The Basilica of Maxentius in the Roman Forum, as taken from above on the Palatine Hill

What to See in the Roman Forum? The Basilica of Maxentius!

You can’t miss it. The Basilica of Maxentius dominates the labyrinthian ruins of the Roman Forum and towers over the Via dei Fori Imperiali. Countless tourists will have taken photos of this remarkable architectural wonder, that so immediately awes you with its sheer size and scale. Astonishingly, the Basilica of Maxentius only becomes more impressive when you know the story behind it.

The History of the Basilica of Maxentius

The Basilica is named after Emperor Maxentius and construction work began during his reign, in 308 AD. Constantine defeated Maxentius at the Battle of Milvian Bridge — the beginning of Constantine’s conversion to Christianity — and it was only under his orders that the remarkable Basilica was completed, in 312 AD.

The Architecture of the Basilica of Maxentius

The Basilica’s sheer size distinguishes it as remarkable; at the time, it was the largest building in Rome. The Basilica’s vaulted ceiling stretches 130ft high and its floor spans 6561 square feet. A colossal statue of Constantine stood in the apse. An Ancient Roman who walked into the Basilica of Maxentius must have felt a lot like a modern pilgrim as he enters St. Peter’s; overwhelmed by the vast interior space and artistic flourishes.

The Basilica’s architects were clearly inspired by the grand, Imperial Roman Baths, such as the Baths of Diocletian. Other Roman Basilicas, such as the Basilica Ulpia in the Forum of Trajan, were clear influences. Cutting-edge engineering techniques were used to build the Basilica of Maxentius, that had recently been trialed on the Markets of Trajan.

What Was A Roman Basilica?

Today, we associate the word ‘Basilica’ with major Roman Catholic Churches; St. Peter’s Basilica is, of course, the one which immediately springs to mind. However, among Ancient Romans, the word ‘Basilica had a different meaning.

‘Basilica’ derives from a Greek expression, which literally means ‘Royal Walkway’. In Ancient Rome, a Basilica essentially functioned as a modern town hall — with a few ancient flourishes. The Basilica of Maxentius would have been used for commercial and administrative business. It’s likely that the offices of the Prefect of the City would have been found within.

How the Ancient Basilica Became the Christian Church

Constantine and his successors were the first to Christianize the Basilica, to make these government buildings the modern churches we know today. Constantine thought that the layout of the building — already shaped like a Crucifix — would be perfect for Christian worship.

The sheer size of the pre-existing Basilicas gave them a logistical advantage, as a logical site of Christian worship, as they could easily accommodate a large congregation. Another advantage of Basilicas is that they were free from the Temple’s pagan associations.

The Basilica of Maxentius Today

As Christianity spread, the origins of the Basilica were all but forgotten. the 9th and 14th century, earthquakes destroyed a large part of the Basilica of Maxentius, but what remains is magnificent nonetheless – it is by far the biggest building in the Roman Forum.

You can visit the Basilica of Maxentius and explore some of the other wonders of the Forum on our Roman Forum tour, which also includes the Colosseum and the Palatine Hill.

If you’re interested in learning more about the history of basilicas of Rome, we also recommend our Papal Basilica tour. This unique, private tour, includes visits to three of the major Papal Basilica: San Giovanni in Laterano, Santa Maria Maggiore and San Paolo Fuori le mure.

The ultimate Basilica is, of course, St Peter’s Basilica, which is best experienced on a Vatican Museums tour. Enter St. Peter’s directly, after visiting The Sistine Chapel. Allow wonder to wash over you as you marvel at the spectacular architecture, in what is arguably the most beautiful building in the Eternal City. The connection between the evocative ruins of the Roman Empire and St. Peter’s should only enrich your experience of Rome — and allow you to appreciate this wondrous city all the more.

Temple of Peace in the Roman Forum

Rome’s Lost Treasures: The Temple of Peace

Could it be? One of the most beautiful creations the world had ever seen? Both Pliny and Herodian pondered this; the latter called The Temple of Peace “the largest and most beautiful of all the buildings in the city”.

In Rome — a city already renowned for its architectural splendor — the Temple of Peace stood out. The Temple of Peace was built in AD 71, to commemorate Vespasian’s defeat of the Jewish revolt. The Temple was one of Rome’s most important monuments, for a short, glimmering century. Josephus, Roman historian, described it thus:

When the triumphal ceremonies were over, as the Roman empire was now firmly established, Vespasian made up his mind to build a temple of Peace. This was completed with remarkable speed and surpassed all human imagination. Not only did he have unlimited wealth at his disposal; he also adorned it with paintings and statues by the greatest of the old masters. In fact, in that temple were collected and deposited all those works that men had hitherto traveled over the whole world to see, longing to set eyes on them even when scattered in different lands. There too he laid up the golden vessels from the Temple of the Jews, for he prided himself on them; but their Law and the crimson curtains of the Inner Sanctuary he ordered to be deposited in the Palace for safe keeping.”

Most of this amazing structure is completely lost. You’ll struggle to find a trace of the temple on a visit to Trajan’s Market. Most of what we know about the Temple of Peace comes from written accounts and the Forma Urbis, a detailed marble map. The surviving documents help us to picture the size and splendor of the temple.

The Temple of Peace was, by all accounts, an enormous complex of richly decorated rooms. Internal courtyards were full to the brim with artistic masterpieces, including a sculpture by Praxiteles, the famous Greek sculptor. Treasures taken from Jerusalem and artworks taken from Nero’s pleasure palace, the Domus Aurea were other highlights of The Temple of Peace’s Collection. The Temple of Peace was a triumphal monument, a place of worship, and a public art gallery — all in one.

Ancient writers were clearly in awe of the Temple of Peace and its astonishing art collection. Today, its easy for a modern reader to find their reactions frustrating — what happened? How is it possible that such a culturally important, sacred place, disappeared completely and left behind nothing, but a fragment of marble floor?

According to Herodian, the Temple of Peace was destroyed by a catastrophic fire in 191 AD. The destruction of the Temple was a calamity not only for culture but brought ruin to many wealthy Romans, who used the temple as a kind of safety deposit box. “It was also the richest temple in the city,” Herodian tells us, “since it is decorated with numerous gold and silver items that people deposited there to keep them safe — a caution which the fire rendered futile, sending many wealthy people into poverty.”

What had once been the Temple of Peace was, by the 6th century, known as the Forum of Peace. This once great art collection was now just an open space, not a building, and cattle grazed among its ruins. Fire, time and, perhaps most destructive of all, indifference, meant the temple, essentially, no longer existed.

The Temple of Peace is one of many amazing Ancient Roman monuments that have disappeared. The Colossus of Nero – a gigantic bronze statue of the emperor that gave its name to the Colosseum – is another, as is a multi-story monument on the Palatine, known as the Septizodium. Don’t only imagine the ruins that present themselves before your eyes, restored to glory, on your next walk through Rome. Strain your imagination and try to picture the countless temples and monuments that have vanished without a trace.

There is not one Rome, but a multi-layered Eternal City, which can only be understood and properly explored with the help of an expert. To learn more about Rome – both past and present – join our Rome tours and explore the city in the company of an expert local guide.

Leonardo da Vinci Experience, Leonardo da Vinci, Via della Conciliazione, exhibition, art, Renaissance art, museum

The First of Its Kind: “Leonardo da Vinci Experience” Museum

The “Leonardo da Vinci Experience” exhibition is the first of its kind–and the only one of its kind in the world–hosting a collection of da Vinci’s work.

The “Leonardo da Vinci Experience” museum is just steps away from the Vatican, on Via della Conciliazione. The exhibition is permanent, meaning that it is open year-round. It is the first of its kind–and the only one of its kind in the world–hosting a collection of da Vinci’s work from painted masterpieces to inventions, faithfully reproduced full-scale and according to techniques used in his time, some five hundred years ago. 

The museum provided a perfect refuge on one rainy Sunday in Rome. Upon entering, I found myself on the ground floor, which displays da Vinci’s grand flying machines. Lute music played in the background. It felt much like walking into a workshop or an attic. The setting is intimate, with its floor of wooden panels, soft recessed lighting overhead and illuminating each exhibit individually. The room is a play of light and shadows. Inventions sit side by side with some of the Renaissance master’s most iconic pieces: the Vitruvian Man juxtaposed by the Study for a Fly Wheel; Lady with an Ermine adjacent to the Anemoscope. At the far end of the entrance is an arched colonnade, behind which is projected a tranquil, Tuscan scene: da Vinci’s glider in motion across rolling green hills, white billowing clouds, and a bright blue sky. The Renaissance man par excellence, da Vinci is credited with anticipating a number of inventions that would only be realised centuries after his death, like his ‘self-propelled cart,’ forerunner to the automobile, which would make its debut some three centuries later.

“The Renaissance man par excellence, da Vinci is credited with anticipating a number of inventions that would only be realised centuries after his death.”

A true-to-life reproduction of the Last Supper occupies an entire wall on the left side facing away from the entrance. The painting, with its enigmatic subjects and their dynamic hand movements, continues to capture the imagination, even after centuries. It served as inspiration for American author Dan Brown, who scoured all its symbolic richness and depth and weaved the epic, fast-paced, thrilling tale for modern audiences, The Da Vinci Code. Within a single work of art from the Tuscan genius was enough material to intrigue spectators the world over, distant in both time and space from da Vinci himself.

“A true-to-life reproduction of the Last Supper occupies an entire wall on the left side facing away from the entrance.”

The flying machines, like the glider and ornithopter, are emblematic of the Renaissance humanism that characterises much of Leonardo da Vinci’s work–the belief in the inherent value of humans as individuals, and the efforts to realise human potential through education and emancipation. The Vitruvian Man places the individual–perfect in proportion–at the centre of the universe. Da Vinci believed that humans could eventually conquer the skies, and devised plans inspired by his study of bats and birds to achieve just that. His ambitions extended also to water–he designed webbed gloves, floats for walking on water, a life buoy.

Leonardo da Vinci Experience, Leonardo da Vinci, Via della Conciliazione, exhibition, art, Renaissance art, museum
“His ambitions extended also to water–he designed webbed gloves, floats for walking on water, a life buoy.”

Though a pacifist, da Vinci was nevertheless at the service of Ludovico Sforza, Duke of Milan, and designed a number of war machines that were veritable predecessors to those of today, such as the armoured car, forerunner to the tank, and a weapon resembling a machine gun–a twelve barrelled gun carriage in the shape of a fan, which would maximise effectiveness in the battlefield. The room containing the war machines also features a room of mirrors–eight mirrored walls, which produce a real mise-en-abyme for the viewer, infinitely replicating reflections.

“Da Vinci…designed a number of war machines that were veritable predecessors to those of today, [including] a weapon resembling a machine gun–a twelve barrelled gun carriage in the shape of a fan.”

That a museum dedicated to da Vinci–a man whose sexuality is often speculated upon, who deviated from classic iconography, frequently butting heads with the very authorities who commissioned his pieces, and whose work elevated evidence and reason over dogma–should be mere steps away from the capital of one of the world’s major faiths was an observation I made with an amused sense of irony. It was testament to the triumph of those very ideals da Vinci and other humanists strived to convey in their work. 

Via della Conciliazione, with the Vatican in the distance.

Leonardo da Vinci’s works are scattered throughout the world today, in Krakow, Paris, London, Washington, DC, Munich, and Saint Petersburg. But to be able to behold his masterpieces, paintings and inventions alike, in one place, in such proximity to where he was active at the Vatican’s Cortile del Belvedere alongside contemporaries like Michelangelo and Raphael, is a unique experience. Visiting a museum in Rome is a mise-en-abyme of the sort in literary and film theory, a story within a story, an art gallery within another, larger open-air art gallery.

You can reach the Leonardo da Vinci Experience museum from Termini by taking Line A of the Rome Metro towards Battistini and getting off at the sixth stop, Ottaviano. From there, it is less than a fifteen minute walk. The second option is to take bus number 40 from Termini, which leaves every five minutes, and stop at Traspontina/Conciliazione. The area where the museum is located is dense with places to see. From the Vatican Museums to Castel Sant’Angelo and its famed gardens (Giardini di Castel Sant’Angelo/Parco della Mole Adriana), one could easily spend an entire day in this quarter of the city and still not exhaust its possibilities. Private and group tours of the Vatican and Sistine Chapel are available, and offer a perfect occasion to enjoy multiple experiences in the same vicinity. From March to June, the Scuderie del Quirinale–on Via Ventiquattro Maggio, not too far from the Vittoriano–will be hosting a similar exhibition entitled “Leonardo da Vinci: La scienza prima della scienza.” The exhibition aims to situate Leonardo da Vinci within the broader context of the fourteenth and fifteenth centuries, covering da Vinci’s contemporaries in order to paint a more complete picture of the scene and time period that led artists, engineers, and thinkers to flourish. This is surely another experience that is not to be missed.

Roma Experience's Insta Boyfriend Is a Professional Photographer Who'll Take Perfect Holiday Photos of You in Rome

Is An Insta Boyfriend Better Than an Actual Boyfriend?

Roma Experience understand the social importance of great holiday pics for the ’gram; so you can inspire healthy jealously in all your desk-bound friends, when they sneak green-eyed side-glances at their phone. Great Insta pics let the whole world know you’re flexin’ on your holiday and you’ve never looked better – which is why they generously launched an Insta Boyfriend service.

Not everyone has an other-half who’s as great a photographer as Mario Testino, or snaps pictures of you as enthusiastically as Kanye snaps Kim. Which is why this Insta boyfriend service exists; so, you can get perfect photos, taken by a professional photographer in Rome, positively glowing, in that perfect Mediterranean light. A professional photographer follows you around the city, snapping pics of you looking positively dashing outside Rome’s top sites.

It’s quite simple; browse the private tours, choose one that takes your fancy and, when you get to the cart, select the Insta Boyfriend service.

Or, if you would prefer to just focus on the right light, pose and angle, check out our full product Insta Boyfriend Rome Private Tour by Car.

Hey, presto – perfect pics and a solid social-media flex.

Not convinced? This is why an Insta Boyfriend might be better than a real one.

Insta Boyfriend Will Never Get Tired of Taking Pics

Unfortunately for the photo-hungry among us, real boyfriends are but human. They do not want to take pictures all day. Sometimes, they experience emotions, such as hunger and boredom. This will stop them taking thousands of pictures of you, at all angles, for as long as you require them too.

In contrast, an Insta Boyfriend will take pictures of you, near-constantly, for the whole 3 hours – and you don’t have to consider his emotional needs!

Most Actual Boyfriends Are Not Professional Photographers

Statistics show it: less than 1% of actual boyfriends are professional photographers. Maybe that statistic is invented, but either way – most of us don’t have a boyfriend with the photography skills to pay the bills. Even if your actual boyfriend is a professional photographer, chances are that he prefers to snap landscapes from hot balloons, than to take stellar social media portraits.

However, an Insta Boyfriend exists to take your picture. He wants to take pictures of you looking fabulous at the Trevi Fountain, in that holiday hat that you’d never wear at home. He wants to take pictures of you looking invitingly toward the camera, reaching your open arm out toward him, with the Colosseum as your backdrop. That’s what your Insta Boyfriend is about, baby.

Insta Boyfriend Will Take Convincing Candids

Have you ever asked an actual boyfriend to take a candid photo? It’s a complete waste of time. Maybe he’ll grumble that it’s impossible to take a truly candid photo, when you asked him to do it. Maybe it’s his lack of faith in the orchestrated candid which is why you always end up looking weirdly like a Moomin.

However, that won’t be a problem with your Insta Boyfriend. A photo of you, brushing your hair from your eyes in the sun? Totally natural. Caught off-guard, smiling under the Roman sunshine? 100% authentic. Insta Boyfriend knows that authentic candids are key to looking truly fab on social media, to make that witch from your high school jelly.

Insta Boyfriend is There for You (For 3 Hours)

Maybe you haven’t met Mr. Right yet, or your girls were too busy for the group-trip this year, so you’re traveling solo. Trekking across Rome on your own isn’t going to be a problem – but who’s going to get pictures of you looking cute in your summer dress?

Insta Boyfriend. That’s who.

We all know traveling alone is fun, until you want to send your Mom a picture of your fab holiday tan and hot new ’fit. Sometimes, an awkward selfie just doesn’t cut it. Insta Boyfriends photos will make the grade. He’s a professional photographer, following you around Rome – he knows how to make you look good, against the perfect backdrop.

Insta Boyfriend Is Committed

Insta Boyfriend has an unwavering commitment to taking fabulous photos of you, looking perfect, on your Roman holiday. For the entire 3 hours, nothing will shake Insta Boyfriend’s core objective. He is entirely committed to making you look gorgeous, babe. You don’t have to kiss him, tell him his new trousers are nice, or anything. He wants to make you happy, by snapping images of you looking your best. That kind of loyalty is rare and precious; enjoy it.

There’s already a little bit of buzz around Insta Boyfriend, and rightly – he’s a dreamboat. When you come to Rome, grab some pictures of yourself looking swish and stylish, in the most beautiful city in the world, with an Insta Boyfriend at your side.

by Annie Beverley

Warhol, Pollock, art, Rome, exhibitions, Altare della Patria, Vittoriano, foro romano

Modern American Art in the Heart of Rome’s Historic Centre

I visited the joint Warhol and Pollock exhibitions on a sunny Sunday in Rome. The Vittoriano, the lofty, conspicuous monument built in honour of unified Italy’s first king, Vittorio Emmanuele II, doubles as a museum of Italian unification and host to rotating exhibitions on art and history. These two exhibitions in particular are adjacent to one another, and for a reasonable price, you can conveniently visit both.

Upon entering the Warhol exhibit, I immediately noticed the vibrancy of colour, both from the pieces themselves and the elements of the layout. A series of brash Marilyns graced the entrance. The neon signposts that followed along the way were consistent with the artist’s own vision and style, as were the music and light projections accompanying some of the rooms, creating a textured, multi-layered experience.

Multicoloured, kaleidoscopic flowers form part of the immersive Andy Warhol exhibition

The Pollock exhibition was likewise remarkably immersive. A brief film ran in a small, darkened hall, describing the artist’s famous ‘drip’ technique, in which Pollock seems to dance around his canvas, dipping his brushes in copious paint and letting the colour drip onto the surface. Animated panels demonstrating Pollock’s signature technique lined a narrow corridor leading up to the main exhibition halls. The black walls lit up with bright yellow, red, and white splatters. Quotes from various artists of the New York School and commentators on their work punctuated the pieces. “I have no fear of making changes, destroying the image,” says Pollock, “because the painting has a life of its own.” Indeed, his work evokes movement, spontaneity, and extemporisation, much like the jazz improvisation, or ‘free’ jazz, that was also emerging at the time.

“Animated panels demonstrating Pollock’s signature technique lined a narrow corridor leading up to the main exhibition halls.”

“I have no fear of making changes, destroying the image,” says Pollock, “because the painting has a life of its own.”

Another video showed Pollock at work on his famous Number 27. I could almost smell the paint. I learned an interesting fact from the famous Life magazine article of 1949: Pollock numbered his paintings, rather than naming them, so that viewers would not observe them with “any preconceived notion of what they are.” At another stage in the exhibit was a yellow couch, on which I lied down and looked up at a screen also illustrating the drip technique. It was as though Pollock were standing over me, executing his masterpieces. Upstairs, works by Hans Hofmann, Al Held, Grace Hartigan, Helen Frankenthaler, and William de Kooning graced the walls. The pieces gave off the impression of impulsivity and rapidness, but their production often took weeks and months to conclude, each drop of colour, each brushstroke a studied measure, their combination offering a compelling result. On an interactive screen, I created my own Pollock-esque work with just a wave of the hand.

Pollock’s famous Number 27

The time period that brought to light artists like Andy Warhol, Jackson Pollock, and those of the New York School–and that also birthed the likes of Allen Ginsberg, Jack Kerouac, and Miles Davis–was fertile for radical change. It saw a risky departure from the Old Continent as the standard of influence and a desire to carve out a place for uniquely American art, which, while ruffling the feathers of conservative gatekeepers, eventually succeeded in catapulting the painters to fame. The tension between contemporary artists and the establishment reached its apogee when the Metropolitan Museum announced a new exhibition, one from which artists like Jackson Pollock were excluded. The artists protested, and their legendary open letter to the president of the Metropolitan was published on the front page of the New York Times. “18 Painters Accuse Metropolitan of Being ‘Hostile to Advanced Art’ ” read the headline. The group of abstract expressionist artists was dubbed ‘The Irascibles’. Interestingly, the Congress for Cultural Freedom, backed by the CIA, eventually supported Pollock’s work, seeing it as the ultimate freedom of expression in a global reality coloured by the Cold War. At the opposite pole of this polarised world, in fact, was the social realism of Soviet art, which was to be avoided at all costs. 

Andy Warhol was another revolutionary, a provocative artist on a post-war stage that was ripe for experimentation, irreverent innovation, upheaval and the assertion of new values onto the artistic scene. With the advent of new forms of mass communication and mass production, the commodity and its advertisement became pervasive and were peddled to the consumer on levels hitherto unseen. This new, rather aggressive form of capitalism, along with its extreme counterpart, communism, served as inspiration for the artist Warhol to explore the meaning of art, objectification, violence, and value. Warhol took the mundane, elevating it to the height of art, and brought art down to the ordinary, rendering it accessible, imitable, commodifiable, to be displayed on T-shirts, in the metro, in alleyways, and under scaffolding. Perhaps best illustrating this is Warhol’s reproduction of the instantly recognisable Joconda, or Mona Lisa–an unapologetic elimination of the hierarchy of fine art.


At the heart of much of his work is the relationship between art and consumption. The repetition of many of his most famous pieces, like the Marilyns, are reminiscent of advertising campaigns, identical posters in succession, running down streets and along bridges. The Marilyns are deducted from the inimitable, world-renowned starlet and reduced to copies that almost look like negative afterimages, each employing garish colours transposed upon one another in such a fashion as to mask the actress’s beauty. Warhol also applied this same technique to Mao Zedong’s famous portrait. Bright pink and red colour Chairman Mao’s lips–bold and cheeky. Did Warhol wish to draw a parallel between dictatorships and propaganda? Or perhaps even a parallel between capitalistic advertising and propaganda? ‘Mao’ reminded me of ‘Drag Putin’, the portrait of Vladimir Putin in heavy makeup–false lashes, blue eye-shadow and red lipstick–with a rainbow flag as his background. Banned in Russia.

Chairman Mao

“At the heart of much of his work is the relationship between art and consumption.”

Warhol’s affinity for the equalising potential of consumerist culture, however, was clear. He famously stated: “You can be watching TV and see Coca-Cola, and you can know that the President drinks Coke, Liz Taylor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of money can get you a better Coke.” At the end of both tours, there were little gift shop where one can purchase such memorabilia as biographies, canvas bags, sketchbooks, little Warhol dolls, Campbell soup cans, and notebooks with a quote from Warhol that is uncannily relevant to our times: “In the future, everybody will be world famous for fifteen minutes.” Remarkable intuition. 

Souvenirs with a hint of irony.

Outside the Vittoriano, a street artist sat on the sidewalk and spray painted sci-fi inspired landscapes in bold shades of purple, pink, orange, blue, and green–otherworldly sunsets, oceans, and forests. All for sale at a negligible sum. The poetry of the moment was absolute. I was at the intersection of some of Rome’s most important streets, including Via del Corso and Via dei Fori Imperiali, the latter of which leads to the Colosseum. Behind me was a late nineteenth century monument, striking to our modern eyes–a veritable symbol of Rome now–but which was mocked for its garishness by contemporaries to its construction! Off to the side, on Via dei Fori Imperiali, were the ancient ruins of the Roman Forum. The Via itself was a product of Mussolini’s imperialistic ambitions and delusions of grandeur. He had razed to the ground medieval houses and buildings to pave the way for the immense boulevard. He had used the piazza to deliver speeches to his crowds. It was overwhelming to be in the presence of so much history and to consider modern Rome in light of its past. As an American in Rome, it was especially humbling to see our artists represented in one of the world’s most celebrated and enduring capitals of art –a testament to the success of these daring visionaries.

“Outside the Vittoriano, a street artist sat on the sidewalk and spray painted sci-fi inspired landscapes in bold shades of purple, pink, orange, blue, and green–otherworldly sunsets, oceans, and forests. All for sale at a negligible sum. The poetry of the moment was absolute.”

Whether you are an art lover or simply curious, visiting the Pollock and Warhol exhibitions is a rewarding and enriching experience, offering you an excellent way to spend an afternoon in Rome and leaving you the better for it. The exhibitions are located in the Ala Brasini wing of the complex, on Via dei Fori Imperiali and will be hosted until February 3 (Warhol) and February 24 (Pollock). For more information, visit the official site of the Vittoriano, which is available in both English and Italian. If you wish to visit the ancient ruins near the Vittoriano, you can do so in a variety of ways. Visit the links for more details.  

A street in Ostia Antica

The 5 Best Day Trips From Rome