What counts most on the whole in Journey to Italy(Viaggio In Italia) by R. Rossellini is not realism but reality. The environment and the space here are ``found`` along with humans(actors) instead of being established from the beginning. Thus, his films necessarily take a form of documentaries. It is a journey on which his characters gradually find their environment and the world they face. Rossellini keeps his eyes on the characters` autonomous movements and actions in the world as it is. He prepares no well-knit scenario and does not predetermine actors` playing. This attitude is coherent with the form of ``journey`` or a kind of road movie style that he chose. It shows one of the most innovative cinematic forms. Rossellini has deep attachment toward Naples as a location for shooting. Above all, he would like to show the city that keeps some spiritual ambience, a sense of eternity, and a sensuous world that are disappearing from the modern age. A variety of places including Cumae and Capri are explored, and the exploration eventually reaches its culmination at the ruins of Pompei that Rossellini cherishes most. Narratively, there seems to be few connecting factors between these places. However, we can find another logic not based on reason, and another placeness, in that the sensorial(optical, auditive and tactile) / perceptive interactions between the observer (Katherine, especially) and the places increase over time. The images stimulate our reflections, and they are not conventional or typical but "the logos in its nascence." In this context, Journey to Italy becomes an essay film. It is an unrestrained ``toga`` film (against the conventionally well-made Anglo-American films) as Rossellini put it, meaning a creative Mediterranean film.