Benevento - Arch of Trajan
The best-preserved Roman triumphal arch outside Rome, marking where the Via Appia met the Via Traiana. Local Aglianico and Falanghina wines are excellent and underrated.
A Wine Memories experience · winememories.fi
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This is the best-preserved triumphal arch in the world with full sculptural decoration — 15.60 meters of Parian marble quarried from the Aegean island of Paros. But what nobody tells you is that this arch on Corso Garibaldi, Benevento (41.1325°N, 14.7792°E) was bricked into the city walls for over 1,200 years. Lombard invaders in the 6th century turned Trajan's golden masterpiece into a functional city gate, calling it Porta Aurea (Golden Gate). The walls weren't demolished until 1850 — when Pope Pius IX came to visit and the city scrambled to unbury the arch to impress him. Stand beneath the vault and look up at the coffered ceiling — dead center is a relief of the Emperor Trajan being crowned by the goddess Victory. Now face north and find the panel on your LEFT inside the arch: it shows Trajan distributing bread to poor children as part of the alimenta — Rome's first child welfare program. Free to approach any time.
🔄 BACKUP: If the arch is lit up for a nighttime event, the marble takes on a completely different character under warm light — possibly more dramatic than daylight. Come twice if you can.
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In 88–89 AD, Emperor Domitian built a full Temple of Isis right here in Benevento — and he shipped the granite for its twin obelisks directly from Aswan, Egypt, 3,000 kilometers away. Walk 400 meters west from the arch along Corso Garibaldi into Piazza Papiniano (41.1310°N, 14.7760°E) where the 5.39-meter pink granite obelisk stands — you cannot miss it. The inscriptions dedicate the obelisks to 'Isis the Lady of Benevento' — which means this southern Italian city worshipped an Egyptian goddess so fervently that the emperor paid for proper Egyptian stone to honor her. Benevento has MORE original Egyptian artifacts in situ than anywhere else in the Western world. Touch the pink granite — Aswan granite from the source of the Nile. Look at the hieroglyphs still incised in the stone. This obelisk has stood here for 1,937 years without moving.
🔄 BACKUP: If the piazza is busy with market stalls, circle the obelisk to the south face — the hieroglyphs there are more legible. The Museo del Sannio is 5 minutes on foot and has the twin obelisk plus Roman and Egyptian artifacts from the temple.
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Aglianico del Taburno DOCG. The Samnite people — who lived here before Rome even existed — were cultivating Aglianico on these volcanic slopes in the 7th century BC. The wine they drank was described by ancient philosophers as having 'a slightly smoky aroma and an intense resinous scent.' That's Aglianico del Taburno. It got DOCG status in 2011 — the same level as Barolo and Brunello — and almost nobody outside Italy has noticed yet. Order by name at Taverna Paradiso, in the side streets just off Corso Garibaldi (41.1305°N, 14.7768°E). Pair it with orecchiette con ragù di cinghiale (wild boar pasta) or black pork meatballs. The tannins in the wine cut through the fat exactly as they did for Roman legionaries camping in these hills 2,000 years ago. For the cellar experience: drive 15 minutes west to Fontanavecchia (Via Fontanavecchia snc, 82030 Torrecuso, call ahead: +39 0824 876275) and ask Libero Rillo to open the Vigna Cataratte — tell him you want to understand what the Samnites were drinking before Rome arrived.
🔄 BACKUP: Ask for Falanghina del Sannio DOC as an alternative — this white grape's very name ('falang' = vine stake) has been used on these hills since the Samnites. The two wines together — the smoky white and the tannic red — are the complete Benevento story in two glasses.
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In 1860, Carmine Alberti had just been released from a Papal State prison — his crime was disagreeing with the governor. He and his son Giuseppe took his spice merchant knowledge and created a liqueur from 70+ secret herbs and saffron from around the world at SpazioStrega museum (Largo Giuseppe Alberti 14, Benevento, 170 meters southwest of Benevento train station). They named it Strega (witch) because Benevento was Europe's witch capital — from the 13th century onward, 2,000 sorceresses were said to gather under a walnut tree here for sabbats. The yellow color comes entirely from saffron, not artificial dye. Reserve a tour online (call +39 0824 50 102 or book via spaziostrega.it) to stand inside the original 1860 distillery, still using its swan-neck copper stills. Find the antique wooden cabinet containing the handwritten secret recipe — it looks like something from a medieval apothecary. End with a tasting: Strega neat, then in a shot glass with espresso.
🔄 BACKUP: If the museum is full, the Strega store (also at this address) sells bottles and does informal sampling at the counter. The story is the same — you're still inside the original 1860 building where this all began.
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In 126 AD — twelve years after the Arch of Trajan was completed — Emperor Hadrian built THIS theatre for 10,000–15,000 people. The Roman Theatre at Piazza Ponzio Telesino, Rione Triggio, Benevento (41.1304°N, 14.7710°E) is 90 meters in diameter and still used for concerts. The story of how it came back to public use is almost as good as the theatre itself: in 1890, architect Almerico Meomartini looked at this buried hill of rubble in the city center, figured an ancient theatre might be underneath it, and started excavating — entirely at his own expense. He was right. Buy your €5 ticket, then walk to the top of the cavea (seating bank) and look down at the stage. Imagine 15,000 Romans filling those stone steps. Check the theatre's event schedule before you visit (benevento.beniculturali.it) — if there's a concert during your stay, the €15–25 event ticket replaces the museum entry and delivers the theatre as Hadrian intended it: full, loud, under the stars.
🔄 BACKUP: If the theatre is closed for a private event, the view from Piazza Ponzio Telesino into the open-air structure gives you the arc of the cavea for free. The ongoing excavation areas visible from the perimeter are evidence the theatre isn't finished revealing itself yet.