This spring half term, I was able to embark on my first solo trip to Italy.

I explored Rome intending to enhance my understanding of our History of Art course further. From the moment I arrived in Rome, the city unfolded to me like an open-air gallery, which was, on one hand, so clearly classical but now also adjacent to more modern forms of art. My itinerary was dense and meticulously planned to make the most of my three days there. It quickly became apparent to me that Rome is more than just another European city; it is a dialogue between past and present; one where many artistic minds have left their mark on.

On my first day, the trip began with an early morning at the Vatican Museums, where I was instantly overwhelmed by the sheer scale of the collection. Walking through the rather crowded Raphael Rooms, I found myself captivated by pieces such as The School of Athens as well as the Sistine Chapel, where Michelangelo’s frescoes seemed to float above my head in an almost celestial fashion. Stepping into St. Peter’s Basilica afterwards, I was immediately drawn to Bernini´s St. Longinus as well as Michelangelo’s Pietà, which we had just done in class the week before. The highly corporeal, highly emotional sorrow in Mary’s expression, really did form as a reminder that sculpture can show viewers very intimate sentiment that is arguably best conveyed in such a form. Before leaving Vatican City, I managed to send some postcards back to my family alongside my History of Art teachers, who had generously helped me not only with some of my itinerary but also with their expertise throughout the almost two years of the course now. From there, I crossed the River Tiber to the nearby Castel Sant’Angelo, enjoying some magnificent views along the way as well as some delicious pizza later on at ´La Montecarlo´.

The next morning, I made my way to the Galleria Borghese eagerly anticipating what would easily become the highlight of my trip. Passing along the necessary crowdy tourist spots, the Spanish steps and the Trevi Fountain, I would not wait to enter the galleries. The moment I walked through the doors I felt transported into a different dimension where stone is seemingly able to pulse with life. Bernini’s Apollo and Daphne were as mesmerizing as his sculpture of David. I was instantly captured by the illusion of movement as this masterpiece invited me to embark on a story with the figures. Even the Rape of Persephone, which we had not studied in class as a case study imminently made my breath grow shallow as I was in such awe of the ways in which Bernini formed flesh and blood from such a static medium. The gallery’s collection extended beyond Bernini sculptures in the upper storey where particularly Caravaggio’s paintings caught my eye with their haunting realism. Another aspect that stuck out to me on this trip was just how much art can spark conversations. As I was visually analysing and studying the immense details rendered by Bernini I came into a conversation with a lady from Strassburg. Although the language barrier initially seemed quite challenging to overcome as my French is spectacularly abominable, we were still able to share our feelings about this work of art. Afterwards, I took a reflective walk through the gardens and even chartered a small boat to assess my rowing skills. As the afternoon creeped around I visited the MAXXI. It was the first of Zaha Hadid’s buildings I have gotten to see and I really do not hope it will be my last. The futuristic intervention was in such a contrast towards antique splendour— seemingly a testament to Rome to embrace both its past and future. Afterwards, I went to see the Santa Maria del Popolo, where I found Caravaggio’s Martyrdom of St. Peter. It had always been one of my favorites The play of light and shadow alongside the stark realism really was as dramatic as a cinematic masterpiece. Before I went back to the hotel I had to grab a portion of the probably best gelato I have ever had and found great pleasure in eating it whilst walking past a lit-up Castle Sant´Angelo.

My final full day in Rome was dedicated to the Roman antiquity. After taking a 25-minute bus ride the Colosseum emerged before me. It had clearly seen better days but remained undiminished in its grandeur. A minor detour, where I also came across Trajan Column led me to San Pietro in Vincoli, home to Michelangelo’s Moses—a sculpture so lifelike and colossal, that I am now very much looking forward to studying. The afternoon led me to the Pantheon, after which I was quickly in awe of the sun setting over the Roman skyline, telling the city to head back home to get some rest. As I sat there on the roof terrace of the Renascente, seeing all the classical structures in the distance I was prompted to reflect on my trip.

This trip was more than just a visual delight but had instead reinforced its name as an academic pilgrimage. What struck me most about Rome was not just its beauty but its crowding cultural nature, which had been built up with a dialogue between artists across centuries. To stand before Bernini’s sculptures was to witness the apex of artistic mastery which in some ways not even the best of writers could convey. It had become more than simply a trip with the purpose of enhancing my studies, it had shown me in person why the subject, that I try so diligently to pursue, is important and why we should engage with it. I found a much greater appreciation for walking through new cities with a purpose; rather than simply looking out for the next sightseeing spot it is vital to look around to catch those little pockets of cultural and artistic mastery. Rome really was a cultural feast that would take me a while to digest.