Per decenni visibile solo in occasioni speciali, Sant’Ivo alla Sapienza, capolavoro di Borromini, apre definitivamente al pubblico

Sant'Ivo alla Sapienza will be open free of charge on weekday mornings, from 27 October. The Roman church of Sant'Ivo alla Sapienza, a masterpiece of Baroque architecture designed by Francesco Borromini, will reopen to the public on 27 October after many years of closure. The magnificent church stands within the Sant’Ivo alla Sapienza complex, which now houses the state archive of Rome, and is one of Borromini’s most celebrated works. The former seat of the Sapienza university is located on Corso del Rinascimento 40, in the historic heart of the city, near the Italian senate. In recent years Rome's special superintendence oversaw the restoration of the complex which was designed by Borromini between 1643 and 1660 for La Sapienza. How to visit Sant'Ivo alla Sapienza can be visited for free - from 27 October - Monday to Friday, 09.30 to 13.30.   The reopening is the result of a collaboration between the state archive, the Diocese of Rome and the Touring Club Italiano (TCI).   Volunteers from the TCI’s Aperti per voi project will keep the church open on a continuous basis, welcome visitors and guide them around the church and courtyard. Borromini's design Borromini based his unique geometrical design around the cramped 16th-century cortile, or courtyard, designed by Giacomo della Porta.   He employing concave and convex surfaces in his designs which also feature decorative elements linked to the three popes under which the building was constructed.   These included the bees of Urban VIII Barberini, the dove of Innocent X Pamphili and the stars of Alexander VII Chigi.   Sant’Ivo is known for its six-pointed star-shaped plan and the spiral lantern crowning its dome, as well as an interior of sweeping curves and counter-curves. Who was Francesco Borromini? Born in 1599, Borromini was an Italian-Swiss architect whose legacy in Rome continues to fascinate three and half centuries after his death in 1667.   Borromini's name is linked forever with his contemporary and great rival Bernini, with many historians agreeing that this fierce rivalry pushed both architects to the limits of their genius. Although their styles differed - Borromini was more innovative and modest than the triumphant Bernini - between them they paved the way for Roman Baroque architecture.   A depressed figure with a volatile temper, Borromini died by suicide in Rome aged 67. He is buried in the church of San Giovanni dei Fiorentini on Via Acciaoli.

A 1936 Construction Accident Uncovered a Hidden Shrine to a Forgotten Roman Cult The Palazzo Barberini is one of Rome’s greatest monuments, celebrating the power of the High Baroque. It was designed during the 17th century, beginning with architect Carlo Maderno and continued after his death by Gian Lorenzo Bernini and Francesco Borromini, at the request of Pope Urban VIII. Built on one of Rome’s seven hills, the palace structure complements the Quirinal Hill with its arches that lead visitors into breathtaking gardens. The interior halls are bathed in natural light that reflects off mirrors, illuminating surrounding frescoes. Yet, what many would find hard to imagine while stepping into this picture of Papal aristocracy is a subterranean chamber anciently dedicated to another world: the secret cult of Mithras. Rome’s history and tragedies are layered across its mesmerizing streets, and the official reopening of the Barberini Mithraeum is a perfect example of how Rome’s historical heritage is complex and sometimes unexpected. In 1936, municipal construction was taking place behind the Palazzo Barberini’s gardens. While workers were digging the ground to lay a foundation, they stumbled upon a hidden underground room, more specifically, a forgotten, well-preserved ancient Roman temple dating back to the 2nd century AD. Most surviving traces documenting the cult of the god Mithras feature relief stone carvings, but in this case, the pièce maîtresse of the Barberini sanctuary is a rare and vibrant wall fresco. Upon entering the cellar’s chamber, the cool air carries a heavy and damp smell of ancient stone and earth; two high standing stone benches line the side of the hall leading the visitor to the centerpiece fresco: the tauroctony – a legendary scene of the god Mithras, dressed in his characteristic Phrygian cap, kneeling on a bull while shoving a dagger into its neck. What frames the central sacrifice scene are key astrological symbols, planetary deities, cosmic forces, and scenes of mystery initiation. The origin of the cult dedicated to the god Mithras (Mithraism) comes from Persian culture, yet it spread rapidly throughout the Roman Empire between the 1st and 4th centuries AD. The cult wasn’t a proper open civic religion but rather functioned as a secret, exclusive cult mainly practiced by Roman military officers, merchants, and freedmen. Where traditional Roman religious rituals took place in the open air and were witnessed by a large civic crowd, Mithraism initiates gathered underground, in closed spaces, numbering most likely 20 to 30 worshippers. According to legend, Mithras was born directly from rock and is renowned for slaying the bull in a cave. Therefore, every Mithraeum was built either underground or inside windowless, barrel-vaulted basements, where rites would take place in total darkness. Historians believe that during the rituals, torchlights would illuminate hidden symbols painted on the walls, revealing astrological allegories to initiates as they progressed through seven distinct degrees of spiritual rank. Two long stone benches (podia) lined the walls of the cellar chamber, meant for the central part of the ritual, where the initiates would share a feast commemorating the meal where Mithras shared the bull’s meat with the sun god Sol. In the 4th century AD, Christianity was established as the state religion of the Roman Empire, therefore putting an end to the practice of polytheistic religions. Mithraic sanctuaries were suppressed, abandoned, and sometimes buried to serve as the foundation for Christian religious buildings. The Barberini Mithraeum, closed for several years, reopened its doors on the 3rd of October 2026. Visiting the site today offers an unusual and deeply atmospheric view of Rome’s subterranean secrets. Because delicate microclimates and ancient wall pigments require strict preservation, access to the sanctuary is capped at a maximum of 20 visitors per guided slot. For a complete experience of the Palazzo Barberini, visitors can benefit from the Combo Cultural Experience, where the dual nature of the palace becomes a genuine time-travel experience. Ph: Torruzzlo / Shutterstock.com

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Survey of Western Art II