
More than just the North End: The very best Italian restaurants around Boston
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Carlo's Cucina Italiana
Carlo's Cucina Italiana
Jim Davis/Globe staff/File
Why hassle with the North End when there's Carlo's Cucina Italiana in Allston? This beloved and reasonably priced restaurant has you covered, with all the arancini, frutti di mare, and chicken parm your heart desires. Inhale lusty house specialties such as vitello Carlo (veal stuffed with artichoke hearts, fontina cheese, and prosciutto in tomato sauce) and ravioli Antonio (lobster ravioli with salmon in lemon vodka sauce) beside seaside murals, underneath a ceiling painted to look like the sky.
Address:
131 Brighton Avenue, Allston
Phone:
617-254-9759
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Coppa
Coppa
Brooke Elmore
A meat-lover's Italian paradiso, wedged into a quietish corner of the South End: Ken Oringer oversees a lavish, mainly-meaty menu offering salumi (the beef-heart pastrami is essential), pizza, and redolent, rich pork tagliatelle. The ideal second-date destination, complete with a mellow trattoria vibe.
Address:
253 Shawmut Avenue, South End
Phone:
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Delfino
Delfino
In Roslindale Square, look for the purple storefront with the gold stars: This is Delfino, a perfect neighborhood restaurant, always packed with regulars who know the longtime staffers by name. They swear by linguine loaded with seafood, Bolognese, and open-faced lobster ravioli, along with charmingly old-school dishes such as the Figgy Piggy, pork tenderloin with fig demi-glace, prosciutto, and garlic mashed potatoes. Bring the family, take a date, celebrate a birthday. It works for every occasion.
Address:
754 South Street, Roslindale
Phone:
617-327 8359
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Giulia
Giulia
Erik Jacobs
Consistency, excellence, and the pasta table: These are just a few of the reasons to love chef Michael Pagliarini's soulful, seasonal Italian restaurant near Porter Square. It's hard to come here and not get the pappardelle with braised wild boar, but everything on the menu is worth ordering … and then there are the specials. Whatever else happens, do not fail to order one of the wonderful desserts. And if you have a larger group, reserve the pasta table. By day, it's a surface upon which to make tagliatelle and agnolotti; by night, it's a place to eat it, as part of Pagliarini's carefully constructed tasting menus.
Address:
1682 Massachusetts Avenue, Cambridge
Phone:
617-441-2800
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La Padrona
La Padrona
Brian Samuels
A triumphant splurge in the new Raffles Boston hotel, La Padrona comes courtesy of Rialto legend Jody Adams. Ascend a striking staircase to a room that conjures a Fellini-era steakhouse, with secluded banquettes and muted lighting — lending everyone an air of mystery. Not muted is the food: tart charred cabbage drizzled with anchovy butter; pristine tuna crudo ringed in crispy chili peppers; and creamy, cheesy strands of tagliatelle with a zag of balsamic, properly poured tableside. This is Boston's newest big night out.
Address:
38 Trinity Place, Back Bay
Phone:
617-898-0010
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MIDA
MIDA
Erin Clark/Globe staff/File
Get yourself a chef who worked at Radius and Corton, find a sweet little room with a wraparound bar and an open kitchen, and craft a menu filled with handmade pasta: You've got a neighborhood winner. It's no wonder Douglass Williams' MIDA has expanded from its original South End location to Newton, Fenway, and East Boston. Even simple things like the mixed greens salad are done well. Don't miss Mangia Mondays, when $80 gets you five dishes of pasta (gluten-free options available), salad, and bread for two.
Address:
782 Tremont Street, South End, and other locations
Phone:
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Pammy's
Pammy's
Natasha Moustache
On the drinks menu: homemade limoncello and $5 Miller High Life. Such is Pammy's. Always classy, never pretentious. The staff cook and serve up the best Bolognese you've ever had, as well as cuts of meat and fish typically reserved for Michelin-starred spots, while also wearing jeans and cracking jokes like old friends. Come in and sit at the bar and order à la carte. Or make an evening of it with the prix-fixe, 'choose your own adventure' menu and sit with the fancy reservation folk in the back.
Address:
928 Massachusetts Avenue, Cambridge
Phone:
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SRV
SRV
Dina Rudick/Globe staff/File
This stylish wine bar pays tribute to the Serene Republic of Venice with pre-meal aperitivi and cicchetti (small plates), pasta made with hand-milled flour, and other Italian delights. With a spritz in hand, enjoy artichoke arancini, tonnarelli pasta tangled with asparagus and truffles, duck with chickpea pancakes, and gelati and sorbetto in an array of enticing flavors. The food, from chef Michael Lombardi (Del Posto, Si Cara) and team, is elegant but relaxed; the atmosphere at this restaurant from the Coda Group (Baleia, Gufo, The Salty Pig) is welcoming. Bonus: the beautiful back patio.
Address:
569 Columbus Avenue, South End
Phone:
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Tonino
Tonino
Gabby Riggieri
The Italian restaurant Jamaica Plain had been waiting for, Tonino is tiny, busy, and delicious. Reserve in advance to eat all the carbs from chef Luke Fetbroth (Giulia, Sarma): pasta dishes such as Taleggio cappelletti, bucatini with anchovy-chile butter, and cavatelli with sausage and broccoli rabe, but especially the excellent, focaccia-adjacent pan pizza. Add a salad to lighten things up, sip Lambrusco, and put a cap on the evening with some ricotta cheesecake.
Address:
669A Centre Street, Jamaica Plain
Phone:
617-524-9217
Find online:
Boston Globe Best of the Best
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It was believed Osiris presided over the tribunal that judged the soul, determining whether the person had been righteous enough to pass into immortality. PRIESTS One of the two sem, or funerary, priests is dressed in leopard's skin and wears a side braid, indicating his youth. The priests received the queen and were in charge of the funeral rites. If the judgment was favorable, the deceased began their ascent to rebirth with the sun god, Re. This transition involved a challenging journey during which the soul had to demonstrate certain knowledge and make offerings to the divine beings. The phases of this passage were detailed in the Book of the Dead. Nefertari's tomb was decorated and designed to help her on this journey, guiding the queen toward a full and happy life beyond death. The underground world of Osiris Nefertari's funeral ends with the transfer of her mummy to the burial chamber. This is symbolically the domain of Osiris, the god who embodies royal figures after death while simultaneously judging whether or not they are fit to enjoy immortality. Images of Osiris decorate the four pillars that support the room: On each pillar, he appears in human form and in symbolic form as the djed symbol. The mummy of Nefertari is put inside a large pink granite sarcophagus of which the lid, although broken, has been preserved. This sarcophagus is placed in the lower area of the room, which symbolizes the primordial earth, the origin of the world, and all that is in it. BURIAL CHAMBER The adjoining rooms to the burial chamber may have been used to store some of the queen's grave goods. Among the objects the looters didn't steal were various ushabti statuettes believed to magically come to life and work on behalf of the deceased in the fields of the afterlife. GUARDIANS Attendants armed with knives protect the portals of Osiris's kingdom. In the center is the lioness-headed guardian Qed-Her. To undertake the journey that led to her rebirth and eternal life, Nefertari needed the protection of various divinities also represented in the pillars of the chamber: the canid god Anubis and other protective goddesses, such as Isis, who offers her an ankh symbol. Images representing the first phase of the queen's journey to the afterlife appear on the side walls of the chamber. They depict the portals and caverns she had to navigate. To be allowed through, she has had to demonstrate that she knows the names of the portals' guardians. The names are written out to help her. (Archaeologists found another Egyptian royal tomb—but who does it belong to?) NEFERTARI BEFORE THE GODS Inside the burial chamber, the ceiling, decorated with a starry sky, is supported by four thick square columns. Nefertari, wearing a vulture headdress, is depicted accompanied by the goddesses Isis (front column). Osiris, god of the underworld, is portrayed on the back column. After completing her underworld tour, Nefertari ascended to the upper level via a stairway. It is a double staircase, with one side for the descent and the other for the ascent of the dead queen's spirit. She proceeds to the final stages of her regeneration in the rooms closest to the entrance. The decoration on the walls of the stairway reflects the journey from beyond the grave. After completing her underworld tour, Nefertari ascended to the upper level via a stairway. ANDREY PLAKSIN, At the bottom appears the sister of Osiris, Nephthys, kneeling over the hieroglyphic sign for gold, symbolizing the unalterable metal with which divine flesh, now including that of the deceased queen, was made. Above appears the canid god Anubis, guarding the tomb. Above Anubis is the cartouche on which the queen's name is inscribed. It is protected by a great winged cobra and, to the right of this, by the goddess Maat, who also has her wings spread out. Next are the goddesses Nephthys and Isis, seated on thrones. Standing before them is a depiction of Nefertari making offerings to Nephthys, Isis, and Maat as she requests their help in her ongoing journey. TRUTH AND BALANCE Behind the goddesses Nephthys and Isis, seated on their thrones, is the winged goddess Maat, protecting the cartouche that bears the queen's name. Maat was a very important divinity in Egypt, embodying the order and justice needed for the earth and the cosmos to function correctly. PAYING HOMAGE During her journey, Nefertari presents the goddesses with vessels of wine, a drink linked to the annual flooding of the Nile (because of the reddish sediments it carried), and with rejuvenation. The large offering table was laden with the food and drink that the deceased and the gods would need to live in the afterlife. Triumph over death The stairway leads to a vestibule that Nefertari passes through to reach the adjoining room beyond the west wall. To do this, she crosses the portal protected by the vulture goddess Nekhbet, patroness of Upper Egypt (in the south), a divinity closely linked to the queen who is also present in Nefertari's protective headdress that she wears in all the scenes of the tomb. It is in the vestibule that the nocturnal journey transitions to the diurnal journey. Nefertari passes in front of Selket and Neith, depicted on the side walls. In the company of the goddess Isis, Nefertari approaches the scarab-headed god Khepri, an allegory of the sun in its daily birth at dawn, and also linked to her journey toward rebirth. To the right of the doorway are Hathor, in her form of mistress or goddess of the west (the area containing the royal tombs on the west bank of the Nile), and Re-Horakhty, the morning sun, with the head of a falcon. COBRAS The entire space is protected by a frieze of cobras and ostrich feathers (symbol of Maat). An unnamed genie, kneeling on the first lintel, stops evil from entering and holds two circles incorporating the udjat (eye) of Horus, son of Osiris, a protective symbol believed to impart good health. VULTURE The vulture depicted on the other lintel embodies the goddess Nekhbet, with outspread wings. It holds in each of its claws the shen symbol, a knotted ring with no beginning or end. The shen was seen as a powerful amulet believed to offer eternal protection. WATER AND SKY The black stripe at the base of the walls symbolizes the black earth of Egypt that emerged from the primordial waters. This stripe contrasts dramatically with the stars on a blue background that cover the entire ceiling of Nefertari's tomb and evoke the dome of the sky. From the vestibule, the queen passes to the adjoining room, unaccompanied by any god. The most critical stages of the rebirth process occur in this room; once complete, she exits through the same door to enter the antechamber. This annex is also divided into two zones: the northwest half (the domain of Osiris) and the southeast half (the domain of the sun). THE GOD THOTH Nefertari stands before Thoth, god of writing and wisdom, depicted on a throne with the head of an ibis. In his right hand Thoth holds the sacred was scepter, with a forked base and topped with the head of a mythical animal. In his left hand he has an ankh symbol. In front of Thoth is a stand with a scribe's palette and a frog. ANDREY PLAKSIN, The division is determined by the back-to-back figures of Osiris, with green skin, and Atum, the setting sun. In this room, the queen makes offerings to various gods: Ptah, to whom she offers textiles so that she will be provided with the clothes she'll need in her afterlife; Thoth, who will give her the knowledge contained in speech and writing; and Atum. Perhaps the most vital panel of the whole sequence depicts a single green-skinned ram god in the form of a mummy. The figure combines the two divinities involved in the queen's rebirth: Osiris (expressed through the green skin) and Re (represented by the solar disk on its head). A hieroglyphic text confirms this identification: 'Osiris rests in Re' and 'It is Re who rests in Osiris.' (Nubian kings ruled Egypt for less than 100 years. Their influence lasted centuries.) OSIRIS AND ATUM Nefertari, holding a sekhem scepter, consecrates the offerings she presents to the god Osiris (left) and Atum, the evening sun (right). COWS AND OARS A representation of a spell in the Book of the Dead, this panel depicts seven divine cows and a bull. The queen would receive food from these when she was reborn. The oars in the bottom strip point eastward and are named after the four cardinal points. Nefertari returns to life By the end of her ascent, Nefertari is almost ready to merge with Re. She arrives in the antechamber and prepares to 'go forth by day.' The significance of this moment is explained in spell 17 of the Book of the Dead, inscribed in the chamber. It includes the line: 'Beginning of the praises and invocations to leave the glorious necropolis and to enter it, and in the beautiful west, to go out into the light of day.' The paintings show the queen already reborn, playing senet (a board game linked to death) and transfigured in the form of ba, one of the immaterial elements that form the soul. Her bird form with a human head enables the ba to fly out of the tomb during the day and return to rest and feed inside at night. The queen in mummified form lies on a bed. She is flanked by Isis at her feet and Nephthys at her head, both in the form of kites. Nefertari also worships the bird Bennu, a solar emblem of death and rebirth. With the stages of her nocturnal journey complete, Nefertari exits through the tomb door to appear the same as her father, Re. THE FAVORITE GAME IN THE AFTERLIFE Nefertari plays a game of senet while seated inside a booth made of reeds bound together at the corners. As is typical in funerary paintings, her opponent is not depicted. In front of the booth stands Nefertari's ba, a creature with a bird's body and the queen's facial features. The background of the booth and the cartouche are yellow, an emblem of immortality and the solar disk. MUMMY OF THE QUEEN On the upper part of the wall is a depiction of Nefertari's mummy lying inert on a bed with lion's paws. Her face is that of the god Osiris, lord of the underworld. Nefertari is guarded by the powerful goddesses Isis (at right), the wife of Osiris, and Nephthys (at left), his sister. Both are represented in the form of kites and raptors associated with resurrection. This story appeared in the July/August 2025 issue of National Geographic History magazine.