JUBILEE 2025

In 2025, the Church will celebrate the Jubilee, the holy year that the Pope has convoked periodically since 1300 and which marks an important milestone for the Catholic Church. It will be a major media event and the city of Rome will be a destination for millions of pilgrims from all over the world. The interval between Jubilees has changed several times throughout history, but it is now 25 years: the last Jubilee before the next so-called 'ordinary' one was in the year 2000. While the event will be 'ordinary' according to the Church's definition, it will certainly be an extraordinary year for the capital.

The Appian Way is a famous road that for millennia has been travelled by merchants and pilgrims, armies and kings, aristocrats and artists: a kaleidoscope of characters who have defined the image of the Romans throughout the world. Everyone knows that all roads lead to Rome, but if there is one road in the capital that holds more wonderful surprises for travelers than any other, it is the Appian Way, especially the section at the end (or the start, depending on your direction): this is the part protected by the Appian Way Regional Park, itself a repository of incredible monuments, such as the Maxentius complex and the tomb of Caecilia Metella. The "regina viarum", the most famous of all Roman consular roads, connected the capital to Campania, then continued on to Brindisi, the port of departure of the crusades en route to Jerusalem. Today, the Appian Way deserves a tourist itinerary of its own. First of all because, unlike many other Roman cultural sites, this route is on the outskirts in relation to the historic centre: the Appian Way is the very first section of the consular road that you encounter as you leave the city, past Porta San Sebastiano. Thanks to the itinerary's slightly peripheral location, south of the city, you can immerse yourself in the lush countryside, dominated by the typical pines of the Lazio region and by large meadows and tree-lined hills. The Appian Way is also known for the incredible variety of its archaeological remains (such as the catacombs of Domitilla and San Callisto) and its religious monuments. Along a short stretch of road, ideal for walking or cycling on a sunny day, or even with the cover of a few clouds, stand ancient structures from the imperial era, flanked by Catholic churches of major historical importance, such as San Sebastiano fuori le mura. Together with the other six main Roman basilicas, this church expects to welcome thousands of worshippers on the occasion of the 2025 Jubilee. Aside from nature, faith and archaeology, the Appian Way also preserves the memory of an event in recent history: we are talking of the Ardeatine massacre, on 24 March 1944, which is commemorated by a touching mausoleum.

How many stories has Rome witnessed and how many faces does it have? To appreciate this, you could review all its masterpieces that weave together the legacies of Imperial and Papal Rome, bearing the signatures of illustrious names in art and architecture, and sometimes harbouring curious legends. In Rome, even a small stretch of road is enough to reveal the countless events that have shaped the Eternal City since ancient times. This itinerary, for example, explores the section of the city that stretches from the Colosseum to the Basilica of San Giovanni in Laterano, "the mother of all churches", over approximately 1.5 km. Along this short but intense path, which intertwines archaeology and spirituality, we stop at the wonderful Basilica of San Clemente, with its underground chambers, and the complex of the "Santi Quattro Coronati" (the "Four Holy Crowned Ones"), isolated above the streets of Celio.

The Via Ostiense, the road that runs between Rome and the Lido di Ostia, was for centuries the umbilical cord of the City. Together with the Tiber, it had the task of guaranteeing the supplies of the largest metropolis of the ancient world by connecting it with the port of Ostia, a populous city of which today, in the Archaeological Park of Ostia Antica, ruins remain that are as vast as they are fascinating. Ships loaded with goods of all kinds landed in Ostia and salt was produced, a rare and precious commodity at that time: in the early Middle Ages, the very presence of the salt pans favoured the birth of a new town, the village of Ostia Antica, custodian of the relics of St. Monica and St. Aurea, and soon the seat of an important diocese. In the same period, the opening in the Aurelian Walls from which the Via Ostiense originates changed its name: from Porta Ostiensis it became Porta San Paolo. This development reveals that the Via Ostiense, once Rome fell, acquired importance mainly for the memories linked to the figure of St. Paul, his martyrdom and his burial, which took place in the Necropolis of Ostiense. On his tomb, already in the time of Emperor Constantine, the Papal Basilica of St. Paul Outside the Walls was founded, the second-largest church in Rome after St. Peter's in the Vatican, where one of the four Holy Doors that are opened during the Jubilee is located. Under the Papal Altar, the tomb of St. Paul was rediscovered, now visible to the faithful, a place of deep veneration. It was on the Via Ostiense, tradition has it, that St. Paul and St. Peter met for the last time as they were being led to martyrdom. A plaque at no. 106 on the Via recalls that the two apostles supposedly embraced at what is now the Centrale Montemartini, one of Rome's most fascinating museums, an example of a dialogue between industrial archaeology and ancient art. It is no coincidence that the church of EUR, the Roman quarter designed in the fascist era along the Via Ostiense in view of the 1942 Universal Exhibition, is dedicated to both saints. Even before the EUR took shape, the Via Ostiense, now insufficient to withstand the traffic between Rome and the Lido di Ostia, was flanked by new fast roads and even by a railway, the Roma-Lido, which also starts from Porta San Paolo and ends between the pine forest and the beaches of Castel Fusano. A little further south are the beautiful beaches of the Cancelli, perfect for regenerating body and spirit in contact with a still authentic nature.

The Vatican is the smallest sovereign state in the world. It is also the state with the world's most famous sacred and artistic treasures, first and foremost St Peter's Basilica. It is the very heart of global Catholicism, which in itself is already awe-inspiring. But we are also standing in front of the most magnificent and spectacular basilica in Italy, where everything is awe-inspiring, from the large square enclosed by Gian Lorenzo Bernini's colonnade, to the majestic façade crowned by Michelangelo's iconic dome. Both outside and inside, the St Peter's complex is both a huge museum of art, expressing the pontiffs' predilection for statues, paintings, furniture and architecture, and also a historic monument created by centuries of artistic genius, containing masterpieces by great names including Michelangelo and Bernini. Then there are the Vatican Museums, which we could define as "the most magnificent museum of the Eternal City": 7 kilometres of exhibition space filled with priceless treasures and sculptures, the Sistine Chapel, decorated by Michelangelo, the four rooms by Raphael and the beautifully-kept Italian Gardens. In the Jubilee years, St Peter's (together with the three papal basilicas of St John Lateran, St Mary Major and St Paul Outside the Walls) is one of the "major" churches, sites of the Holy Doors, which are only opened by the Pope for the duration of the entire Holy Year. St Peter's Basilica is also a station in the Pilgrimage of the Seven Churches, a religious journey started by St Philip Neri in the 16th century. This Jubilee tradition covers a route of 25 kilometres through Rome, passing through the Roman countryside, the Catacombs and some of the city's magnificent basilicas (St John Lateran, St Mary Major, St Paul Outside the Walls, St Lawrence Outside the Walls, Holy Cross in Jerusalem and St Sebastian Outside the Walls).

The Esquiline district takes its name from the highest of the seven hills on which the capital stands, occupying the north-eastern slope. You are outside the real monumental centre, but the urban fabric is thickly dotted with monumental archaeological remains. In the shadow of this solemn millennial heritage, sometimes kepts in museums and more often incorporated into the hustle and bustle of the contemporary city, the city is changing and being changed. The streets and squares of the district, organised at the end of the 19th century in the aftermath of the Unification of Italy, gradually appear more cosmopolitan and lively as you approach Piazza Vittorio, the heart of the district populated by communities from all over the world. The metropolitan atmosphere continues, beyond the tracks of Termini station, in the popular district of San Lorenzo, colonised by students from the nearby La Sapienza University. Perhaps it is the proximity to the station, but the two districts are laboratories in constant transformation, and a stroll through their streets offers a true sense of what it means to live in Rome. Besides Piazza Vittorio, the other centrepiece of the Esquiline district is the basilica of St. Mary Major which, with its dome visible from a distance, is also a visual landmark of the district. Raised to the rank of a papal basilica, St. Mary Major is one of the stations in the Pilgrimage of the Seven Churches, created by St. Philip Neri in the 16th century. The walk, about 25 kilometres in length and completed over two days, includes another Esquiline basilica, the Basilica of the Holy Cross in Jerusalem: to reach it, head down the Via Merulana, the street of Gadda's "ugly mess" and the popular Teatro Brancaccio, which during the Jubilee is traversed by a traditional procession. The Basilica of the Holy Cross in Jerusalem stands in an area of the district with a very high density of ancient remnants, the most impressive of which is perhaps the very long section of the Aurelian Walls, here beautifully preserved and culminating in the majestic Porta Maggiore. Finally, you reach the San Lorenzo district, beyond the station, where another station in the Tour of the Seven Churches is located: the Basilica of St. Lawrence Outside the Walls, founded by none other than Emperor Constantine in 330, which watches over the dead of the nearby Verano, Rome's monumental cemetery.

In 2025, the Church celebrates the ordinary Jubilee, the holy year that the Pope has convoked periodically since 1300 and which marks an important milestone for the Catholic world. To obtain an indulgence, the faithful go on a pilgrimage to Rome, and when they arrive, they must go to confession, receive communion, pray and perform a work of piety, mercy or penance. The places where these acts of faith are performed are the Jubilee Churches. In Rome, the most famous of these are St. Peter's, St. John Lateran, St. Paul Outside the Walls and St. Mary Major, but there are also other Jubilee churches in the city. For the 2025 Jubilee, Pope Francis has opened 13 churches as meeting points for pilgrims and for catechesis in different languages, some of which are not widely known. Let's discover them, one by one, as if we were on a journey, step by step towards the heart of the city.

The heart of the Catholic world, St. Peter's Basilica is the most majestic basilica in Christianity, built on the site where St. Peter was buried. Covering an area of 22,067 square metres, it is 218 metres long (including the portico) and 136 metres high from the ground to the cross on the dome. The ancient imperial basilica was built by Constantine on the burial site of the apostle Peter. Like many other early Christian churches, it was left in a state of decay until the 15th century when, first by the decision of Nicholas V and then under the pontificate of Julius II, reconstruction work began in 1506, following a design by Bramante. Following Bramante's death, other famous architects followed, including Michelangelo, commissioned at the age of 72 in 1547, who simplified Bramante's original design and created what was to be his absolute architectural masterpiece: the dome. Unfortunately, Michelangelo died before seeing it finished, and it was left to Giacomo della Porta and Domenico Fontana to complete it. The façade of the basilica, made by Carlo Maderno in 1614, can now be seen in its original colours after careful restoration in 1999. Preceded by a three-tiered staircase, it is divided by eight columns and pillars that support a trabeation crowned by a balustrade. The central balcony above the portico is the Loggia of Blessings, where the pope blesses the city and the election of the new pontiff is announced. Michelangelo's dome is an immense double-shell structure covered in mosaics. Five bronze doors serve as the entrance to the basilica: the last on the right is the Holy Door, which is only opened in Jubilee years, the middle door has magnificent panels taken from the Constantinian basilica, created by Filarete (1439-45). The doors in the other entrances are modern; the last one on the left (the Door of Death) is by Giacomo Manzù. In the central nave, near the door, is the disc where Charlemagne and the other emperors knelt to be crowned by the pope. The bronze statue of St Peter, probably from the 13th century, ushers in the grandiose area below the luminous Michelangelo dome, supported by four pillars, at the base of which stand the statues commissioned by Urban VIII. Above, four Bernini balconies hold precious relics of the Church. An ideal view of the interior and the perception of space and proportions can be captured well from here, near the papal altar. In the middle, above the altar, rises the bronze Baldachin by Bernini (1624-33), who, according to popular opinion, melted down the Pantheon bronzes to make it. Francesco Borromini also collaborated on the architectural features of the majestic structure (29 metres in height). Barberini's bees rest among the tendrils of the twisted columns, while above, four angels hold festoons and four volutes are joined to support a golden globe surmounted by the cross. Behind the altar, in the apse, the background is occupied by the Chair of St Peter, by Bernini (1656-65), which is a large gilded bronze throne supported by four 5 m tall statues of the church fathers. To the right of the throne is the monument of Urban VIII by Bernini (1627-47) and to the left, that of Paul III by Guglielmo della Porta (1551-75). In the passage between the third and second chapels in the left nave, stands the gilded bronze tomb of Innocent VIII by Pollaiolo (1498), which was moved from the ancient basilica in 1621. In the left transept, in the Madonna delle Colonne Chapel, a marble altarpiece by Alessandro Algardi (The Meeting of Leo the Great and Attila, 1646–50) stands above the altar with the pope's relics. In the next arch is the funeral monument of Alexander VII (1672–78), a lavish work by Bernini in polychrome marble. Halfway down the nave, the Presentazione Chapel houses two of the basilica's most recent works: monuments to John XXIII by Emilio Greco (right) and to Benedict XV by Pietro Canonica (left). Under the next arch are monuments to the Stuarts, designed by Filippo Barigioni, and a somewhat erotic memorial stone by Canova in the form of a stele (1817–19). The lid of an ancient porphyry sarcophagus, possibly belonging to tomb of Hadrian and later to that of Otto II, forms the basin of the baptistery. In the first chapel of the right nave we find the beautiful and touching marble group of Michelangelo's Pietà, which has continued to impress for centuries and is the only work that bears Michelangelo's signature (you will find it on the band across the Virgin's chest). It is a youthful work by Michelangelo (1498-99): he was only 23 when he created it, but already in full possession of his technical virtuosity and expressive maturity. On the pillar immediately after the Pietà is the funeral monument to Christina of Sweden by Carlo Fontana. Continuing on, you arrive at the chapel of San Sebastiano, which houses the tomb of Pope John Paul II and, then, to the opulent baroque Blessed Sacrament Chapel with works by Bernini, Borromini and Pietro da Cortona. Beyond the chapel, near the imposing monument of Gregory XIII, Camillo Rusconi, you will find the tomb of Gregory XIV. In the right transept, the monument to Clement XIII (1784–92), with the statue of the pope kneeling in prayer, is one of the most accomplished pieces of work by Antonio Canova.

St. Mary Major stands slightly elevated with respect to the street layout of the Esquiline district and, in addition to being a station in the Pilgrimage of the Seven Churches , it is one of the six papal basilicas of Italy, which are of particular importance within the Catholic Church. Most likely founded in the 5th century by Pope Sixtus III, it is the only one of the great Roman basilicas to preserve the original early Christian structure, divided into three naves separated by 36 columns. The precious mosaics that can be admired in the nave also date back to the 5th century: the frieze decorating the trabeation, the 36 panels above it and the mosaic decorating the triumphal arch. The basilica also contains remarkable works from later periods. The grandiose mosaic in the apse, created by Jacopo Torriti (1295) and depicting the "Coronation of Mary", and the frescoes of the prophets in the transept, attributed to Pietro Cavallini, Cimabue or the young Giotto, date back to the 13th century. Three chapels house the tombs of illustrious individuals. Opened at the end of the 16th century, the Sistine Chapel of St. Mary Major preserves the remains of Popes Sixtus V and St. Pius V; opposite and aligned with the Sistine Chapel, the Pauline or Borghese Chapel, dating from the early 17th century, contains the tombs of Clement VIII and Paul V, surmounted by frescoes by Guido Reni. In the later Sforza Chapel (1564-73), designed by Michelangelo and built by Tiberio Calcagni and Giacomo Della Porta, high-ranking prelates are laid to rest. The 75-metre-high bell tower of the basilica retains its 14th-century Romanesque appearance and is connected with a peculiar custom of ringing a few bells every evening at 9:00 pm: this custom originated in the 16th century when, according to legend, a mysterious bell began ringing outside the canonical time to call out to a pilgrim who had strayed from the streets of Rome. For this reason, the bell itself is referred to "the Lost One".

St. John Lateran is the cathedral of Rome and is one of the stations, along with St. Peter's in the Vatican, St. Mary Major, St. Paul Outside the Walls, St. Lawrence Outside the Walls, the Holy Cross in Jerusalem and St. Sebastian Outside the Walls, of the Pilgrimage of the Seven Churches, a route started by St. Philip Neri in the 16th century. Dedicated to St. John the Baptist, St. John the Evangelist and the Most Holy Saviour, the Basilica of Saint John Lateran was built between 313 and 318 at the behest of Constantine on top of previous buildings and subsequently restored several times. Domenico Fontana, at the time of Sixtus V, added the loggia delle benedizioni, while Francesco Borromini worked on the naves between 1646 and 1657. Between 1732 and 1735, Alessandro Galilei created the imposing façade surmounted by fifteen 7-metre statues of Christ, St. John the Baptist, St. John the Evangelist and the Doctors of the Church. In the portico, the main entrance has bronze doors originating from the Roman Curia, while the last door on the right is the Holy Door, opened only in Jubilee years. The vast interior, designed by Borromini, is 130 metres long, has five naves, a Cosmatesque floor and a 16th-century wooden ceiling. Also by Borromini are the 12 aedicules located along the central nave, which house huge statues of the apostles. The monumental tabernacle, dating from 1367, houses the relics of the heads of Saints Peter and Paul. On the apse, rebuilt in the 19th century by Francesco Vespignani, can be seen the wonderful mosaic by Jacopo Torriti created at the end of the 13th century depicting Christ and the heavenly Jerusalem: the four rivers flowing from the jewelled cross in the centre represent the Gospels, and the sheep and deer quenching their thirst symbolise the faithful. Finally, the cloister, on small paired columns, was built between 1215 and 1232 by the Vassalletto family and is an admirable example of Cosmatesque art.

Founded in the 7th century, the church of San Salvatore took the title "in lauro" (at the laurels) because of the many laurel trees growing in the surroundings. Rebuilt in the mid-15th century, with an adjoining convent, it was destroyed by fire in 1591 and rebuilt in 1594 to a design by the Bolognese architect Mascherino. It became the "national church" of the Marche people in Rome following its acquisition by the Pius Sodality of Picentini. The construction was completed by Ludovico Rusconi Sassi, with the dome, bell tower and sacristy housing works by Nicola Salvi. Today, the cloister of the monastery complex regularly hosts cultural events.

The Papal Basilica of St. Paul Outside the Walls stands relatively far from the centre of Rome, outside the Aurelian Walls, as the church's name suggests. For visitors to the Eternal City, however, it is a site not to be missed. Not only is it the largest Roman church after St. Peter's (five naves, 65 metres wide, over 130 metres long), but it is also one of the oldest Christian basilicas, adorned with outstanding works of art: a beauty that also extend to the adjacent Benedictine Abbey of St. Paul Outside the Walls, with which the basilica forms a single complex. It is still the extraterritorial property of the Holy See, which is no wonder, since it is a place of fundamental importance for Christianity. It stands on the site where Saint Paul was buried, was commissioned by the Emperor Constantine himself and was consecrated by Pope Sylvester I in around 330. Rebuilt later in the 4th century, between 15 and 16 July 1823, it was destroyed by a fire that spared only the transept, the holy arch and part of the façade (which was, however, demolished). The basilica was promptly rebuilt with the same dimensions and floor plan, replicating the decorations where it was not possible to save the original ones. On the internal side of the right portal are preserved the bronze doors of the ancient basilica, which were cast in Constantinople in 1070. Inside, the masterpieces include the Gothic ciborium on the high altar, a 1284 work by Arnolfo di Cambio, possibly made with the help of Pietro Cavallini, the large mosaic on the apse, which dates back to the time of Honorius III (pope from 1216 to 1227, seen portrayed in minuscule form at the feet of the Blessing Christ), and the paschal candle stand, made in the 12th century by Nicolò di Angelo and Pietro Vassalletto. Mosaics from the medieval church can also be seen on the arch of triumph. Under the Papal Altar, the tomb of St. Paul and the remains of the Constantinian basilica were found. From the right arm of the transept you access the art gallery, with 16th-century Umbrian works and paintings by Bramantino and Cigoli. The splendid cloister is the work of the Vassalletto family, who completed it in the early part of the 13th century. Its twin columns are of different shapes, some with mosaic inlays, and it contains artefacts belonging to the ancient basilica and the Ostiense burial ground, a large necropolis that stretched between the cliff known as the Roccia di San Paolo, not far from the church, and the bend in the Tiber.

The Way of St. Thomas, which takes you from Rome to Ortona across the Apennines, cuts the peninsula in two while taking in an exceptional amount of heritage, landscapes, environments, two national parks (Gran Sasso and Maiella) and four regional parks: the Appian Way, Castelli Romani, Monti Simbruini and Sirente-Velino. The inspiration is the pilgrimage that St. Bridget of Sweden, co-patroness of Europe, made between 1365 and 1368 from the Basilica of St. Peter to the Cathedral of Ortona, which houses the relics of St. Thomas. The modern route revives this thousand-year-old tradition and is the result of the initiative of a group of young Ortonians, hiking enthusiasts, who in 2013 drew up this splendid "experiential" itinerary in order to promote their land. The 316-kilometre journey is organised into 16 stages, one per day: the average lengths vary from 25 kilometres (the flattest) to about 15 kilometres where the terrain is more challenging. On the Lazio side of the Simbruini mountains, you can reach the summit of the Way, on the 1855m Monte Autore, but the Abruzzo hinterland also offers challenging climbs and descents. For this reason, the Way of St. Thomas requires a degree of training and practice. In return, you have the opportunity to explore areas of unspoilt beauty rarely visited by tourists, like some of the villages affected by the 2009 earthquake, such as Fontecchio and Capestrano, now back to their former beauty. Among the stages linked to spirituality and Christianity, along the St. Thomas Way you can visit, in addition to numerous shrines, renowned places such as Castel Gandolfo, Albano Laziale and the admirable Subiaco, as well as lesser-known destinations, such as the Abbey of San Liberatore in Maiella, surrounded by greenery around Manoppello, or the Oratory of Saint Pellegrino in Bominaco, known as "the Sistine Chapel of Abruzzo". From a naturalistic point of view, the Camino will not disappoint you: in fact, it contains numerous surprises, including views from the Pagliare di Tione and the fairytale springs of the Lavino stream. Some locations, such as Subiaco, Rocca di Mezzo, Tagliacozzo, and Manoppello, which are well-served by public transport, can be used as a starting and finishing point for those who wish to complete only part of the route. The entire route is flanked by facilities dedicated to hospitality.

Along the approximately 300 km that make up the Way of St. Benedict, we will discover unique and authentic landscapes, places and villages that testify to the history of Italy. From the enchanting town of Norcia, passing through Subiaco where St. Benedict lived in retreat for about thirty years, until we reach Montecassino, the last stage of his life and the place that inspired the writing of the Rule of Saint Benedict. The way, of medium difficulty, winds along roads and drover's trails that once saw goods, pilgrims and travellers crowding the route and winds its way through Umbria and Lazio, almost reaching the borders of Campania. Before leaving, it is advisable to apply for the Credential, which certifies your status as a pilgrim and is required in most "pilgrim hostels". It is also an unmistakable symbol of your journey and a great souvenir. The Credential, which has a minimal printing and shipping cost, is available from the "Friends of the Way of St. Benedict" assocation. The route is divided into 16 stages, which take into account the difficulties of the journey, the presence of stopping points and the availability of accommodation.

The Cammino di Celestino is a "great" journey in stages in Abruzzo, which follows the pilgrimage of the old hermit of Maiella, Pietro Angelerio . In July 1294, Pietro, from the Hermitage of Morrone, on the back of a donkey and escorted by Charles of Anjou, reached L'Aquila to be crowned Pope with the name of Celestine V, in the Basilica of Collemaggio. Days of extraordinary changes that would leave an indelible mark on the Catholic Church. The Cammino Grande di Celestino is divided into more or less long and demanding routes. The longest one connects L'Aquila to Ortona, over a distance of 225 kilometres, for at least 13 days of walking. There are also less difficult variants, such as those starting from L'Aquila to Serramonacesca (170 kilometres, in at least 10 days) or that from Sulmona to Ortona (150 kilometres, in at least 9 days). The path was included in the Catalogue of Italian Religious Paths of the Ministry of Tourism and in 2023 the Touring Club Italiano certified the stretch of the so-called "Cammino classico" ("classic trail") of Celestino that we are reviewing here. You will pass through spectacular Abruzzo landscapes, dominated by Mount Morrone and Majella. We start from Sulmona and we arrive at Serramonacesca: 95 kilometres, 6 stages and as many days of travel. It can be walked at all times, except in the winter season so as not to run into snow, and of course, bringing all the equipment required for a mid-mountain walk. You'll be sure not to get lost, because the signs here are frequent and clearly visible.

Would you believe us if we told you that as you walk, you gradually pass through 3 European countries? The Via Romea Germanica, recognised as a European Cultural Route in 2020, is a route that runs for about 2,200 kilometres from Ausburg to Rome, crossing 3 countries: Germany, Austria and Italy. It consists of a long and exciting journey to discover the route taken in the Middle Ages by Abbot Albert of Stade. Did you know that he meticulously transcribed it in a "logbook" called Annales Stadenses? To discover all the secret stages of this route, grab your backpack and... let's go! From Ausburg, we cross Germany and Austria and then arrive in Italy. Here, we will visit Vipiteno, Bolzano and Bressanone, with the stunning beauty of the Dolomites, a UNESCO World Heritage Site. We will also visit the beautiful city of Trento with its Buonconsiglio Castle, before reaching the unspoilt Valsugana. We will then immerse ourselves in the enchanting landscape of the Euganean Hills, reaching the delights of Padua and then Ferrara , a UNESCO heritage site, with its Renaissance treasures. After stopping in Ravenna ,with its UNESCO World Heritage Byzantine wonders, the Way enters the Apennines and we will encounter the Casentinesi Forests , which will envelop us in a sense of peace as they lead us to beautiful Arezzo. Then Umbria will welcome us with its unique wonders, such as Lake Trasimeno and the city of Orvieto. Can you see it in the distance? We enter Lazio. The route rejoins the Via Francigena leading us to Civita di Bagnoregio and Viterbo, city of the Popes. One final effort... and we will arrive in Rome, at the spectacular St. Peter's Square. Our extraordinary journey through Europe ends here.

Rome is undoubtedly the central point of the Via Francigena, but the area around Latium traversed by pilgrims is full of lesser-known but equally fascinating places. Between nature, art, architecture and spirituality, here are five that are absolutely worth getting to know.

The pilgrimage is an opportunity to reconnect with yourself by walking in silence, sharing the fatigue with other travellers, opening yourself to the encounter and wonder of the beauty of natural landscapes and the work of humankind. On the occasion of the Jubilee 2025, the three main Vie Romee (Roads to Rome) have been reorganised to invite the faithful to recover this ancient practice and to arrive in Rome, at the tombs of Saints Peter and Paul, on foot or by bicycle. One of the three routes is the Romea Strata, the route that brought pilgrims from today's Baltic Republics, Poland, Bohemia and Austria to Italy in the Middle Ages. In reality, more than a road, the Romea Strata is a system of roads. The main Italian branch, known as Romea Allemagna, descends from Tarvisio through Friuli. At Concorda Sagittaria it veers to the west, continuing as the Romea Annia; in Veneto, it merges with "alternative routes" coming from Slovenia, South Tyrol, Verona and Bassano. It then continues into Emilia and Tuscany along the ancient Via Romea Nonantolana Longobarda, crossing the Apennines at the Croce Arcana Pass. At Fucecchio, it joins the Via Francigena, another main Via Romea, and follows it to Rome. It is therefore a very long route, of over 1000 km in length, with many places of interest along the way. It would take almost two months to complete it all. This itinerary is shorter and dedicated to the main branch of the route and will take you to a number of destinations, based on their religious and symbolic value and the importance historically attributed to them by pilgrims: Tarvisio, with the Sanctuary of Monte Lussari; Venice and Padua, where the relics of the evangelists Mark and Luke rest; Nonantola and its abbey, a key junction of the road that houses the remains of Saint Sylvester and other saints; Pistoia, where the Romea Strata theoretically meets the Way of St. James; and Bolsena, city of Saint Christina and the Eucharistic Miracle, already on the Via Francigena. These 6 destinations are officially among the jubilee sites of the Romea Strata and the section of the Francigena from Fucecchio to Rome. In each Jubilee site, those who arrive after having travelled two consecutive stages on foot or by bike can obtain a Miliarium, to be affixed to their Pilgrim's Credential. Once you have collected 3 Miliariums, on your arrival at the Vatican, you will receive the Testimonium that officially marks the completion of your pilgrimage. Other jubilee sites on the main route of the Romea Strata are Venzone, Concordia Sagittaria, Monselice, Montagnana, Badia Polesine, Fanano, Fucecchio, Abbadia San Salvatore and Bassano Romano; on the alternative routes there are Cercivento, Aquileia, Rovereto, Vicenza, Verona.