A History Buff’s Travel Guide to Rome’s Exclusive Super Sites

What Are the Super Sites in Rome?

Rome is home to some of the most extraordinary historical landmarks in the world. Among these, the Roman Forum super sites are a unique designation for locations that offer a deep understanding of Roman history, architecture, and culture. These are not just sites but gateways to understanding the grand narrative of ancient Rome, encompassing the Roman Forum and Palatine Hill. Rome Super Sites provide exclusive access to areas usually off-limits to the general public, allowing visitors to step into the heart of Roman history.

For history buffs, these sites represent the pinnacle of immersive historical exploration, blending iconic structures with hidden gems. Let’s explore the most prominent super sites in the Roman Forum and beyond, examining their fascinating interiors and uncovering the stories they hold. Don't miss the ancient wonders of the Roman Forum and Palatine Hill on our Rome Super Sites Tour!

How Can I Visit Rome Super Sites?

Visiting Rome’s Super Sites requires special tickets that grant access to restricted sections usually off-limits to standard visitors.  The standard entry ticket allows access to the Roman Forum and Palatine Hill but does not include the Super Sites. For a more immersive experience, the Super Sites Pass, also known as the "Full Experience Ticket", provides entry to the Roman Forum, Palatine Hill, and the exclusive Super Sites. In addition, thanks to this ticket you will also have access to the Colosseum Arena, which is why we also refer to the Super Sites of Rome as the ‘Colosseum Super Sites’. Tickets can be purchased online in advance through the official Colosseum Archaeological Park website. Booking in advance is highly recommended, especially during peak seasons when visitor numbers are high. The Roman Forum and Palatine Hill generally open daily from 8:30 AM to 7:00 PM, with the last entry at 6:00 PM, although hours may vary depending on the season. However Rome Super Sites have specific opening hours that are subject to change, so checking the official website before visiting is advisable. Otherwise you can fully experience the grandeur of ancient Rome in our Colosseum Super Sites Tour, walking through the ruins that once formed the heart of one of history’s greatest civilizations.

Let's find out together which are the exclusive Rome Super Sites:

The House of Augustus

The House of Augustus on the Palatine Hill stands as an example of early imperial Roman architecture and remains one of the most significant highlights of the Rome Super Sites. This relatively modest yet refined residence was the home of Rome’s first emperor, Augustus, a leader who transformed the Roman Republic into the Roman Empire and established the foundations of a political system that would last for centuries.

Gaius Octavius, later known as Augustus, was the adopted heir of Julius Caesar and emerged victorious in the power struggles following Caesar’s assassination in 44 BCE. In 27 BCE, he was granted the title 'Augustus' by the Senate, effectively marking the beginning of the Roman Empire. Augustus is known for stabilizing Rome after years of civil war and initiating the Pax Romana, a long period of relative peace and prosperity. His leadership was marked by strategic political maneuvering, a commitment to restoring traditional Roman values, and a carefully curated public image of humility and service to the state.

Unlike the extravagant palaces of later emperors, Augustus’ residence on the Palatine Hill was relatively unassuming, in line with his self-presentation as the ‘first among equals’ rather than an absolute monarch. The house was built on multiple terraces, offering stunning views of the Roman Forum and beyond. It was designed with a series of rooms and courtyards, emphasizing simplicity and functional elegance rather than ostentatious display.

The House of Augustus was constructed with Roman concrete and faced with fine materials such as marble and stucco. The architectural layout included private living spaces, reception rooms, and a study where Augustus likely attended to matters of state. The structure’s understated yet refined aesthetic reflected Augustus’ political messaging—although he wielded immense power, he portrayed himself as a servant of Rome, dedicated to traditional values rather than excessive luxury.

One of the most remarkable aspects of the House of Augustus is its well-preserved frescoes, which provide valuable insights into Roman artistic traditions of the late first century BCE. These frescoes, executed in the Second Style of Roman wall painting, create an illusion of depth and architectural expansion, incorporating trompe-l'œil effects to give rooms a grander feel than their actual dimensions.

Among the highlights is the Room of the Masks, named for the theatrical masks depicted within its elaborate frescoes. This room features painted columns, intricate friezes, and vividly colored panels, all contributing to an illusion of theatrical stage settings. The use of perspective and shading in these paintings reflects the sophisticated artistic techniques of the time.

Another key space is the Study, where Augustus is believed to have worked on official documents and corresponded with statesmen. This room is decorated with mythological imagery, including depictions of Apollo, Augustus’ patron deity, reinforcing the divine legitimacy of his rule.

Other rooms in the house contain delicate frescoes depicting pastoral landscapes, architectural motifs, and intricate geometric patterns. These decorations highlight the high level of craftsmanship employed by Roman artists and provide a window into the aesthetic preferences of the early imperial era.

House of Livia

Situated near the House of Augustus, the House of Livia is one of the most intriguing roman residences among the Colosseum Super Sites. Though more modest in scale than her husband’s grand complex, this house offers a rare glimpse into the private life of one of Rome’s most powerful women—Livia Drusilla, wife of Emperor Augustus.

Livia Drusilla was no ordinary Roman matron. Born into a noble family, she became the wife of Augustus, the first emperor of Rome, and played a crucial role in shaping the Julio-Claudian dynasty. Their marriage, which lasted over 50 years, was marked by mutual respect and strategic collaboration. Livia was known for her intelligence, political acumen, and ability to maneuver behind the scenes, influencing imperial policies while maintaining the ideal image of a virtuous Roman wife.

Her home on the Palatine Hill, separate from Augustus’s, reflects both her status and her desire for a refined yet private domestic space. Despite Augustus’s carefully crafted public image of modesty, Livia’s residence was anything but simple. Instead, it was an elegant showcase of elite Roman taste, featuring exquisite frescoes and sophisticated interior design.

The House of Livia is a prime example of Augustan-era architecture, designed to exude both simplicity and luxury. Built with a carefully planned layout, the house consists of multiple rooms, including an atrium, cubicula (bedrooms), and the highlight of the residence—the triclinium, or dining hall. The house also features underground rooms that helped regulate temperature, ensuring comfort even in Rome’s sweltering summers.

One of its most striking features is the high-quality frescoes that adorn the walls. The painted decorations follow the Second Pompeian Style, a technique that creates the illusion of open space beyond the physical walls. These frescoes depict lush gardens filled with birds, trees, and flowers, transforming the indoor environment into a tranquil retreat. The artistry of these murals not only demonstrates the skill of Roman painters but also reflects the elite’s fascination with nature and illusionistic depth in their interiors.

The triclinium is particularly remarkable for its floral motifs, which suggest a deep appreciation for beauty and harmony. Dining in such an environment would have been an immersive experience, as guests reclined on couches surrounded by vibrant depictions of natural life. This setting reinforced Livia’s status and sophistication, as elite Roman women often played a central role in hosting social and political gatherings.

Palatine Museum

Perched atop the Palatine Hill, one of the most historically significant sites in Rome, the Palatine Museum offers a deep dive into the city’s legendary origins and imperial grandeur. This museum serves as a gateway to understanding the very foundation of Rome, as it houses an extensive collection of artifacts unearthed from one of the oldest inhabited areas of the Eternal City. With its impressive array of statues, frescoes, mosaics, and everyday objects, the museum provides an immersive experience that brings ancient history to life. The Museum is part of the exclusive entrance included in the Colosseum Super Sites, visitors gain access to not only the museum but also other exclusive areas of the Palatine Hill, in addition to the regular sites visited.

The Palatine Hill has long been associated with Rome’s mythical founding. According to legend, it was here that Romulus established the city in 753 BCE, following his fateful conflict with his twin brother, Remus. Over the centuries, the hill transformed from a site of humble settlements to the heart of imperial power, home to opulent palaces of emperors such as Augustus, Tiberius, and Domitian. The Palatine Museum, established in the 19th century and continuously expanded, was created to preserve and showcase the relics from the extensive excavations conducted in the area. The artifacts on display provide invaluable insights into the development of Rome from a small village to the capital of a vast empire.

The museum is divided into several rooms, each dedicated to different periods and aspects of Palatine Hill’s history. Visitors will find an array of artifacts dating from prehistoric settlements to the height of Rome’s imperial age, meticulously arranged to offer a chronological journey through time.

Among the museum’s most striking exhibits are the sculptures and busts that once decorated the palaces of the Roman elite. Many of these pieces depict emperors and deities, reflecting the artistic and political trends of the ancient world. The museum also showcases intricate mosaics and frescoes, some of which adorned the grand halls of the imperial residences. These artworks display mythological scenes, floral motifs, and geometric patterns that highlight the exceptional craftsmanship of Roman artisans. Architectural fragments such as marble reliefs, decorative friezes, and ornately carved column capitals provide a glimpse into the architectural splendor of the Palatine’s structures.

In addition to grand artistic displays, the museum also houses a fascinating collection of everyday objects, including pottery, tools, jewelry, and household items. These artifacts offer insight into the daily lives of those who lived on the Palatine Hill, from emperors and aristocrats to servants and craftsmen. One of the most compelling exhibits is a detailed model of the Palatine Hill as it appeared in antiquity, allowing visitors to better understand the layout and evolution of this historic site.

Domus Tiberiana

Although much of the vast structure of the Domus Tiberiana lies in ruins today, the remnants of its grand courtyards, towering halls, and expansive terraces continue to evoke the immense power and wealth of the Roman emperors. This palace not only reflected the might of the rulers who inhabited it but also cemented the Palatine Hill as the epicenter of imperial authority for centuries to come. Today you can look at its remaining structure as part of Rome Super Sites, along with all the other regular sites in the Palatine Hill and in the Roman Forum.

The Domus Tiberiana takes its name from Emperor Tiberius (r. 14–37 CE), the successor of Augustus and the second emperor of Rome. A complex and enigmatic figure, Tiberius was an experienced general and a shrewd statesman but also a ruler whose reign was marked by growing paranoia and isolation. Unlike his predecessor, who carefully balanced power with Republican traditions, Tiberius leaned into autocracy, consolidating authority under the emperor.

Tiberius did not originally seek power—he was forced into the line of succession after the premature deaths of Augustus’s grandsons. After assuming the throne, he expanded Rome’s military reach and left the treasury overflowing with wealth. However, his later years were overshadowed by accusations of tyranny and growing detachment from Rome’s political life, culminating in his self-imposed exile to the island of Capri, where he lived out his final years.

Although it is debated whether Tiberius himself initiated construction on the Domus Tiberiana, later emperors expanded it into one of the most magnificent palatial complexes on the Palatine Hill. The residence became a model for subsequent imperial palaces, symbolizing the unchecked dominance of the emperor over Rome.

Unlike the relatively modest House of Augustus, the Domus Tiberiana marked a shift toward grandiose imperial architecture. The scale of this residence is staggering—it extended across a significant portion of the Palatine, featuring multiple levels built into the hillside. The palace contained vast reception halls, opulent banquet rooms, luxurious private quarters, and administrative offices for the emperor’s inner circle.

One of the most striking aspects of the Domus Tiberiana was its massive substructures, which supported sprawling terraces and provided storage areas, corridors, and service rooms for the numerous slaves and attendants who maintained the palace. These subterranean levels reveal the complexity of palace life, where an unseen workforce ensured the emperor’s world functioned seamlessly.

Inside, remnants of intricate mosaics, painted stucco decorations, and marble-clad walls hint at the lavishness that once defined the palace. The architectural design was a mix of functionality and grandeur—offering spaces for both official ceremonies and private retreats. The upper floors of the palace were designed to maximize natural light, while the lower chambers, protected from the heat, provided cooler, more shaded rooms.

One of the most remarkable features of the Domus Tiberiana was its strategic position overlooking the Roman Forum. From its terraces, the emperor had an uninterrupted view of the political, economic, and religious heart of Rome. This vantage point was not merely aesthetic—it was a powerful statement of imperial authority, reinforcing the idea that the emperor was above and beyond the workings of everyday governance.

From here, rulers could observe public ceremonies, triumphal processions, and political gatherings. The sheer dominance of the palace’s position symbolized how the emperor’s presence loomed over Rome, both literally and figuratively. The Domus Tiberiana’s visual connection to the Forum reinforced the transition from a Republic, where power was distributed among senators, to an Empire where authority was centralized in the hands of a single ruler.

Although it was named after Tiberius, the Domus Tiberiana was expanded and modified by later emperors, including Caligula, Nero, the Flavian dynasty, and Hadrian. Each added new architectural elements, from additional wings to more elaborate decorative features. By the time of the Severan dynasty (2nd–3rd centuries CE), the palace had become one of the most dominant structures on the Palatine.

The residence continued to serve as a hub of imperial administration until the decline of the Western Roman Empire. During the medieval period, parts of the palace were repurposed, and later, the Farnese family used its ruins as a garden in the Renaissance. Today, visitors walking through its remains can still grasp the scale and ambition of Rome at its peak. Whether standing on its terraces overlooking the Forum or exploring its vast substructures, one cannot help but feel the weight of history embedded in its walls.

The Senate

The Curia Iulia, the Senate house of ancient Rome, is one of the most iconic structures in the Roman Forum and a central highlight of the special accesses of the Rome Super Sites in the Roman Forum. As the meeting place of the Roman Senate, it was the epicenter of political debate, legislation, and decision-making that shaped the course of Western civilization.

The Curia Iulia was commissioned by Julius Caesar in 44 BCE as part of his ambitious plans to reorganize the Roman Forum and create a more imposing and functional Senate house. It replaced the earlier Curia Hostilia, which had stood for centuries but was destroyed by fire during political turmoil. However, Caesar was assassinated before the building was completed, and it was left to his heir, Augustus, to finish the structure in 29 BCE. The new curia was named in honor of the Julian family, reinforcing Augustus’s connection to his adoptive father and emphasizing his role as the restorer of Roman traditions.

The Curia Iulia was the setting for some of the most crucial debates in Roman history. Within its walls, Senators gathered to discuss laws, military campaigns, taxation, and foreign policy. The political elite of Rome—consuls, tribunes, and other magistrates—would present their cases, argue over proposed reforms, and shape the future of the Republic and later the Empire.

Inside, visitors can still see the original marble flooring, dating back to the time of Diocletian (4th century CE), along with reconstructed wooden benches where senators once sat. The room was designed for acoustics and authority—the senators sat in rows along the sides, while the presiding magistrate or emperor would sit on a raised platform, ensuring order and control. Unlike the dramatic portrayals in movies, Senate meetings were often highly structured, with strict rules on speaking time and order of business.

One of the most famous events associated with the Curia was the assassination of Emperor Domitian in 96 CE, orchestrated by senators and palace officials. Though Julius Caesar was not killed inside the Curia Iulia (he was assassinated at the Curia of Pompey), the Senate house remained a place where emperors and politicians faced both triumph and betrayal.

Unlike many other structures in the Forum, the Curia Iulia is remarkably well-preserved. This is largely due to its conversion into a church in the 7th century. Pope Honorius I (r. 625–638 CE) transformed the Curia into Sant’Adriano al Foro, dedicating it to Saint Hadrian of Nicomedia. This repurposing helped protect the building from being quarried for materials, as many other ancient structures were during the Middle Ages.

Later, during the 19th and 20th centuries, extensive excavations and restorations were carried out, returning the Curia to a form closer to its original Roman appearance. The thick brick walls, an austere yet imposing design, and its relative lack of ornate decoration (compared to temples or basilicas) contributed to its survival.

Santa Maria Antiqua

Santa Maria Antiqua, located at the base of the Palatine Hill, is one of the Colosseum Super Sites that connects visitors with Rome’s early Christian history. Built in the 6th century, it houses an extraordinary collection of frescoes that span the transition from pagan to Christian Rome. Inside, layers of paintings reveal the city’s evolving religious landscape, making it one of the most significant repositories of early medieval Christian art in Rome.

The church was originally adapted from a pre-existing structure, likely a 1st-century imperial building, possibly part of the vast palace complex of Emperor Domitian. Its location within the Roman Forum is significant, as it represents the transformation of the heart of ancient Rome into a Christian center. By the 6th century, Rome was under Byzantine rule, and Santa Maria Antiqua became a crucial religious site, closely linked to the Eastern Christian tradition. Byzantine influences are evident in its art, particularly in the depiction of Christ Pantocrator and the extensive use of gold backgrounds in some frescoes.

The church is particularly renowned for its frescoes, which date from the 6th to 9th centuries and provide a rare visual timeline of changing artistic and theological perspectives. Among the most important is the fresco of the Virgin Mary as the "Regina Coeli" (Queen of Heaven), a significant image in early Marian devotion. The apse features a striking depiction of Christ Pantocrator, a common theme in Byzantine art that emphasizes Christ’s divine authority. Other frescoes depict saints, martyrs, and scenes from the Old and New Testaments, including the rare representation of the "Palimpsest Wall," where multiple layers of frescoes overlap, illustrating the evolving styles and iconography over centuries.

Santa Maria Antiqua was an important papal chapel during the 8th century, particularly under Pope John VII (705–707), who commissioned significant restorations and added a cycle of Marian frescoes. However, its prominence was short-lived. In 847 AD, a devastating earthquake struck Rome, causing landslides from the Palatine Hill that buried the church under debris. With its destruction, Santa Maria Antiqua was abandoned and largely forgotten.

For over a thousand years, the church remained hidden beneath the ruins of the Forum until its rediscovery in the early 20th century. Archaeological excavations revealed its remarkably well-preserved frescoes, offering an unparalleled glimpse into the artistic and religious transformations of early medieval Rome.

Aula Isiaca

The Aula Isiaca, a sanctuary dedicated to the Egyptian goddess Isis, is one of the most intriguing sites on the Palatine Hill and a hidden gem among the Rome Super Sites. Dating to the late 1st century BCE, this underground hall is a remarkable example of Rome’s fascination with Egyptian religion and aesthetics, reflecting the deep cultural exchanges between Rome and the eastern Mediterranean.

The exact purpose of the Aula Isiaca remains uncertain, but scholars believe it may have served as a private sanctuary for the worship of Isis, possibly for an elite Roman family with strong ties to Egyptian religious traditions. Its name, meaning "Isiac Hall," reflects the association with the widespread cult of Isis, which had gained immense popularity in Rome following Augustus’ conquest of Egypt in 30 BCE. The Romans, particularly the aristocracy, embraced eastern religious practices, incorporating them into their personal and spiritual lives. Worship of Isis, with its themes of rebirth, mystery, and divine protection, resonated deeply with Romans seeking deeper spiritual connections.

The Palatine Hill, the political and religious heart of Rome, was home to the most powerful individuals in Roman society, including emperors. The presence of the Aula Isiaca in this prestigious location highlights how Egyptian influence permeated even the highest levels of Roman culture. The sanctuary’s frescoes, painted in the Third Pompeian Style, are particularly striking. The walls are adorned with delicate architectural designs that mimic Egyptian temple facades, interwoven with intricate decorative elements such as stylized plants, winged creatures, and sacred vessels associated with Isis worship. The dominant hues of deep red, ochre, and golden yellow evoke the mysticism of Egyptian religious imagery while still maintaining a distinctly Roman artistic style.

Despite its Egyptian motifs, the Aula Isiaca was later overshadowed by imperial construction. In the late 1st century CE, Emperor Domitian built his vast Domus Flavia palace complex over the site, incorporating the hall into its foundations. This accidental preservation beneath later structures helped protect its delicate frescoes, allowing modern visitors to admire a rare example of early Roman-Egyptian artistic fusion.

The Aula Isiaca is more than just a beautifully decorated space—it is a testament to Rome’s ability to absorb and reinterpret foreign traditions. As Rome extended its empire into Egypt, fascination with Egyptian gods, symbols, and rituals grew among the elite. Egyptian-influenced art and architecture became fashionable in both private villas and public spaces, demonstrating how deeply interconnected Roman and Egyptian cultures had become. The spread of the Isis cult also carried political significance, as the goddess was seen as a divine protector, a role that emperors sought to associate with themselves.