Roma (Rome)
historic city and capital of Roma provincia (province), of Lazio regione (region), and of the country of Italy. Rome is located in the central portion of the Italian peninsula, on the Tiber River about 15 miles (24 km) inland from the Tyrrhenian Sea. The capital of an ancient republic and empire whose armies and polity defined the Western world in antiquity and left seemingly indelible imprints thereafter, the spiritual and physical seat of the Roman Catholic Church, and the site of major pinnacles of artistic and intellectual achievement, Rome is the Eternal City, remaining today a political capital, a religious centre, and a memorial to the creative imagination of the past. Area city, 496 square miles (1,285 square km). Pop. (2001) city, 2,546,804. Source: www.britannica.com
historic city and capital of Roma provincia (province), of Lazio regione (region), and of the country of Italy. Rome is located in the central portion of the Italian peninsula, on the Tiber River about 15 miles (24 km) inland from the Tyrrhenian Sea. The capital of an ancient republic and empire whose armies and polity defined the Western world in antiquity and left seemingly indelible imprints thereafter, the spiritual and physical seat of the Roman Catholic Church, and the site of major pinnacles of artistic and intellectual achievement, Rome is the Eternal City, remaining today a political capital, a religious centre, and a memorial to the creative imagination of the past. Area city, 496 square miles (1,285 square km). Pop. (2001) city, 2,546,804. Source: www.britannica.com
Trinità dei Monti & Piazza di Spagna
The Trinità dei Monti steps (or Spanish steps) are a truly masterful example the eighteenth-century taste for scenographic works. The steps were built in 1723-1726 by the architect, Francesco De Sanctis. The steps, in travertine, are arranged in a series of 11 ramps (each ramp being made up of 12 single steps). Along their sinuous upward path, these flights of steps diverge and converge and are interrupted by balustrade structures where visitors may pause during their steep climb to admire the view over the city. This imposing construction once provided a link between a part of the city that was, to a considerable extent, occupied by the French and the area below, occupied instead by a colony of Spaniards. More importantly, the steps provided an architectonic space where people could meet up and relax amid pleasant surroundings.
The Trinità dei Monti Church, is perhaps better known for its location than for the works inside it. This little jewel has evolved with the centuries to become one of the most famous post cards of the Eternal City. It stands atop the Spanish Steps, overlooking the Piazza di Spagna forming a backdrop that cannot be ignored.
The Piazza di Spagna is so called thanks to the presence of the Spanish Embassy to the Holy See housed in Palazzo Monaldeschi, while the Spanish Steps were built in 1725 at the request of Pope Benedict XIII to link two "foreign" places, the Bourbon Spanish Embassy and the French Church of Santissima Trinità dei Monti.
The Barcaccia Fountain (fountain of the ugly boat), in the centre of Piazza di Spagna, was built at the behest of Pope Urbano VIII Barberini (1623-1644). The Pope implemented a project dating back to 1570, which ordered that the city's most important squares should be adorned with public fountains, supplied by the recently refurbished Vergine Aqueduct. Pietro Bernini designed a fountain which was highly unusual for the period, inspired, according to documented popular evidence, by a boat which had been washed up in the square by the flood of the Tiber in 1598. Source: www.turismoroma.it - www.italyguides.it - www.visitlazio.com
The Trinità dei Monti steps (or Spanish steps) are a truly masterful example the eighteenth-century taste for scenographic works. The steps were built in 1723-1726 by the architect, Francesco De Sanctis. The steps, in travertine, are arranged in a series of 11 ramps (each ramp being made up of 12 single steps). Along their sinuous upward path, these flights of steps diverge and converge and are interrupted by balustrade structures where visitors may pause during their steep climb to admire the view over the city. This imposing construction once provided a link between a part of the city that was, to a considerable extent, occupied by the French and the area below, occupied instead by a colony of Spaniards. More importantly, the steps provided an architectonic space where people could meet up and relax amid pleasant surroundings.
The Trinità dei Monti Church, is perhaps better known for its location than for the works inside it. This little jewel has evolved with the centuries to become one of the most famous post cards of the Eternal City. It stands atop the Spanish Steps, overlooking the Piazza di Spagna forming a backdrop that cannot be ignored.
The Piazza di Spagna is so called thanks to the presence of the Spanish Embassy to the Holy See housed in Palazzo Monaldeschi, while the Spanish Steps were built in 1725 at the request of Pope Benedict XIII to link two "foreign" places, the Bourbon Spanish Embassy and the French Church of Santissima Trinità dei Monti.
The Barcaccia Fountain (fountain of the ugly boat), in the centre of Piazza di Spagna, was built at the behest of Pope Urbano VIII Barberini (1623-1644). The Pope implemented a project dating back to 1570, which ordered that the city's most important squares should be adorned with public fountains, supplied by the recently refurbished Vergine Aqueduct. Pietro Bernini designed a fountain which was highly unusual for the period, inspired, according to documented popular evidence, by a boat which had been washed up in the square by the flood of the Tiber in 1598. Source: www.turismoroma.it - www.italyguides.it - www.visitlazio.com
Fontana di Trevi (Trevi Fountain)
is one of the best-known examples of the late Baroque art: the great force of nature combines with the utmost virtuosity of human intelligence. The heaviness of the stone in this construction disappears with the dynamic nature of the sculptures which seem to reach out to onlookers. The shell-shaped chariot placed in the centre is drawn by seahorses and tritons. The authoritative and solemn figure of the Oceanus is to be found on said chariot, while nearby in other niches we can find the statues of Salubrity and Abundance. The fountain is dedicated to the sea and was built by Nicolò Salvi in the 18th century, on the façade of Palazzo Poli during the papacy of Pope Clement XII. The square where the fountain was built is of great significance for the city of Rome since, right from the reign of Augustus who brought running water to Rome through the Aqua Virgo aqueduct, the destiny of small Trevi neighbourhood has always been linked to water. Excavation of the "city of water" can still be seen today in the remains of a villa dating from the time of Nero and a large cistern. Source: www.visitlazio.com
is one of the best-known examples of the late Baroque art: the great force of nature combines with the utmost virtuosity of human intelligence. The heaviness of the stone in this construction disappears with the dynamic nature of the sculptures which seem to reach out to onlookers. The shell-shaped chariot placed in the centre is drawn by seahorses and tritons. The authoritative and solemn figure of the Oceanus is to be found on said chariot, while nearby in other niches we can find the statues of Salubrity and Abundance. The fountain is dedicated to the sea and was built by Nicolò Salvi in the 18th century, on the façade of Palazzo Poli during the papacy of Pope Clement XII. The square where the fountain was built is of great significance for the city of Rome since, right from the reign of Augustus who brought running water to Rome through the Aqua Virgo aqueduct, the destiny of small Trevi neighbourhood has always been linked to water. Excavation of the "city of water" can still be seen today in the remains of a villa dating from the time of Nero and a large cistern. Source: www.visitlazio.com
San Marcello al Corso Church
It stands on the site of the martyrdom of St Marcellus I, where in the 4th century was built the first church. The later construction that grew over the original one was destroyed by fire in 1519, when only the venerated Crucifix survived, which after this event became an object of cult and a Confraternity with its name was born. The church has been one of the first "tituli", the places of christian cult in Rome. According to tradition, the church achieved its name by Pope Marcello I who was condemned to slavery by Massenzio. The project of the new church belonged to Sansovino, the facade is by C.Fontana (1683). The elegant interior is in form of a hall with the five chapels on each side. On the door from the inside of the church is a scene of Crucifixion by G.B.Ricci (1613). On the high altar is a painting Glory of St Marcellus by Silverio Capparoni. Source: http://rometour.org
It stands on the site of the martyrdom of St Marcellus I, where in the 4th century was built the first church. The later construction that grew over the original one was destroyed by fire in 1519, when only the venerated Crucifix survived, which after this event became an object of cult and a Confraternity with its name was born. The church has been one of the first "tituli", the places of christian cult in Rome. According to tradition, the church achieved its name by Pope Marcello I who was condemned to slavery by Massenzio. The project of the new church belonged to Sansovino, the facade is by C.Fontana (1683). The elegant interior is in form of a hall with the five chapels on each side. On the door from the inside of the church is a scene of Crucifixion by G.B.Ricci (1613). On the high altar is a painting Glory of St Marcellus by Silverio Capparoni. Source: http://rometour.org
Piazza Navona (Navona Square)
Still visible more than 15 metres beneath Piazza Navona are some fragments of the imposing Stadium of Domitian, built by the Emperor prior to 86 AD. Erected upon the foundations of this edifice are the palaces that still line the square, which takes its name from the games held in the ancient arena. "Navona" is in fact a corruption of agone, which means "competition, battle." Strangely enough, from the 17th century until 1867, the piazza, which at the time was a deep depression, was flooded (by blocking off the fountain drains) to stage naumachiae. More than actual naval battles, these were processions of festively decorated vessels and costumed crews. The centre of the procession was the Fountain of the Four Rivers, built by Gian Lorenzo Bernini in 1651 for Pope Innocent X. One of the symbols of Baroque-era Rome, it was adorned with personifications of the world's four longest rivers known at the time: the Nile (Africa), Rio de la Plata (America), Ganges (Asia), and Danube (Europe). Surmounting the entire world depicted by the rivers is the peace of the Pamphili, represented by the dove with an olive branch atop the obelisk brought from the Circus of Maxentius. The Pamphili family takes credit for the arrangement of the Piazza Navona as we still see it today. In addition to the fountain, Pope Innocent X commissioned the building of the palace (now the Brazilian Embassy) designed by Girolamo Rainaldi, and the church of Sant'Agnese, built by Francesco Borromini. Source: www.visitlazio.com
Still visible more than 15 metres beneath Piazza Navona are some fragments of the imposing Stadium of Domitian, built by the Emperor prior to 86 AD. Erected upon the foundations of this edifice are the palaces that still line the square, which takes its name from the games held in the ancient arena. "Navona" is in fact a corruption of agone, which means "competition, battle." Strangely enough, from the 17th century until 1867, the piazza, which at the time was a deep depression, was flooded (by blocking off the fountain drains) to stage naumachiae. More than actual naval battles, these were processions of festively decorated vessels and costumed crews. The centre of the procession was the Fountain of the Four Rivers, built by Gian Lorenzo Bernini in 1651 for Pope Innocent X. One of the symbols of Baroque-era Rome, it was adorned with personifications of the world's four longest rivers known at the time: the Nile (Africa), Rio de la Plata (America), Ganges (Asia), and Danube (Europe). Surmounting the entire world depicted by the rivers is the peace of the Pamphili, represented by the dove with an olive branch atop the obelisk brought from the Circus of Maxentius. The Pamphili family takes credit for the arrangement of the Piazza Navona as we still see it today. In addition to the fountain, Pope Innocent X commissioned the building of the palace (now the Brazilian Embassy) designed by Girolamo Rainaldi, and the church of Sant'Agnese, built by Francesco Borromini. Source: www.visitlazio.com
Il Vittoriano (Altar of the Fatherland)
The name of this rather unique monument comes from Victor Emmanuel II, the first King of Italy, in whose honour it was built. Upon his death in 1878, it was decided to erect a monument to commemorate the king that had promised a united state. After a first competition which was won by a French architect, a second competition was held which Italian architects only were invited to take part in. The winner was Giuseppe Sacconi whose design was inspired by the Pergamon Altar and who wanted to bring back to Rome the grandeur of the classical monuments of ancient times. This desire was looked on as anachronistic by critics of the time who nicknamed his building the "wedding cake" or the "typewriter". If the truth be said, the building's dimensions were rather impressive and its construction entailed the demolition of more ancient constructions such as the Arch of St. Mark and Via dell'Ara Coeli, while the Church of Santa Rita was moved near to the Theatre of Marcellus where it can still be found today. The insula of Aracoeli was unearthed during excavation, located between the Vittoriano and the church's steps. The Altar of the Fatherland was placed in the heart of the monument in 1906 and fifteen years later the Unknown Soldier – an unidentified fighter who has died in the First World War – was buried there. In addition to the rather impressive equestrian statue of Victor Emmanuel, the building's decorative features include sixteen statues dedicated to the Italian regions, fourteen sculptures for fourteen aristocratic cities of the reunified Italy, and the two majestic chariots found on top of the monument which are mostly made of white marble from Botticino which proved easier to work with than travertine. Source: www.visitlazio.com
The name of this rather unique monument comes from Victor Emmanuel II, the first King of Italy, in whose honour it was built. Upon his death in 1878, it was decided to erect a monument to commemorate the king that had promised a united state. After a first competition which was won by a French architect, a second competition was held which Italian architects only were invited to take part in. The winner was Giuseppe Sacconi whose design was inspired by the Pergamon Altar and who wanted to bring back to Rome the grandeur of the classical monuments of ancient times. This desire was looked on as anachronistic by critics of the time who nicknamed his building the "wedding cake" or the "typewriter". If the truth be said, the building's dimensions were rather impressive and its construction entailed the demolition of more ancient constructions such as the Arch of St. Mark and Via dell'Ara Coeli, while the Church of Santa Rita was moved near to the Theatre of Marcellus where it can still be found today. The insula of Aracoeli was unearthed during excavation, located between the Vittoriano and the church's steps. The Altar of the Fatherland was placed in the heart of the monument in 1906 and fifteen years later the Unknown Soldier – an unidentified fighter who has died in the First World War – was buried there. In addition to the rather impressive equestrian statue of Victor Emmanuel, the building's decorative features include sixteen statues dedicated to the Italian regions, fourteen sculptures for fourteen aristocratic cities of the reunified Italy, and the two majestic chariots found on top of the monument which are mostly made of white marble from Botticino which proved easier to work with than travertine. Source: www.visitlazio.com
Fori Imperiali (The Imperial Fora archaeological site)
extends from the centre of Rome along the axis of the Via dei Fori Imperiali, which links Piazza Venezia to the Colosseum, and in front of the area occupied by the Roman Forum. The best way to fully comprehend the glory of Rome is to walk down the Via dei Fori Imperiali and observe the extraordinary and awe-inspiring ruins of ancient religious and civic buildings, which tell the story of everyday Roman life. The area covered by the Imperial Fora is a series of squares and open spaces which Emperors wished to "gift" to the city of Rome, nerve centre of the Roman Empire; the Imperial Fora were the main venue for functions and civic ceremonies that the old Roman Forum could no longer accommodate, due to ever-increasing population in Rome, further swelled by the arrival of large numbers of war veterans. As well as civic events, the Imperial Fora were also used to celebrate the triumphs and conquests of the Emperors. Source: www.visitlazio.com
extends from the centre of Rome along the axis of the Via dei Fori Imperiali, which links Piazza Venezia to the Colosseum, and in front of the area occupied by the Roman Forum. The best way to fully comprehend the glory of Rome is to walk down the Via dei Fori Imperiali and observe the extraordinary and awe-inspiring ruins of ancient religious and civic buildings, which tell the story of everyday Roman life. The area covered by the Imperial Fora is a series of squares and open spaces which Emperors wished to "gift" to the city of Rome, nerve centre of the Roman Empire; the Imperial Fora were the main venue for functions and civic ceremonies that the old Roman Forum could no longer accommodate, due to ever-increasing population in Rome, further swelled by the arrival of large numbers of war veterans. As well as civic events, the Imperial Fora were also used to celebrate the triumphs and conquests of the Emperors. Source: www.visitlazio.com
Colonna di Traiano (Trajan’s Column)
This is one of the greatest masterpieces of Roman art. A column approximately 30 metres high - 100 Roman feet - is covered by about 150 scenes, wrapped around like film, recalling the Roman conquest of Dacia (today Romania) by the army led by Emperor Trajan. In the ancient time the scenes can be viewed from the nearby terraces above the Basilica Ulpia. It was inaugurated in 113 A.D. and is a major innovation in the artistic panorama of the period. The scenes have been unrolled from the bottom upwards, like a role of cloth or papyrus, with scenes representing the daily life of the Roman army, the honorific ceremonies, trophies and battles, the long marches, the features of the territory and the deeds of the great commander Trajan, who was to have been buried in the base of the column after his death. Source: www.visitlazio.com
This is one of the greatest masterpieces of Roman art. A column approximately 30 metres high - 100 Roman feet - is covered by about 150 scenes, wrapped around like film, recalling the Roman conquest of Dacia (today Romania) by the army led by Emperor Trajan. In the ancient time the scenes can be viewed from the nearby terraces above the Basilica Ulpia. It was inaugurated in 113 A.D. and is a major innovation in the artistic panorama of the period. The scenes have been unrolled from the bottom upwards, like a role of cloth or papyrus, with scenes representing the daily life of the Roman army, the honorific ceremonies, trophies and battles, the long marches, the features of the territory and the deeds of the great commander Trajan, who was to have been buried in the base of the column after his death. Source: www.visitlazio.com
Arco di Costantino (Arch of Constantine)
it marks a turning point in the passage from Roman Art to Medieval Art. It was the first monument which re-used decorative elements taken from another place and not created specifically for the arch. Basically, during the 4th century, the disappearance of skilled workers forced the Emperor to take elements from other buildings: the statues of Dacian prisoners (created during the reign of the Emperor Trajan), the tondos (dating from the period of Hadrian) and the Corinthian capitals (from the Antonine period). This monument, which the Senate of Rome erected to commemorate Constantine's victory over Maxentius in 312 A.D., inaugurated a practice which became widely used during the following centuries and was to represent the most widespread technique of medieval architecture. The Arch also demonstrates how Constantine kept an equal distance from the various religions practiced in Rome and, despite his fondness for Christianity, the figures on the arch show a large number of pagan gods. And hence interpretation of the inscription, which recalls how Constantine won over his tyrannical rival thanks to "divine inspiration", remains uncertain, with no specification of which religious context this refers to. Source: www.visitlazio.com
it marks a turning point in the passage from Roman Art to Medieval Art. It was the first monument which re-used decorative elements taken from another place and not created specifically for the arch. Basically, during the 4th century, the disappearance of skilled workers forced the Emperor to take elements from other buildings: the statues of Dacian prisoners (created during the reign of the Emperor Trajan), the tondos (dating from the period of Hadrian) and the Corinthian capitals (from the Antonine period). This monument, which the Senate of Rome erected to commemorate Constantine's victory over Maxentius in 312 A.D., inaugurated a practice which became widely used during the following centuries and was to represent the most widespread technique of medieval architecture. The Arch also demonstrates how Constantine kept an equal distance from the various religions practiced in Rome and, despite his fondness for Christianity, the figures on the arch show a large number of pagan gods. And hence interpretation of the inscription, which recalls how Constantine won over his tyrannical rival thanks to "divine inspiration", remains uncertain, with no specification of which religious context this refers to. Source: www.visitlazio.com
Anfiteatro Flavio o Colosseo (Amphitheatrum Flavium or Colosseum)
One of the most famous monuments in the world is the Amphitheatrum Flavium, better known as the Colosseum. It was constructed by emperors of the Flavian dynasty: Vespasian, who began the work in 72 AD, his son Titus, who inaugurated it in 80 AD and Domitian, the brother of the latter, which he completed the construction and the decorations. The amphitheatre's function was to host gladiatorial munera, the famous gladiator fights (which in the imperial times went hand in hand with the ludi circenses, hosted at the Circus Maximus) and the so-called venationes, simulations of hunting wild and exotic animals, from the most distant provinces of the empire. Probably before the construction of the complex system of underground structures, the building was also the scene of naumachiae, re-enactments of naval battles, which included the flooding of the central space. Therefore in 72 A.D. Vespasian decided that the best way to employ the booty obtained from destruction of the Temple of Jerusalem was to build the most famous amphitheatre in the world. The choice of the area was by no means casual: it bordered with the Roman Forum where there was an enormous artificial lake which the Emperor Nero had dug on public land in order to decorate the Domus Aurea, his sumptuous residence. Vespasian returned the area to the people and hence redressed his predecessor's abuse of power. Source: www.visitlazio.com
One of the most famous monuments in the world is the Amphitheatrum Flavium, better known as the Colosseum. It was constructed by emperors of the Flavian dynasty: Vespasian, who began the work in 72 AD, his son Titus, who inaugurated it in 80 AD and Domitian, the brother of the latter, which he completed the construction and the decorations. The amphitheatre's function was to host gladiatorial munera, the famous gladiator fights (which in the imperial times went hand in hand with the ludi circenses, hosted at the Circus Maximus) and the so-called venationes, simulations of hunting wild and exotic animals, from the most distant provinces of the empire. Probably before the construction of the complex system of underground structures, the building was also the scene of naumachiae, re-enactments of naval battles, which included the flooding of the central space. Therefore in 72 A.D. Vespasian decided that the best way to employ the booty obtained from destruction of the Temple of Jerusalem was to build the most famous amphitheatre in the world. The choice of the area was by no means casual: it bordered with the Roman Forum where there was an enormous artificial lake which the Emperor Nero had dug on public land in order to decorate the Domus Aurea, his sumptuous residence. Vespasian returned the area to the people and hence redressed his predecessor's abuse of power. Source: www.visitlazio.com
Santa Maria della Vittoria Church
The interior of the church has a single nave, it offers one of the richest examples of baroque decoration for the wealth of marble, stucco and decorations. The left transept houses, in the Cornaro Chapel, the sculpture of most poetic Bernins: Santa Teresa transfixed by the love of God. The work appears to be as suspended in space in a cloudy sky illuminated by golden rays, a smiling angel pointing an arrow to the heart of Holy reversed in ecstasy. The Cornaro Chapel (1644 – 1652) is one of the masterpieces by Bernini, especially for the wise use of eerie and spectacular effects of hidden light, that you appreciate in particular in the afternoon. Source: www.turismoroma.it
The interior of the church has a single nave, it offers one of the richest examples of baroque decoration for the wealth of marble, stucco and decorations. The left transept houses, in the Cornaro Chapel, the sculpture of most poetic Bernins: Santa Teresa transfixed by the love of God. The work appears to be as suspended in space in a cloudy sky illuminated by golden rays, a smiling angel pointing an arrow to the heart of Holy reversed in ecstasy. The Cornaro Chapel (1644 – 1652) is one of the masterpieces by Bernini, especially for the wise use of eerie and spectacular effects of hidden light, that you appreciate in particular in the afternoon. Source: www.turismoroma.it
Piazza Barberini (Barberini Square) & Fontana del Tritone (Fountain of the Triton)
Located at the confluence of several busy Roman streets, Piazza Barberini was named for the aristocratic Renaissance-era family that made their home in the palatial estate located here, Palazzo Barberini. One of the Barberini sons eventually became pope Urban VIII, which gave the family especially high status in seventeenth-century Rome. The centerpiece of the Piazza Barberini is the Fontana del Tritone (Fountain of the Triton), built in 1643, and one of the many masterpieces of sculptor Bernini, who was a favorite of the pope and encouraged by the Barberini family. On the fountain, four fish hold an open clam upon which a Triton sits, blowing water from his horn. The heraldic symbols of pope Urban VIII are clearly visible on the fountain. Source: www.aviewoncities.com
Located at the confluence of several busy Roman streets, Piazza Barberini was named for the aristocratic Renaissance-era family that made their home in the palatial estate located here, Palazzo Barberini. One of the Barberini sons eventually became pope Urban VIII, which gave the family especially high status in seventeenth-century Rome. The centerpiece of the Piazza Barberini is the Fontana del Tritone (Fountain of the Triton), built in 1643, and one of the many masterpieces of sculptor Bernini, who was a favorite of the pope and encouraged by the Barberini family. On the fountain, four fish hold an open clam upon which a Triton sits, blowing water from his horn. The heraldic symbols of pope Urban VIII are clearly visible on the fountain. Source: www.aviewoncities.com
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