces, convincing gestures, a new sense of three-dimensional space.

Francis's legacy isn't only spiritual. Eight hundred years on, it is still written on the walls of Assisi, in paint: a revolution in how artists saw the world, inspired by a man who had chosen to own almost nothing.

A severed head screams on a shield. Blood still pours from the neck. Snakes writhe where hair should be, caught mid-moti...
02/10/2026

A severed head screams on a shield. Blood still pours from the neck. Snakes writhe where hair should be, caught mid-motion in some wind that isn't there. Look closer, and the face is unmistakably male.

That's because it's Caravaggio's own.

In 1597, the Roman painter took on a commission unlike anything he'd attempted: a portrait of Medusa, the Gorgon of Greek myth whose gaze turned onlookers to stone, painted directly onto a real ceremonial shield. To paint her, Caravaggio needed a model who could survive looking Medusa in the eye. He chose himself, working from his own reflection, which meant that for weeks, Caravaggio sat staring into a mirror pretending to have just been decapitated.

It's a strange, theatrical joke buried inside a masterpiece. In the myth, the hero Perseus only defeats Medusa by refusing to look at her directly, tracking her reflection in his polished shield instead. Caravaggio restages that exact trick to make the painting: an artist, a mirror, a monster who cannot be met eye to eye without consequence.

The result hangs today in Florence's Uffizi Gallery, mounted on its original convex wooden shield. Walk past it and the face seems to twist to follow you, Medusa's open mouth frozen somewhere between a scream and a laugh, four centuries after a nervous young painter dared to make himself her victim.

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