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Abstract: ROME 1793: ARTIST’S STUDIOS IN THE DIARY KEPT BY SOFIA ALBERTA OF SWEDEN DURING HER TRAVEL The article focuses on the issue of “artist’s studios” in Rome at the end of the Eighteenth century. The purpose of this research is to trace the social practices of the time while considering the presence of the very artists amidst the urban and social context of the city dwelling through a close comparison of archive data (post mortem inventories, estates, etc.) as well as the retraceable descriptions found in the literature. The research begins with the daily chronicles of Sofia Albertina, the sister of Swedish King Gustave III, visiting Vatican City while in Rome between January and June 1793. The “details or news of the coming and stay in Rome of H. R. M. Sofia Albertina, princess of Sweden, and Abbess of Quedlimburg under the pretended name of Countess of Wasa” were published in the “Diary of Rome” of that current year. The latter form a precious document that allows one the measure the amount of time and fortune that certain artists had, once as soon as they got into the entourage of the Ruling Lady’s tour. Some of the names highlighted in the 1793 Journal, as a matter of fact, belong to the artistic chronicles of the 70’s, yet they still mountain a fascinating curiosity some twenty years later for a foreign visitor who knows of them through the fame obtained in Europe’s Ancien Regime. What really furnishes evidence of the safeguarded and continuous cultural legacy that held well beyond those unavoidable fractures that were to define irreparably the political equilibrium in 1793, is the perfect chronological timing, at the turn of the century, with which this visit came about. A great deal of the artist studios that Sofia Albertina visited, still constituted, a century later, tangible art business in both Jacobin as well as Papal Rome. This fact appears in the index of the Permanent Artists Catalogue, or presently living in Rome, appearing in chronological order by Giovanni gherardo de Rossi, published within the “Roman Encyclopedic Memories on fine arts” of 1808. Furthermore, through the readings of the archival documentation, be it the published data as well as the previously unreleased materials, the following research attempts to spot certain aspects of what may be defined as a studio. In addition to that, to verity the possibility of defining these working spaces thanks to the descriptions that can be found regarding these laboring and producing facilities that hosted painters and sculptors of the like of Jacob More, Carlo Labruzzi, Alexander Trippel, Albacini and others. Besides the various keys of interpretations adopted, pointing out to either detail just as well as an ampler vision of the artistic production in consideration of the domineering cultural ideology, this work attempts to reconstruct the studio geography as if it were a space to itself, comprising the relation of these areas with the daily life of the city.