Arriving at the Capitoline Hill during my recent visit to Rome, I spent a morning at the Capitoline Museums, widely considered the oldest public museums in the world, to see an exhibition dedicated to Giorgio Vasari.

Although I had heard of Vasari before, I knew very little about him beyond his name. Born in 1511 in Arezzo, which at the time formed part of the Grand Duchy of Tuscany, he trained in Florence, where he studied in the workshop of Andrea del Sarto and was strongly influenced by Michelangelo. He also benefited from the patronage of the powerful Medici family.

One of the most influential and prolific Mannerist artists of his time, Vasari was a leading figure of Mannerism, the artistic style that emerged in the later phase of the Renaissance. He was also an architect; one of his most important designs was for the Uffizi in Florence, originally intended as administrative offices for the Medici and now one of the world's most important art museums.

Today, Vasari is perhaps better known for his role as a biographer and early art historian than for his own artistic work. His writings, particularly The Lives of the Most Excellent Painters, Sculptors, and Architects, published in 1550, helped shape the very idea of Renaissance art history and remain a key source for understanding the artists of his time.

Entering Palazzo Caffarelli

The exhibition was housed in Palazzo Caffarelli, a beautiful setting that seemed perfectly suited to the subject. As I moved through the rooms, it often felt difficult to separate the exhibition from the building itself. Ancient sculptures, architectural fragments and artworks blended naturally into the historic surroundings.

Rome as a place of learning

What interested me most was discovering how important Rome was in shaping Vasari's way of thinking. When he first arrived in the city in 1532, he spent much of his time drawing and studying what he saw around him. The exhibition showed how he carefully observed ancient ruins, classical sculptures and the works of great Renaissance masters. It became clear that drawing was much more than simply recording an image; it was his way of learning, analysing and understanding.

Looking at his sketches and drawings, I was struck by how alive they felt. Rather than finished works, many seemed like visual notes, capturing ideas and observations as he encountered them. They gave me the impression of someone constantly learning and trying to make sense of the artistic world around him.

Coffee above the city

Halfway through my visit, I took a break on the museum's terrace. With an espresso and a small snack, a mozzarella in carrozza, a traditional Roman fried sandwich made with breaded mozzarella that melts once cooked, I sat overlooking the rooftops of Rome. The view was spectacular. Domes, church belltowers and historic buildings stretched across the skyline, with the Great Synagogue right in front, while St Peter's Basilica stood out in the distance. It was a peaceful moment and a welcome contrast to the concentration required inside the exhibition rooms.

Sitting there, looking across the city, I began to understand why Rome had such an impact on artists like Vasari. Everywhere you looked, there were reminders of different periods of history existing side by side. The city itself felt like an open-air museum.

Understanding influence and observation

Back inside, the exhibition explored the artists who most influenced Vasari. Raphael's work stood out for its harmony and balance, while Michelangelo's art was more dramatic and powerful. Vasari had a close artistic relationship with Michelangelo, and the exhibition included letters they exchanged. Although Vasari never met Raphael, he regarded him as one of his greatest influences, and the exhibition highlighted his admiration for Raphael's compositional clarity and sense of balance, which shaped his own artistic vision.

What I found particularly interesting was that Vasari did not simply imitate these artists. Instead, he studied their work closely, compared their approaches, and developed his own understanding of what made great art.

A journey through time

As I continued through the exhibition, I followed the different stages of Vasari's relationship with Rome. Each return visit seemed to deepen his knowledge and refine his artistic style. Through paintings, drawings, letters and documents, it became clear that he was not only an artist but also an observer and thinker.

The idea of a method

By the end, the exhibition's subtitle, The Construction of a Method, made much more sense to me. Vasari's method was based on careful observation, comparison and reflection. Rome provided the perfect environment for him to develop this approach, which later influenced both his art and his famous writings about other artists.

Leaving the Capitoline Museums

When I left the Capitoline Museums, I found myself looking at Rome differently. The city was no longer just a collection of impressive monuments and historic sites. Through Vasari's eyes, it became a place of study, observation and continual discovery.

What I took away most from the exhibition was the idea that learning to look at the world with open eyes is an art in itself. The exhibition and the view from the terrace reminded me that understanding often begins with paying closer attention to what is right in front of me.

Vasari and Rome: The Construction of a Method runs at Palazzo Caffarelli, Capitoline Museums, until 19 July 2026.