routes in rome

8/6/2019 Routes in Rome

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IntroductionA City for the 21st Century

History

Important Dates and Events

Living CultureItalian CinemaArt in RomeThe Eternal City

City BeatsThe Many Faces of RomeItalian CuisineThe Roman Gay Scene

Routes and Walking Tours1. Ancient and Imperial Rome2. Via del Corso from Piazza del Campidoglio to Piazza del

Popolo

3. From Piazza di Spagna to the Quirinale4. The Historic City Centre5. Trastevere6. Along the Esquilino from Termini Station to San Giovanni in

Laterano7. The Vatican8. Via Veneto and Villa Borghese9. Other interesting sites in Rome:

TERMAS CARACALLAVIAAPPIA ANTICATESTACCIO

EUR

Practical Guide Book

How to get here, How to get around, Useful advice, Where to sleep,Where to eat, Nightlife, Shopping, Activities for children

Texts: Merche GallegoPhotos: Lluis Trillo

Translation: Aisha Prigann


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When most people think of Rome, they think

of the eternal city's ancient centre, the ruins

that have been immortalised in countless ima-

ges. No other city in the world has as complete

an archaeological field in its urban centre as

Rome. Nestled between underground stations,

caf terraces and the by now infamous, inces-

sant Roman traffic are monuments like theColiseum, the Arch of Constantine and the

Forums, historical treasures that still guard

many secrets.

For some people the route through the ruins of

Rome might offer nothing more than myriad

piles of deteriorating stones. Others, however,

whose appreciation for history is greater, con-

sider this route to be the most essential Roman

experience, a chance to see the remnants of an

empire that once decided the fate of half the

world, remnants that tell the story of Roman

city life more than 2,000 years ago. Before tac-

kling this route, it is best to prepare for this his-torical journey by setting the scene and pictu-

ring the era of gladiators, emperors, slaves,

nobles and plebeians.

The best place to start this walking tour is at the

Circo Ma ssimo, which now bears little resem-

blance to its past incarnation. Consisting of lit-

tle more than a long, rectangular expanse of

earth, grass and a few scattered trees, it is diffi-

cult to imagine the sporting events that once

took place here. Today it serves as a resting

place for tourists, a hang-out for local youth

and a stage for spontaneous musical perfor-

mances, all taking advantage of this quiet spotset apart from the constant hum of traffic.

Crossing the Piazza di Porta Capena and hea-

ding up Via de San Gregorio, you reach the

heart of Ancient Rome. Rising up at the end of

the avenue are the Arch of Constantine and

the Coliseum , two landmarks that remain

impressive despite the passing of time. The

Coliseum was long the symbol of imperial

power, both for its monumental grandeur andsocial connotations; it was a place where some

went to be entertained and others went to die.

Unfortunately, the Coliseum no longer posses-

ses its original splendour, having suffered

years of neglect. It lay almost forgotten for a

long time and was even used as a quarry, its

stones lifted to construct new buildings. The

sheer size of it, however, has not been diminis-

hed. Despite having been depicted in countless

images, the Coliseum never fails to impress, its

monumental proportions rising up majestically

and towering over its surroundings. During the

day it is almost impossible to avoid long lines

for the chance to visit its interior. The most

magical time, however, is the evening. At sun-

set, when the crowds die down, the view on to

the monument is at its most beautiful. Perhaps

there are better sunsets to be found elsewhere

in Rome, but none that evoke this much his-

tory.

THE ARCH OF CONSTANTINE

Due to its proximity to the Coliseum, the arch

is almost like another element of the same pic-

ture. If you approach the Coliseum from Via de

San Gregorio, the monumental arch serves as a

gateway, welcoming visitors into the fold of

this historic site. Taking a picture beneath the

arch is almost inevitable; it is simply too

impressive to go undocumented. Built in the

year 312 under Emperor Constantine, it was

conceived as a symbol of triumph, a celebra-

tion of one of his many victories. However, the

majority of the sculptures decorating the archwere added later by emperors such as Trajan,

Adrian and Marcus Aurelius, who took advan-

tage of the structure to commemorate their own

success. The arch's central location between

the Coliseum and the Forum area makes it one

of the most visible and unmistakable monu-

ments in the city, a fact that has turned the arch

into one of the most well-known symbols of

Rome.

THE COL ISEUM

The Coliseum (Colosseo to the Romans) is

without a doubt the most impressive buildingin Rome. The construction of the Coliseum,

which was originally known as the Flavio

Route 01

Ancient and Imperial Rome


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Amphitheatre, was ordered by Emperor

Vespasian in t he year 72 A.D. It opened a

scant 8 years later, a true architectural marvel

with dimensions that were absolutely spectacu-

lar for its time: 57 metres high, 190 metres long

and with a circumference of 527 metres.

The Coliseum was to be the greatest theatre

in the world , an ambition it achieved more

than successfully. Of course, the Romans had a

rather different concept of theatre back then

and harboured a special fondness for bloody

spectacles. The Coliseum played host to innu-

merable, deadly games, including gladiatorial

fights and exhibitions of exotic animals

brought over from Africa. Giraffes, elephants,

hippopotamus, hyenas and lions were sacrifi-

ced in the Coliseum's arena every day. The ani-

mals, however, served another purpose before

dying. Individuals belonging to the ostracized

social classes, such as slaves, Christians, priso-

ners of war, criminals and petty delinquents,

were tossed into the arena to fight the wild cre-atures. While the bloodbath unfolded on the

sands below, the audience amused themselves

in the stands, laughing, gossiping and enjoying

the deadly show.

The gladiators were professional fighters who

endowed the battle cry "Hail Caesar, those

about to die salute you" with its universal

fame. The world of cinema has used many of

these ancient stories and battles to create cellu-

loid epics like Spartacus and Gladiator, which

contain as much fact as they do fiction. Of the

two gladiators fighting in the arena, one was

always meant to die. If he didn't lose his life inthe arena, he would be condemned to death

afterwards. Other films have told the stories of

Christian martyrdom. While it cannot be

denied that many died in the arena, no study

has yet found evidence of serial executions for

religious reasons.

In addition to being a place of leisure, the

Coliseum was a reflection of Rome's ruling

classes. The podium was for the exclusive use

of the emperor and his entourage, which inclu-

ded senators, magistrates and the vestal vir-

gins. The rows below the podium seated the

middle classes and the lowest rows, those withthe worst visibility, were designated to the ple-

beians. Ironically, these are the rows of greatest

interest today, because they provide a close

look at the stage and the many, underground

passages beneath the rows, where men and ani-

mals waited for their turn to enter the arena.

The brutal spectacles at the Coliseum came to

an end in 523 A.D. (gladiatorial fights had alre-

ady been banned in the year 438 A.D.). Due to

the shortage in building materials at the time,

the Coliseum was turned into a quarry for the

constr uction of other buildings, such as the

Palazzo Venezia or the Palazzo della

Cancelleria. It sank into less than glorious

times, at one point even serving as a warehou-

se for different city materials. The ransacking

of the structure didn't even spare the iron bolts

that connected the stones, which is why you

can see deep holes in the faade today. Despite

its horrific past, years of neglect and the semi-

ruinous state it is in today (although some

renovations have been undertaken), the

Coliseum has not lost its power to mesmerise

and remains the most significant and unmista-kable landmark in all of Rome. Long queues

are a given at any time of year, but seeing the

inside of this structure is definitely worth the

wait. After all, what's a queue, however long it

may be, compared to the 2,000 years of history

that await inside.

The Via dei Fori Imperiali, which begins next

to the Coliseum, leads to the main sections of

the Forums. The large panels along the left side

of the road explain the evolution of the Roman

Empire throughout the centuries. Spreading

out on either side of the road are the two

Forums, the Roman Forum and the ImperialForum, which take visitors back in time and

offer a glimpse into what daily life was like

during the Roman era. The ruins still showcase

several well-preserved temples, like the

Tempio di Antonino i Faustina, and the perfect,

sculptural precision of the Colonna Traiana

(Trajan Column).

ROMAN FORUM

The Roman Forum on the Palatino Hill, not far

from the Coliseum, is the largest of its kind.

The grounds can be entered from the Via dei

Fori Imperiali, a road which offers a spectacu-lar view on to the ancient ruins from beginning

to end. Excavation and restoration efforts are

still underway; in fact, there is no completion

date in sight because no one knows exactly

how many secrets are still buried beneath the

city.

A visit to the Forum is an absolute must for

anyone interested in archaeology. Walking

amongst the ruins, covering the same ground

as Romans did so many centuries ago, provides

a unique opportunity to imagine what life was

like in Ancient Rome. One of the most impres-

sive and well preserved monuments is theArch of Septimius Severus, built to comme-

morate the battlefield triumphs of this emperor.

The relief that embellishes the arch represents

his many victories and in the past a large sculp-

ture of Septimius Severus in a horse-drawn

carriage decorated the very top. The sculpture,

however, fell victim to the passing centuries

and very little of it remains. A curious detail

provides a glimpse into how truly quotidian

this place was in its day - a modest inscription

reveals that a barbershop once stood beneath

the arch.

All that remains of the Basilica Emilia are

some rather deteriorated ruins located towards

the right side of the Forum. A short distance

away stands a large, brick building that once

housed the Curia, the political centre of

Ancient Rome, where the Senate convened

during the Imperial era. The main hall was

always full of political heavy-weights, and the

doors stood wide open so that the citizens

could observe the daily, political goings-on of

Ancient Rome. During the Middle Age the

Curia changed functions and was turned into a

church. One of the most revered objects of

Ancient Rome, the Lapis Niger or Black Stone,

can be found immediately outside the Curia.

Although excavations have never found anyevidence of this, legends claim that the tomb of

Romulus, one of the ancient, mythical foun-

ders of Rome, lies beneath this stone.

A short walk through the Forum leads to the

Tempio Della Concordia , built between the

years 14 and 37 A.D. under the Emperor

Tiberius. After an emperor died in Imperial

Rome, custom dictated that a temple had to be

built in his honour. This is also true in the case

of the Tempio di Cesare, which, according to

legend, stands in the same place where Julius


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1 Circo Massimo

2 Arco de Constantino

3 Coliseo

4 Foro Romano

5 Foro di Cesare

6 Foro di Augusto

7 Foro Traiano

8 Colonna Traiana

9 Pendent


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This route begins at Piazza del Campidoglio on

Capitoline Hill, one of the most important sites

in Roman history. Much of the area's legacy can

be visited in the Capitoline Museums, which

are amongst the most interesting museums in

the city. Piazza Venezia, Rome's epicentre of

urban life, is only a short walk away. The squa-

re with the enormous, white Vittoriano monu-

ment stirs up mixed emotions in Rome's

citizenry, many of whom dislike the monument

and have given it an assortment of less than

favourable nicknames, but it is an inevitable

stop for locals and tourists alike. The square

does offer visitors valuable insight into the cit-

y's pace and urban way of life.

The square is also the beginning of the Via del

Corso, one of Rome's most emblematic ave-

nues. The avenue continues in a straight line

from Piazza Venezia to Piazza del Popolo, avery popular square with the local population,

and the lush gardens of the Villa Borghese.

PIAZZA DEL CAMPIDOGLIO

Many consider this to be the most elegant

square in the city, partially due to the fact that

Michelangelo was responsible for much of its

design. Construction on the square was com-

missioned by Pope Paul III and commenced in

the year 1536 but wasn't completed until the

17th century, almost one hundred years later.

The best way to approach the square is via the

elegant stairway known as the Cordonata,which begins at the foot of the Piazza Aracoeli.

The square's most dominant feature is a bronze

equestrian statue of Marcus Aurelius. The sta-

tue is actually a replica since the original,

which dates back to the 2nd century A.D., had

suffered severe damage due to years of pollu-

tion and other environmental hazards. In order

to preserve what remained of the original, it

was replaced by a replica and moved into the

Palazzo Nuovo, where it is displayed behind

protective glass.

The square is lined by three elegant palaces: the

Palazzo Senatorio, Palazzo Nuovo and the

Palazzo dei Conservatori. These last two pala-

ces make up the Capitoline Museums, and each

one has a separate entrance, although they are

connected by a tunnel.

Below the Palazzo Senatorio are the remains of

the Tabularium. This is one of the earliest offi-

cial buildings in Rome, already serving as an

archive and registry in the year 78 B.C. In

Roman times, this registry maintained all of the

city's bronze tablets, which contained the laws

and deeds of the Ancient Roman state. During

medieval times a fortress was built that covered

the remnants of the Tabularium, which was then

later converted into the Palazzo Senatorio.

Retaining some spirit from the past, this buil-

ding is still used by the city government for

several administrative functions.

Heading down the stairway to the left of the

Palazzo Nuovo brings you to the Carcere

Mamertino. Nowadays, the building houses

the San Pietro in Carcere Church, but its pre-

vious incarnation was far less pious. According

to gruesome tales, this infamous prison was the

final destination for generals beaten in battle

and many other prisoners, who were tossed intoa deep pit where they lay forgotten. Most of

them died of starvation. One legend claims that

Saint Peter performed a miracle during his

incarceration here - he caused a spring to bub-

ble out of the ground within the confines of the

prison walls. Saint Peter then used this water to

baptise the prison guards. A chapel next to a

small fountain recalls this legendary miracle.

MUSEI CAPITOLINI

The Capitoline Museums (Musei Capitolini)

consist of the collections at the Palazzo Nuovo,

Palazzo dei Conservatori, the Pinacotecaand the Tabularium. Taken together, the com-

plex is one of the oldest public museums in the

Route 02Via del Corso from Piazza del Campidoglio

to Piazza del Popolo


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world. The museums' collection began in 1471

with a gift from Pope Sixtus IV, who decided to

donate several bronze sculptures from the San

Giovanni in Laterano Basilica to the people of

Rome. The donation also carried a symbolic

gesture - although the Campidoglio had been

neglected for some time, the space had once

served as the religious centre of Ancient Rome.

The Palazzo Nuovo showcases a number of

sculptures and statues representing well-

known Roman personalities. In addition tothe famous bust of Marcus Aurelius, the collec-

tion also includes representations of Sophocles,

Homer and Cicero. Another impressive piece in

this collection is the bust known as Galata

Morente or Galata Moribundo, which is

actually a Roman replica of a Greek bust from

the 3rd century B.C.

Facing the Palazzo Nuovo is the Palazzo dei

Conservatori, which served as the seat of the

Roman tribunals until well into the Middle Age.

The most significant art work to be found here

is the famousLupa Capitolina (Capitoline She-

wolf), an Etruscan statue sculpted in bronze

during the 4th century B.C. The she-wolf is

seen breast-feeding the twins Romolus and

Remus, who are considered the mythical foun-

ders of Rome. It is interesting to note that the

figures of the twins are far more recent works

than the she-wolf and weren't added until 1509.

Anyone fascinated by ancient legends should

pay close attention to the frescoes that cover the

palace walls - many of them are visual repre-

sentations of these ancient stories. Another unu-sual sculpture to be found at the Palazzo dei

Conservatori is entitled Spinario. This extre-

mely delicate sculpture, carved with astoun-

dingly fine details, depicts a young boy

removing a splinter from his foot. The patio

also holds a few surprises in store, namely the

monumental stone foot that was carved in

honour of Emperor Constantine and moved

here from its original location in the Roman

Forum.

A stop at the Pinacoteca, located in the Palazzo

dei Conservatori, is an excellent conclusion to

the Capitoline Museums. This gallery featurespaintings by such masters as Caravaggio,

Guercino, Tintoretto, Titian and Verons.

meant to reflect the power and strength of a uni-

fied Italy.

Aesthetically speaking, this might not be one of

Rome's best architectural exemplars, but it does

offer a few perks, including several impressive

frescoes, Art Nouveau sculptures and the lovely

panoramic view from the very top. The monu-

ment's height allows for a sweeping vista unli-

ke any other in Rome, providing a unique view

of the Forums and the Coliseum, which lie

adjacent to it, and the silhouette of Saint Peter'sdome in the distance. Despite having to tackle a

seemingly endless series of steps to reach the

top, this is one hike worth doing - and make

sure to bring your camera because this is one of

the most spectacular photo opportunities Rome

has to offer. On a clear day the view is simply

breathtaking, especially during a summer sun-

set when the sky turns all imaginable shades of

pink and gold.

MUSEO NAZIONALE DI PALAZZO DI

VENEZIA

Immediately in front of the Vittoriano, on the

western side of the square, is the Palazzo di

Venezia. It can only be visited when the palace

is hosting an exhibition. Fortunately, this is a

rather common occurrence. The building was

constructed in 1455 and served as the official

residence of Benito Mussolini, who used the

many balconies as elevated pulpits from which

to address the crowds below. The palace also

houses the Museo Nazionale di Palazzo

Venezia which has a permanent collection of

Renaissance art as well as several pieces from

the Middle Age through to the 18th century.

Immediately behind the palace is the SanMarco Basilica, which was founded in the 4th

century but has been modified several times

since then. It is most famous for its beautiful

mosaic, which was completed in the 19th cen-

tury.

Tucked behind the palace is the San Marco

Basilica, which was originally built in the 4th

century but has been remodelled several times

since. One of the more recent additions is a

beautiful mosaic from the 19th century.

Another historical treasure is just a short distan-

ce away - the Palazzo Doria Pamphili. The

palace is of the utmost elegance, emphasised by

If you leave the Piazza del Campidoglio using

the main staircase, you come across the Piazza

Aracoeli on your right. This square houses ano-

ther landmark, the Santa Maria in Aracoeli

Church, which now marks the highest point on

the Capitoline Hill.

SANTA MARIA IN ARACOELI

Located between the Piazza del Campidoglio

and Piazza Venezia, the Santa Maria in Aracoeli

Church sits atop the Capitoline Hill, the sma-llest but most sacred hill in Rome. The church

is well-known for housing a number ofouts-

tanding, Roman art pieces that date back to

the period between the 13th and 18th centuries.

The most astonishing works, however, are the

magnificent frescoes by Pinturicchio, which

were completed during the Renaissance.

Another peculiar piece is a statue of the Christ

child, which was supposedly carved out of an

olive tree from the Getseman Gardens, where

Christ was captured by the Romans following

Judas' betrayal.

PIAZZA VENEZIA

A short walk takes you to Piazza Venezia, the

city's main traffic nexus. Rome is infamous for

its traffic, and a figure alone can give you a bet-

ter understanding of the urban pace in this

metropolis - almost one million cars drive

across this square every day. This should also

give you an idea of what this square is like; in

addition to cars, the most noteworthy element is

the enormous, white monument officially

known as the Vittoriano

VITTORIANO

The gargantuan, white, marble monument offi-

cially known as the Vittoriano (in honour of

Vittorio Emmanuele II) is famous for its many

nicknames, bestowed upon it over the years by

the often less than adoring Roman citizenry,

including monikers such as the typewriter, the

wedding cake and, worst of all, the white can-

cer. From an architectural standpoint, its design

clashes mercilessly with its surroundings (the

Forums, the Campidoglio, the palaces and

museums), but it was built with exactly that

intention. When it was constructed in the 19th

century, its disproportionate dimensions were


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a facade from the mid-18th century and a bre-

athtaking interior decor. The palace also houses

the Doria Pamphili Gallery, again named after

the palace's owner, which is renowned for its

outstanding private, art collection. The gallery

owns 400 paintings from the 15th to the 18th

century, featuring pieces by Caravaggio,

Lorrain and Titian. However, one of the most

spectacular pieces isn't by an Italian painter - it

is a portrait of Pope Innocent X Pamphili pain-

ted by the Spanish master Velzquez. The por-

trait hangs alone in one of the palace's

supremely elegant rooms, adding to the paint-

ing's impressive quality.

One of the city's most significant churches, the

Chiesa di Ges, isn't far from the gallery. The

church is famous for both the beauty of its inte-

rior and the fact that it was Rome's first Jesuitchurch. Saint Ignacio, the founder of the Jesuit

order, spent the last years of his life in this

church and his chambers are open to the public.

Saint Ignacio is also buried here in a tomb made

entirely out of bronze and marble.

If you want to continue to Piazza del Popolo,

you must head down Via del Corso, one of

Rome's most famous and busiest avenues.

Centuries ago this avenue was where the very

popular horse races took place, which is also

how it got its name since corso means horse in

Italian. The sporting days are long gone, and

the racetrack has been replaced by chic bouti-ques and popular shops. As you head up Via del

Corso, take a right on Via di Ripetta. This little

detour will take you to the Ara Pacis Augustae

and Mausoleum of Augustus. Unfortunately,

these historical landmarks are closed to the

public, but the monumental exteriors are

impressive in their own right and a clear indica-

tion of the important role these buildings once

played.

MAUSOLEUM OF AUGUSTUS AND ARA

PACIS AUGUSTAE

Both sites are closed to the public, but they are

worth visiting for their exterior alone. The Ara

Pacis was built between the years 9 and 13 B.C.

(estimates regarding its construction period

vary) and is most noteworthy for being one of

the first, authentic examples of classic Roman

sculpture. The exterior showcases a frieze

depicting familial scenes from that time period.

The mausoleum was built between the years 23

and 28 B.C. by the Emperor Augustus. In itsday, it was one of the most spectacular buil-

dings in Ancient Rome, covered entirely in

marble. Today it has lost much of its splendour,

having suffered the abuse of time, neglect and

pollution. It was used as a fortress and as a the-

atre at different times in its history. In 1936

Mussolini had the mausoleum restored to pre-

vent it from deteriorating any further.

The Via del Corso ends at the Piazza del

Popolo, a square that is incredibly popular with

the local population. Tourists visiting the squa-

re for the first time are usually surprised by its

enormous dimensions.

PIAZZADEL POPOLO

This popular local hang-out usually takes tou-

rists visiting the square for the first time by sur-

prise. Its enormous dimensions are simply

awe-inspiring, a sweeping square spreading

outward from the gigantic obelisk at its centre.

It is the second oldest obelisk in the city,

brought over from Heliopolis by Emperor

Augustus. Initially it stood in the Circo

Massimo and marked the curve where horses

turned on the elliptical racetrack, but it was

moved in the 16th century. Seen from the front,the obelisk also separates two of the three chur-

ches that form part of the square's architecture:

the Santa Maria dei Miracoli and Santa

Maria in Montesanto. They are known as the

twin churches due to their almost identical

appearance, but although both are baroque,

their lay-out and foundations are actually quite

different.

The square's fountain is surrounded by a series

of steps which serve as a popular resting place

for people out and about in the city. The nor-

thern section of the square, next to the Porta del

Popolo, is where you find the square's most

important church, Santa Maria del Popolo,

famous for the valuable art works that adorn the

walls and ceilings.

SANTA MARIA DELPOPOLO

Traditionally churches charge no entrance fee

in Rome, and the Maria del Popolo Church is

no exception. The church contains a number of

chapels, one of which, the Capilla Chigi, was

designed by Raphael. The other chapels are

adorned with frescoes by Pinturicchio and

paintings by Raphael, such as the spectacular

Crucifixion of Saint Peter and the Conversion

of Paul. The church is marked by extremely low

light, making some of the corners seem almost

sinister and endowing the entire space with a

very special atmosphere. In order to see the

frescoes properly, you have to place 50 cents

into an urn - the church then miraculously lights

up and reveals its many secrets. The breathta-

king quality of the frescoes and paintings make

50 cents seem like a paltry sum to pay for so

much beauty.


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INFO

Musei Capitolini

Palazzo Nuevo y Palazzo dei Conservatori

Piazza del Campidoglio

Tel. 06 67102475

Opening hours: Tuesday-Sunday, 9am-8pm

General admission: 6,20. Reduced admission: 4,20

www.museicapitolini.org

Museo Nazionale di Palazzo Venezia

Via del Plebiscito, 118

Tel. 06 6798865

Opening hours: Tuesday-Sunday, 8:30am-7pm

General admission: 4. Reduced admission: 2

Galleria Doria Pamphilj

Piezza del Collegio Romano, 2

Tel. 06 6797323

Opening hours: Every day, except Thursday, from 10am-5pm

General admission: 8. Reduced admission: 5,70

www.doriapamphilj.it


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1 Piazza de Campidoglio

2 Pallazzo Venezia

3 El Vittoriano

4 Piazza Venezia

5 Palazzo Doria

6 San Marcello

7 Piazza Colonna

8 Piazza del Popolo (sta Maria dePopolo)

9 Mausoleo Augusto


11/35

Piazza di Spagna, a square nestled into one of

Rome's most elegant areas, is a popular mee-ting place for both locals and tourists alike.

Although the underground stops at the square,

it is far more charming to get here on foot. Apleasant, picturesque walk along the pretty Via

del Babuino takes you from Piazza del Popolo

straight to Piazza di Spagna.

Via del Babuino is one of three streets that

begin at Piazza del Popolo, at a fork known as

Il Tridente (Via Ripetta and Via del Corso are

the other two). These streets are an absolute

must for anyone fascinated by Renaissanceart and architecture, antique shops or thecrme de la crme of elegant fashion. This cor-

ner of Rome isn't a typical urban area; it is a

bona fide outdoor museum, filled with a wealth

of artistic and historical treasures that almostno other city can match.

PIAZZA DI SPAGNA

It seems almost unnecessary to introduce the

Piazza di Spagna, the square of a thousand

postcards with those famous steps. The swee-

ping steps are not just a popular hang-out on

sunny days; they have become an authentic

Roman landmark. The steps lead up to the

Santa Trinita dei Monti Church, which wasbuilt by the French. The steps themselves don't

just owe their name to the Spanish, who occu-

pied this square for many years and have hadtheir embassy here since the 17th century.

Climbing the endless steps might seem a pain-

ful task, especially on a hot day, but it is worth

the effort. Both the church's interior and the

spectacular, panoramic view are reason enough

to embrace a little exertion. The Fontana di

Barcaccia, the curious fountain in the square'scentre depicting a half sunken boat, is the work

of Bernini's father.

KEATS-SHELLEY HOUSE

Lovers of romantic poetry will find a small tre-

asure tucked next to the grand staircase on the

Piazza di Spagna. Immediately in front of the

square's fountain is the Keats-Shelley House,

which was once the residence of poet JohnKeats. Keats came to Rome in 1820 after hisdoctors had ordered a change in climate to

combat his tuberculosis. Unfortunately, the

young poet didn't recover from his illness - just

one short year later he died at the age of 25.

The house was turned into a museum in 1906,

dedicated to the works of Keats as well as those

of other romantic writers such as Shelley andLord Byron, who also spent a few years oftheir lives in the eternal city.

VIA CONDOTTI AND CAFF GR ECO

Of all the possible streets to take from Piazza di

Spagna, the best choice is without a doubt the

elegant Via Condotti. This is high-class at its

finest, the Mecca of Italian fashion. The shop

windows that line this street aren't your garden

variety - designer royalty reigns here with

names like Prada, Moschino, Versace and

Armani turning this stretch of road into the

classiest catwalk in the world. In short, the ViaCondotti is a feast for the eyes that everyone

can enjoy but only very few can actually own.

Another luxurious treat along this street is the

famous Caff Greco, which has for decadesbeen a popular gathering place for intellectuals

and writers. Sitting in this history-soaked spot

and sipping a classic cappuccino is a tempta-

tion that few can resist. You should know,

however, that treating yourself to coffee here is

a luxury in more ways than one - a simple cup

costs about 6 .

In order to continue the route to the Quirinale,it is best to head down Via Sistina. This street

brings you to the Piazza Barberini, where its

Route 03

From Piazza di Spagna to the Quirinale


12/35

name changes to Via delle Quattro Fontane.

This is also the entrance to the PalazzoBarberini, a perfect example of the ostentationthat the family of Pope Urban VIII was noto-

rious for. The family wanted nothing but the

best and therefore commissioned three of the

era's finest architects, Maderno, Bernini and

Borromini, to design and build their residential

palace. Centuries later the family is sharing the

wealth; the palace is now open to the public

and home to the Galleria Nazionale d'Arte

Antica with a wonderful collection featuring

artists such as Federico Lippi, Caravaggio,

Raphael and Tintoretto.

Heading down Via delle Quattro Fontane and

taking a right on Via Quirinale takes you to a

couple of Rome's most famous baroque chur-

ches, built by the celebrated, rival architects

Bernini and Borromini. The first church along

this street is San Car lo alle Quattro Fontane,located at the corner where the two streets

meet. This was Borromini's opera prima interms of the many churches he eventually built

throughout Rome. A few metres down Via

Quirinale, you come across the Sant'Andreaal Quirinale Church, one of Bernini's mostoriginal, architectural masterpieces. The chur-

ch's interior still preserves its magnificent

decor, but there is something even more unique

about this place. Bernini's design of the cupola

created an astonishing lighting effect that

remains impressive even today. Admission to

both churches is free.

PIAZZADEL QUIRINALE

The spacious Piazza del Quirinale is just

around the corner. The square is most notable

for the palace that now serves as residence to

the president of the Republic. It is therefore

commonplace to see many carabinieri (local

Italian police) strategically placed throughout

the square. However, there are other things to

see here besides uniforms. The centre of the

square is adorned with a classic obelisk and

statues representing the twins Castor and

Polux, Roman era replicas of original Greek

statues from the 5th century B.C.

Exploring the neighbourhood requires a slightphysical effort since most of the streets contain

rather steep stretches; the Quirinale is, after all,

the tallest of Rome's seven hills. In addition to

being the political epicentre of modern-day

Italy, the Quirinale's maze of little streets also

harbours one of Rome's most glorious and

celebrated landmarks. The effort invested into

exploring this area pays off the minute you step

into the little square that contains what is pro-

bably the most frequently visited and photo-

graphed monument in Rome, the Fontana di

Trevi

FONTANA DI TREVI

The enormous Fontana di Trevi is probably the

most famous fountain in the world, which

makes its location twice as surprising. You

somehow expect it to occupy a more majestic

space instead of a tiny little square nestled

amidst a maze of equally tiny streets. The laby-

rinthine nature of the streets also seems to muf-

fle the fountain's waterfall, which isn't audible

until you step into the square - adding yet ano-

ther element of surprise to discovering thisRoman landmark.

The Fontana di Trevi became an icon in 1959

when Anita Ekberg and Marcello Mastroianni

took their infamous dip in the fountain in

Federico Fellini's masterpieceLa Dolce Vita.

The scene took the world by storm, inspiring

thousands to try their hand at imitating the cou-

ple. One word of sound advice - bathing in the

fountain is highly discouraged. The floor of the

fountain has sensors that are connected with

the nearby police station. If the carabinieri

detect as much as a foot in the water, an alarm

is set off and a police unit will sweep into thesquare and present you with the appropriately

steep fine. Therefore, it is safer and cheaper to

practice a different Roman tradition instead -

tossing two coins into the fountain . The firstcoin ensures your return to the eternal city, and

the second promises to make you fall in love

whilst in Rome. And remember to turn your

back to the fountain as you toss the coins over

your shoulder - otherwise the wishes won't

come true. If you are wondering what even-

tually happens to all of the coins, you can rest

assured that you are not the only one benefiting

from your generosity. The city council collects

the coins every so often and donates the moneyto a number of charitable institutions in the

city.

The fountain was designed by Nicola Salvi in1732 and represents Neptune's carriagedrawn by two sea horses and two tritons.

Although the fountain has been photographed

and reproduced in countless images, no picture

comes close to the experience of seeing the real

thing. However, you shouldn't expect a quiet,

serene atmosphere in which to admire this

spectacular piece. Be prepared for throngs of

tourists and a constant stream of street vendorsselling every imaginable knickknack, street

performers dressed as ancient Romans and

spontaneous photographers trying to sell you

Polaroid pictures of yourself for 5 a piece. In

short, a dizzying whirl of activity that might

seem a tad overwhelming at first but is, in its

own way, quintessentially Roman.


13/35

INFO

Casa Museo Keats-ShelleyPiazza di Spagna, 26

Tel. 06 6784235

Open Monday-Friday from 9am-1pm and 3pm to 6pm. Saturdays from 11am to 2pm and 3pm to 6pm. Closed on Sundays.

Admission: 3

www.keats-shelley-house.org

Galleria Nazionale dArte Antica Palazzo Barberini

Via Barberini, 18

Tel. 06 4814591

Open Tuesday-Sunday from 9am-7pm.General admission: 5. Reduced admission: 2,50

www.galleriaborghese.it/barberini/it


14/35

1 Caf Greco

2 Casa Keats-Shelley

3 Piazza di Spagna

4 Santa Trinit dei Monti

5 Fontana di Trevi

6 Quirinale7 Palazzo Barberini


15/35

The Centro Storico or historic city centre lies to

the west of Via del Corso. This area was once

surrounded by the ancient city walls and con-

sists of an intricate network of little streets,

important monuments, elegant palaces and

some of Rome's most famous and charming

squares.

PIAZZA COLONNA AND PIAZZA MON-

TECITORIO

Both Piazza Colonna and the adjacent Piazza

del Montecitorio are key places in the city,

especially as far as politics are concerned. The

Palazzo Chigi on the Piazza Colonna is the offi-

cial residence of the prime minister and the

Palazzo del Montecitorio is the seat of the

current government and the House of

Representatives. Although the palace was

designed by Bernini, it was Carlo Fontana who

actually oversaw the construction in 1697. The

centre of the square is adorned with yet another

of the city's many obelisks. The most common

sights in these squares are official cars, private

security and bodyguards at the corners.

Whenever the press is milling about and secu-

rity tightens, you can assume that an important

personality is nearby, something that isn't allthat unusual here. In addition to being the heart

of political life, the spacious and elegant squa-

res are also lined with pleasant cafs and some

of the most exclusive (and expensive) hotels in

the city.

The maze of charming, little, cobblestone stre-

ets offers a rich variety of boutiques speciali-

sing in all of fashion's latest trends. But before

indulging in a shopping spree, make sure to

check the price tags - this area is notoriously

expensive. Eventually you come to the Piazza

della Rotonda, a busy square lined with outdoor

cafs and several excellent ice-cream shops.This is also where you find one of Rome's most

important and exceptional landmarks, the

Pantheon.

THE PANTHEON

Located on the Piazza della Rotonda, the

Pantheon, which was begun in the year 27 B.C.

under Emperor Agrippa, is the most well pre-

served building of the Ancient Roman period.

The building, once an awe-inspiring temple

dedicated to all the planetary gods, has some-

how managed to persevere despite immense

adversity. It survived a terrible fire and wasrebuilt by Emperor Hadrian in 120 A.D. and in

1609 it was converted into a church and barely

escaped complete destruction.

The facade has a triangular pediment held up by

sixteen Corinthian columns. Inside you find

yourself in one of the most humbling and

solemn spaces in all of Rome. The most striking

feature is, without a doubt, the impressive

cupola. This is one of the grandest cupolas everbuilt and at its centre is the oculus, a hole mea-

suring 9 metres in diameter that allows light to

filter into the space, creating indescribably

beautiful patterns and plays with light and sha-

dow. When it rains, the water falls into the

Pantheon but runs off through several, small

holes in the ground.

The Pantheon still manages to inspire wonder

in those who visit, but its current state is

nothing compared to the splendour it once pos-

sessed. Long ago both the interior and the exte-

Route 04

The Historic City Centre


16/35

rior of the cupola were covered in bronze, but

the "needs" of the time caused the burnished

metal to disappear. The Pantheon was stripped

of its bronze, which then found its way into the

cannons at the Sant'Angelo Castle and the

impressive baldachin that Bernini fashioned for

the Saint Peter's Basilica. Pope Urban VII, the

pontiff responsible for ransacking the

Pantheon, belonged to the Barberini family,

which led the Romans to develop a more than

appropriate word-play. When asked to explain

the deterioration of the once splendid Pantheon,

Romans like to reply by saying that "what the

barbarians spared of the Pantheon was greatly

appreciated by the Barberini".

Despite losing much of its splendour over time,

the Pantheon never fails to impress and a stay in

Rome isn't complete until you have visited this

site (admission to which is free). In addition to

the space itself, you can visit the tombs of

Vittorio Emmanuele II and Umberto I, the first

kings of Italy, and that of the great artistRaphael. The latter tomb bears a rather strange

inscription that is difficult to decipher.

Upon leaving the Pantheon, take some time to

explore the Piazza della Rotonda, which is

always lively no matter the time of day. There is

something inherently cheerful and spirited

about the atmosphere in this square, which is

equally popular with tourists and locals. The

latter enjoy the square in traditional Roman

style, either by sitting on the steps around the

fountain or in one of the caf terraces that

abound in this area. The Tazza d'Oro is one of

the best cafs in Rome, serving a delectableselection of Italian coffees at what are, conside-

ring the location and fame of this establishment,

surprisingly reasonable prices.

SANTA MARIA SOPRA MINERVA

CHURCH

Heading down towards the river on Via

Minerva, you come to the Santa Maria Sopra

Minerva Church.

The church's strange name refers to the fact that

this was a religious site long before a church

stood here. This church, one of the few expo-nents of Gothic architecture in Rome, stands

above the ruins of a temple dedicated to the

goddess Minerva. The temple dated back to the

8th century but vanished beneath the founda-

tions of the church in 1280. The church was res-

tored in the 19th century, which significantly

improved its appearance. If you look very clo-

sely at the facade, you will notice faint scars in

the stone - traces of times when the Tiber's

water rose and flooded the area. The church

guards the remains ofCatherine of Sienna,

Italy's patron saint, and is adorned with exce-

llent frescoes by Filippino Lippi and sculptures

by a young Michelangelo.

A strange sculpture stands at the square's cen-

tre, immediately in front of the church's entran-

ce. The statue was sculpted by Bernini and

depicts a small elephant carrying an obelisk on

his back.

You are now faced with countless ways of

exploring the Centro Storico, but the best choi-

ce is taking Via del Pie' di Marmo from Piazza

Sopra Minerva. This aptly named street

(Avenue of the Marble Foot) cannot be missed.

The corner is marked by a giant, marble foot,

the last remnant of an ancient Roman sculpture,

lying nonchalantly out in the open. There are

some things that you can only find in Rome.

As you wander towards Piazza Navona, you

pass the elegant Palazzo Madama, a palace

built in the 16th century by the Medici family,

which now houses the city's Senate.

Facing the palace is yet another church that

shouldn't be missed, the San Luigi dei Francesi

Church. This baroque church is very popular

amongst locals, who seem unfazed by the fact

that the chapels in their parish church feature

the work of masters like Giacomo della Porta,

Domenico Fontana and Caravaggio.

PIAZZA NAVONA

This is one of Rome's most celebrated squa-

res, a place that somehow possesses a charm

that goes beyond the palaces, fountains and

churches that decorate the space. There is no

doubt that the art and architecture to be found

here is absolutely magnificent, but there is

something more, something indefinable, that

makes Piazza Navona into such an unforgetta-

ble place. Its name, navona, supposedly refers

to its boat-like shape, which serves as a plat-

form for a colourful group of passengers. Streetperformers, painters, vendors and artisans ply

their trade here during the day and much of the

night, something that doesn't much please the

people living on the square. Despite the com-

plaints about noise, the residents of Piazza

Navona are well aware of what a distinguished

address they are lucky enough to call home.

Even though the square is always crowded

(usually tourists rather than Romans) and fin-

ding a table in a caf is a daunting task, Piazza

Navona is simply one of those special places

you always return to when in Rome. Christmas

is one of the square's best seasons, when the tra-

ditional Befana, a Christmas market namedafter the typical Italian witch that brings pre-

sents to the children, opens for holiday season.

The square is baroque in style, lined by several

buildings with charming, ornate facades. It

bears little resemblance to its past incarnation,

although its shape does provide a clue. This was

once the site of the Circo Domiciano, a popu-

lar horse-racing track and athletic field. Instead

of the lavishly elegant buildings, the space was

surrounded by rows of seats, filled with long

gone audiences that came to be thrilled and

amused by a vast number of sporting events.

The square is an open-air museum, a placewhere visitors can admire the work of two artis-

tic contemporaries and notorious rivals -

Bernini and Borromini. Bernini designed the

spectacular Fontana dei Quattro Fuimi, the cen-

trepiece in a trio of fountains that decorate the

square. Borromini built the Sant'Agnese in

Agone Church, one of the city's baroque mas-

terpieces. The anecdotes surrounding their

rivalry are legendary; perhaps it was precisely

this competitive streak that led the two artists to

create such unforgettable pieces

.

FONTANA DEI QUATTRO FUIMI

The Fontana dei Quattro Fiumi, one of three

fountains that adorn the Piazza Navona, stands

between the Fontana del Moro to the south and

the Fontana del Nettuno to the north. Of the

three, the Fontana dei Quattro Fiumi is doub-

tlessly the most unusual and surprising.

Bernini, the artist responsible for designing the

fountain, used human figures to represent four

of the world's greatest rivers - the Danube,

the Ganges, the Nile and the Rio de la Plata.

The expressive quality of the figures is astonis-

hing as are their almost perfectly rendered

physical proportions.

The fountain underwent a meticulous renova-tion process which was completed in 2004. The

renovation returned the fountain much of its

previous glory, allowing visitors to appreciate

what a masterpiece it truly is. An amusing anec-

dote surrounds one of the figures; if you look

closely, you will notice that the figure represen-

ting the river Nile is wearing a blindfold. Some

claim that the blindfold refers to the fact that the

Nile was considered a mysterious river at the

time. Others, however, insist that the figure,

which faces the Sant'Agnese in Agone Church,

is blindfolded so as not to look upon the church,

which was built by Bernini's great rival,

Borromini. However, this latter tale is probablythe work of malicious tongues since Bernini

completed the fountain long before Borromini

finished his work on the church's facade.

SANT AGNESE IN AGONE CHURCH

The Sant'Agnese in Agone Church is yet ano-

ther one ofBorromini's baroque masterpie-

ces. The most fascinating section of the church

is the chapel that guards the relics of Saint Inez.

The story of Saint Inez, who died a martyr in

this church, is a curious one. As she was strip-

ped of her clothes to be flogged to death her

hair started to grow miraculously until it cove-red her entire body. One of the church doors

leads into an underground tunnel where you can


17/35

visit the ruins of the ancient Circo Domiciano,

which now lie beneath the Piazza Navona.

PIAZZA PASQUINO AND PALAZZO

BRASCHI

In one corner of the Piazza Pasquino stands one

of Rome's historic speaking statues. These sta-tues were once the cornerstone of a rather

curious practice. During the 15th and 16th cen-

tury it was customary for people to leave mes-

sages with these statues, usually critiques about

the way things were being done in the city. It

goes without saying that this practice was not

looked upon favourably by the authorities.

Authoring such a message was considered a

crime punishable by death.

The Pasquino statue rests against one of the

walls of the Palazzo Braschi, which now hou-

ses the Museum of Rome. The museum's

collection brings together many documents and

other material related to the city's cultural,

social, historic and artistic life from the Middle

Age until 1952.

PIAZZA CAMPO DE FIORI

Leaving the palace behind and heading down

Via Baulari, you end up at the Piazza Campo

de'Fiori. This is one of the city's liveliest and

most popular squares, sought out by people

from all walks of life. In the mornings the squa-

re hosts a famous, open-air flower and plant

market, the traditional event that gave the squa-

re its name. The cafs are crowded throughout

the day, and the many little side-streets are linedwith chic stores and galleries. After sunset, the

square turns into a popular nightlife spot, fea-

turing many bars and pizzerias. The clientele is

as mixed as during the day, attracting both

young crowds that sit in the middle of the squa-

re drinking beer and hipsters in designer clo-

thing that sip cocktails at the many upscale

bars.

A mysterious, hooded statue stands at the centre

of the square. The piece honours Giordano

Bruno and serves as a sinister reminder of a

dark, malevolent period in the square's history.

During the days of the Inquisition, the Campo

di'Fiori was used for executions, a fate that also

befell Giordano Bruno. Bruno was a scholarly

monk who developed an astronomical theory

stating that the earth revolves around the sun

and not vice versa. This might strike us as a

well-known, even mundane fact, but in the year1600 it was anything but.

The theory cost Bruno his life - he was branded

a heretic and burned at the stake. The statue,

notable for is dark and mysterious quality,

marks the spot where Bruno died.

PIAZZA FARNESE

This elegant square is primarily known for its

namesake palace, which now houses the French

embassy. The palace contains several valuable

art works, but unfortunately it is closed to the

public. It is interesting to visit the square none-

theless, because the palace's fascinating facade

is worth seeing. It carries the signature of many

architectural talents, including some of the

most renowned artists Rome has ever known

such as Antonio da Sagallo, Giacomo della

Porta and Michelangelo.

The square's centrepiece, consisting of two,

gigantic, twin fountains, is another eye-cat-

ching element. The fountains' design, which

features a pair of granite bathtubs, is particu-

larly unusual. The pieces have their own pecu-

liar story - they were moved to the Piazza

Farnese from their original location at the

Termes di Caracalla.

PALAZZO SPADA

The Palazzo Spada is a beautifully conserved

palace, thanks to the restoration the Spada

family commissioned from Borromini in 1632.

The family donated their private art collection

to the city of Rome in 1926, which is displayed

in the Spada Gallery and includes interesting

paintings by Rubens and Titian. Another nota-

ble facet of this building is the architecture

itself. When Borromini undertook the restora-

tion of the palace, he decided on a few modifi-

cations, one of which is a true architectural

achievement.

Borromini reduced the size of the columns in

the hallway leading out to the patio and eleva-

ted the floor, thus creating a very surprising and

peculiar visual illusion. The hallway seems

much longer to the eye than it actually is, con-

fusing more than one visitor walking down its

length for the first time.

Informacin til

Museo di Roma Palazzo Braschi

Piazza di San Pantaleo, 10

Tel. 06 67108346

Open Tuesday-Sunday from 9am-7pm.


www.museodiroma.comune.roma.it

Galleria Spada Palazzo Spada

Piazza Capodiferro, 13

Tel. 06 6832409Open Tuesday-Sunday from 8:30am-7:30pm.


www.galleriaborghese.it/spada/it/default.htm


18/35

1 Piazza Colonna

2 Piazza del Montecitorio

3 Panten

4 Piazza della Rotonda

5 Sta Maria Sopra Minerva

6 Via del Pie' di Marmo

7 Piazza Navona

8 Estatuas parlantes

9 Piazza Campo de'Fiori

10 Piazza Farnese


19/35

The Tiber River, which runs through much of

the city's historic core, is more than just a water-

way; the river has grown to be as much a symbolof Rome as the Coliseum or the Spanish Steps.

The river endows the city with yet another facet

of its personality and has influenced Roman life

for centuries. The many bridges that cross the

Tiber are signposts of different, historical eras

and have become essential elements of the

river's landscape. The neighbourhood that has

been most significantly influenced by its proxi-

mity to the Tiber is Trastevere, whose name

even references the legendary river. Tevere is

the Italian name for the Tiber and tras means on

the other side. Thus, it is the neighbourhood on

the other side of the Tiber.

Trastevere lies across the river from the

Centro Storico and has the most unique and ste-

adfastly Roman character of all the city's areas.

Time, however, doesn't stand still, not even in

Trastevere. The neighbourhood has been disco-

vered by a young, hip and wealthy crowd, cau-

sing the area to lose some of its traditional

charm. Many of the neighbourhood's long-term

locals are slowly moving out to other, cheaper

areas and new, wealthier tenants are taking their

place. The old "palaces" are being converted

into hip establishments, gradually changing the

life-style of this area. The traditional trattorias

still abound in Trastevere, but they now rubshoulders with fast-food pizzerias and other pla-

ces that cater primarily to the many visitors who

come here every day.

Things might be changing in Trastevere, espe-cially for its local population, but that doesn't

change the fact that it is still one of the most

authentic and charming areas in Rome. It

somehow seems to move at a different pace than

the rest of the city, its individual character for-

ged through both the real and the psychological

division that is the Tiber River. Perhaps it is this

very same separation that has also allowed

Trastevere to keep much of its unique character

alive over time. A palpable shift in atmosphere

and rhythm accompanies the change from day to

night in the neighbourhood. Day and night are

very different here and both must be experien-

ced in order to truly appreciate everythingTrastevere has to offer.

Trastevere in the mornings and during most of

the daytime hours more closely resembles a

village than part of a country's capital city. The

pace is languid, street vendors wander the stre-

ets and shops display part of their merchandise

on the cobblestone streets. There is a timeless

quality to the older generations who sit in the

squares, chatting with what seems like all the

time in the world, and to the laundry that still

flutters on the balconies. Italian mammas shop

at small, family-owned shops, and families

stroll down the narrow streets as if much of themodern world was still being held at bay by the

river. This is the classic Trastevere, a proletarian

neighbourhood that still holds on to its traditio-

nal way of life. At night everything changes as

both crowds of young people and tourists crossthe river and flock to the neighbourhood. A trat-

toria or restaurant is tucked down every street,

even the tiniest alleys, and still offer reasonable

prices despite the surge in the area's popularity.

Stores specialising in music, clothing and handi-

crafts stay open until very late, and street perfor-

mers provide spontaneous entertainment at any

given time, in any given place. Some people

come to stroll through the neighbourhood while

others prefer to sit in the squares, hanging out

with friends and drinking. Unfortunately this

can lead to less than desirable situations in the

late hours of the night, often causing the carabi-

nieri to come and clear out the area. However,this is all part of Trastevere's character, a neigh-

bourhood with two very different lifestyles,

and anyone seeking a complete picture of

Roman life needs to experience them both.

Many bridges cross the Tiber, but some are

especially suited for a trip into Trastevere.

Ponte Sisto, Ponte Garibaldi, Ponte Fabricio

and Ponte Palatino, located between the

Centro Storico and the Teatro de Marcello, are

all excellent choices that lead directly to the

Trastevere riverfront. Ponte Fabricio, as the

bridge is known on the northern shore, is one of

the oldest in Rome. Its name changes to PonteCestio on the southern side. This might be the

most picturesque route to take since it leads you

Route 05

El Trastevere


20/35

across the Tiber Island, another charming spot in

the city.

ISOLATIBERINA (TIBER ISLAND)

The little island in the middle of the Tiber River,

which only measures 300m in length and 80m

across, is a very curious place. Countless

legends surround this tiny patch of land, mostly

revolving around its long tradition in medicine.

One legend tells the story of a snake brought

over from Greece to cure an outbreak of the

bubonic plague that was decimating the city.

The snake escaped the ship it was travelling on

and reached the island, and a sepulchre was built

to mark the exact spot where the snake crawled

ashore. People stricken with the plague came to

the sepulchre and were cured when they left and

thus the island's mythical healing powers were

born. In fact, the island had long been dedicated

to Aesculapius, the roman god of medicine. This

ancient tradition was continued by monks in the

Middle Ages, who set up a hospice that would

eventually become the Ospedale

Fatebenefratelli. This hospital is still up and

running and is considered one of Rome's most

revered medical institutions.

There is also a church on the island, named

after Saint Bartholomew, which stands above

the ruins of the ancient temple dedicated to

Aesculapius. Another interesting landmark can

be found a little further down the river. The rem-

nants of what is popularly referred to as the

Ponte Rotto (the Broken Bridge), belong to one

of the oldest stone bridges built in Rome.

Originally constructed in 142 B.C., the bridge

was largely destroyed by a violent flood in 1598.

After years of deterioration, all that remains of

the ancient bridge is one, lone arch.

Crossing the Ponte Cestio takes you to the

Piazza Piscinula in Trastevere, site of the San

Benedetto in Piscinula Church, which is famous

for having the oldest Roman church bell.

Another noteworthy church, the Santa Cecilia

in Trastevere, is located at the nearby Piazza

Mercanti. Art lovers flock to the church to see

the strikingly beautiful fresco by Pietro

Cavallini in the choir. The religiously devout,

however, come here for another reason. The

church is the final resting place of Saint Cecilia,

who died in the year 230 A.D. More than a thou-

sand years later, in 1599, her tomb was opened

and her body was discovered in a remarkable

state of preservation, a fact that many could onlyexplain as a divine miracle.

TORRE DEGLI ANGUILLARA

There is more to this building than a pretty exte-

rior. Its long and colourful history began with

the Anguillara family who owned the tower

until 1538. The building then changed hands

and fell into a long period of decline during

which it was used as a stable, slaughterhouse

and cellar. Brighter times came when a middle-

class family turned the tower into a manufactu-

ring plant for enamel and coloured glass.

However, the most interesting tenant the tower

ever had was poet Dante Aligheri, who livedhere for about one year. In fact, the library insi-

de the tower houses what is probably the best

collection of Dante's work worldwide. The

square on which the tower stands is also the

beginning of Trastevere's main thoroughfare,

the Viale di Trastevere, an extremely long ave-

nue that transverses the entire length of the

neighbourhood. The street becomes the area's

central attraction on Sunday mornings when it

transforms into a traditional market with coun-

Informacin til

Museo di Roma in Trastevere

Piazza di San Egidio, 1/b

Tel. 06 5899359

Open Tuesday-Sunday from 10am-8pm.


www.comune.roma.it/museodiroma.trastevere/

Galleria Corsini

Via della Lungara, 10

Tel. 06 68802323

Open Tuesday-Sunday from 8:30am-7:30pm.


www.galleriaborghese.it/corsini/it/default.htm


21/35

1 Ponte Sisto

2 Ponte Garibaldi

3 Ponte Fabricio

4 Ponte Palatino

5 Isola Tiberina

6 Torre degli Anguillara

7 Santa Cecilia in Trastevere

8 Santa Maria in Trastevere

9 Mercado Porta Portese

tless stores and visitors eager to browse. The

market runs down the entire length of the ave-

nue all the way to the river, close to Porta

Portese and the Ponte Aventino.

THE PORTA PORTESE MARKET

Porta Portese is one of the largest, most diverse

and popular flea-markets in Europe. On any

given Sunday up to 4,000 stalls open shop to sell

all imaginable merchandise, including antiques

(as well as a lot of junk), second hand clothes,

books, magazines, decorative items and food

products. Due to the market's soaring popularity,

finding bargain deals is becoming increasingly

difficult, but it is still possible. All you need is

some patience and a good hand at bartering and

then you're bound to leave Porta Portese with at

least one or two unique acquisitions.

Taking Via di San Francesco a Ripa from Viale

di Trastevere leads you directly to the PiazzaSanta Maria in Trastevere, the neighbourhood's

main square. This is Trastevere's heart, the place

where you find the truest expression of the

neighbourhood's aforementioned character. The

square is the epicentre of neighbourhood life,

both during the day and at night. In terms of his-

torically important buildings, the Santa Maria

in Trastevere Basilica is one of Rome's most

significant. It was the first church in Rome to be

dedicated to the Virgin Mary.

If you want to see yet another side of this multi-

faceted neighbourhood, head down Via della

Scala until you reach the Villa Farnesina and the

Palazzo Corsini. These are two of the area'smost elegant buildings. The former is home to a

very fine art collection that includes pieces like

the Three Graces by Raphael whereas the latter

houses a section of the Galleria Nazionale

d'Arte Antica (the rest of the gallery can be visi-

ted at the Palazzo Barberini).


22/35

This route is unlike others in that it covers

areas that are distinctly different from one ano-

ther, resulting in a tour that allows you to sam-

ple much of Rome's multi-faceted character.

Starting at Termini Station, this route takes you

back in time to several important periods in the

city's history and stops in at a number of

important architectural and religious sites,coming to a close at the basilica in San

Giovanni in Laterano.

TERMINI STATION

Rome's centr al tr ain station is more than the

nexus of incoming and outgoing railroad traf-

fic; it is also a perfect example of how fascist

and post-war architecture coexist in the same

space. The inside of the station is a hub of acti-

vity: the main point of departure and arrival for

both national and international trains as well as

a busy conglomeration of shops, bars and

cafs. The tourist information located inside

the station is an excellent resource for people

visiting Rome for the first time.

The Piazza dei Cinquecento, which serves as

the city's bus terminal, is right next to the sta-

tion. If you ever get lost, this is the best place togo since almost every bus line in Rome begins

its trajectory here. The square is a lively and

noisy place, not all together surprising conside-

ring that this is the city's hub for public trans-

port. During the day, the square is brimming

with life and activity, filled with people

coming and going. At night the milieu changes

considerably, and the area turns into a less than

desirable place to spend the nocturnal hours.

MUSEO NAZIONALE ROMANO

The museum's archaeological collection is not

only the best in Rome but also one of the mostimportant worldwide. Parts of the collection

can be seen at a number of locations throug-

hout the city, but the most important pieces are

here, at one end of the square. These are the

remnants of the Terme di Diocleziano, the

most popular and renowned baths of the 4th

century, which once accommodated more than

3,000 people. The baths took up an enormous

stretch of land, a terrain now flanked by the

streets Via Torino, Via Volturno, Piazza dei

Cinquecento and Via XX Settembre. The spot

that once held the actual baths is now taken up

by the Santa Maria degli Angeli Church, which

was designed by Michelangelo and containsseveral, valuable artworks in its interior.

This section of the museum, the Museo

Nazionale Romano - Terme di Diocleziano,

can be accessed from the Piazza della

Repubblica, a square also well-known for its

fountain, the Fontana delle Naiade. This sec-

tion of the museum, resting on the ancient ruins

of the baths, only houses a few pieces of the

entire collection. The museum is scatteredthroughout the city and housed in a number of

different places such as the Palazzo Massimo

alle Terme, the Palazzo Altemps and the

Crypta Balbi. The Aula Ottagona , a space

that displays a number of Roman sculptures

from the era of the baths, is located at one end

of the square.

The Palazzo Massimo alle Terme, located

close to the Terme di Diocleziano, has an

impressive collection of sculptures depicting

emperors and members of illustrious Roman

Route 06

Along the Esquilino from Termini Station toSan Giovanni in Laterano


23/35

families as well as ancient paintings, some of

which date back as far as the year 20 B.C. The

remaining sections of the museum are located

further away. Although they don't technically

belong to this itinerary, they are mentioned

below in order to provide a complete overview

of the museum.

You can visit another part of the collection at

the Palazzo Altemps, close to Piazza Navona,

which consists mostly of classic sculptures that

have been restored and thus saved from com-

plete deterioration. If you head down from

Piazza Venezia towards the Tiber, you will

come across the Crypta Balbi. As the name

indicates, this is a subterranean site; a ruin

beneath an old theatre built in the year 13 B.C.

SANTA MARIA MAGGIORE BASILICA

Heading down Via Torino from Piazza della

Repubblica, you come to the Santa Maria

Maggiore Basilica.

The church's facade may mislead a few visitors

into believing that it is more modern than it

actually is. The facade is an 18th century addi-

tion to the church, which actually dates back to

the 5th centur y. The origins of the church are

cloaked in a lovely legend. One day Pope

Liberius saw a vision of the Virgin Mary, who

spoke to him and asked for a church to be erec-

ted in her name. It would snow in one place the

next day, she said, and that was where the

church should be built. It was August but to the

astonishment of Rome's citizenry, it snowed on

the Monte Esquilino (the location of the

church). This has resulted in a charming cere-

mony that takes place every year on August 5th

to commemorate the miracle. On this day

countless white petals are released from a hole

in the church's ceiling and gently come floating

to the ground.

Despite several remodelling efforts, the church

has managed to maintain the rich beauty of its

interior. Most of the ceiling is covered in gold,

which was given to the church by the Catholic

Monarchs, who had accumulated immensewealth thanks to Spain's voyages to America.

Another interesting feature is the bell tower, an

excellent example of Romanesque architectu-

re.

The Esquilino Hill stretches all the way from

our starting point at Termini Station to the

Coliseum. The main street connecting these

areas is Via Cavour, and the best option after

your visit to Santa Maria Maggiore is to head

down this thoroughfare. Bear in mind that if

you decide to do this route in the opposite

direction, you will face a rather exhausting

climb. The incline on Via Cavour is rather

steep, making a downhill stroll the more com-

fortable option of the two. Eventually you

come across the charming square San Pietro in

Vincoli and its namesake church.

SAN PIETRO IN VINCOLI CHURCH

This small, charming church has more than one

surprise in store for visitors. One highlight is

the majestic statue ofMoses on his throne, a

piece by Michelangelo. The statue, which is

located on the right side of the church, isactually part of the tomb Michelangelo was

designing for Pope Julius II. However, the pon-

tiff died before the tomb was finished, and he

was buried in the Saint Peter's Basilica instead.

The church is also famous for a pair of chains,

safeguarded inside a chapel. The church was

actually built precisely to house these chains,

which are believed to be those used in the

captur e of Saint P eter. According to legend,

only one of these chains was located in Rome.

And then, one day, the other chain came to

Rome from Constantinople and the two were

miraculously reunited.

The church is open every day and there is no

admission charge. Keep in mind that the

church closes at midday (between 12:30pm

and 3:30pm). If you happen to visit the church

during these hours, you can always relax in one

of the many bars and pizzerias located throug-

hout the area. The establishments around the

church are very reasonably priced and popular

amongst students from the neighbouring medi-

cal school on Via Eudossiana.

COLLE OPIO AND DOMUS AUREA

The Colle Oppio was once the stuff that dre-ams are made of, fantastical grounds that

surrounded the Domus Aurea, Emperor Nero's

residence towards the end of his life. Nero

ordered the construction in 64 A.D., after a bru-

tal fire decimated the city. The facade was once

painted entirely in gold and the lush, beautiful

gardens were bisected by private aqueducts.

Nero didn't enjoy his palatial idyll for long - he

committed suicide just four years after cons-

truction was completed. His successors wanted

to eliminate every trace of the excesses left

behind by the eccentric emperor so they strip-

ped the entire complex. The plundering of the

Domus Aurea and the passing centuries contri-

buted greatly to the deterioration of the structu-

re. So little remains of its past incarnation that

most of what we know of the original Domus

Aurea comes from historical data and stories

passed down over generations. Looking at it

today, you would never imagine that it was

once such a splendid, awe-inspiring building.

SAN CLEMENTE BASILICA

The next stop on the route is Via Merulana ,

which can be reached by taking one of two

main streets. Walking along Viale del Monte

Oppio, you pass the ruins of the ancient Trajan

baths, a site that has unfortunately sufferedfrom long-term neglect, and the San Martino ai

Monti Church. In any other city, this church,

adorned with beautiful mosaics and the rem-

nants of classic sculpture, would rank amongst

the most exceptional. Not so in Rome, a city of

innumerable churches, where far more glorious

examples leave this one lingering in obscurity.

If you instead opt for the Via de San Giovanni

in Laterano, which leads directly to the city's

cathedral, you can make a stop at the San

Clemente Basilica.

This is one of the most fascinating churches in


24/35

Rome, built on a number of different levels

that expose the long history of religious practi-

ce that took place here. Over the centuries, the

site housed a succession of churches and tem-

ples, each new building covering the remains

of its predecessor. Three of these can still be

seen in this architectural patchwork, and it is

believed that even more structures lie in theground beneath. Behind the 18th century faca-

de are the remnants of a church built in the 12th

century, embellished with beautiful mosaics.

The second level still shows traces of a church

that stood here in the 4th century, and the final

level unveils yet another long buried treasure -

the ruins of a house that once served as a tem-

ple dedicated to the pagan god Mitra.

Via Merulana is difficult to miss; the street is

much wider than all those in the vicinity. Once

you are here, head southward on this classic

avenue, lined with an assortment of traditional,

Roman shops. These stores have none of the

elegance that marks the area around Piazza di

Spagna or Via del Corso, but they have a far

more authentic feel to them and there is no

shortage of bargains to be found. Continuing

on this street until Via Labicana, you now

come to the San Antonio de Padva Chur ch

on your left. This is an authentic, popular

neighbourhood church, the perfect place to get

a glimpse of what daily Catholic life is like in

Rome. If you happen to be here on June 13th,

don't miss out on a visit to the church. This is

when the community celebrates the church's

patron saint, allowing you the rare treat of wit-

nessing an authentic, local religious celebra-

tion.

SCALA SANTA

Via Merulana finally brings you to the Piazza

San Giovanni , a square dominated by the

monumental San Giovanni in Laterano

Basilica. Before entering the church, you

should visit one of the holiest sites in the

Christian faith - the Scala Santa.

This is one of Rome's most unusual sites and

one of Christianity's most sacred places.

Devout pilgrims frequently visit the steps,

which are reputed to be those ascended by

Chr ist in J erusalem on his way to trial befo-

re Pontius Pilate. It is in fact true that the steps

once stood in Jerusalem. Constantine's mother,

a famous collector of relics, had them brought

over to Rome. The marble steps are now cove-

red in wood to protect them from wear and tear.

Devout visitors climb the staircase on their

knees, pausing on every step to give forth a

short prayer. The steps end at the Sancta

Santorum (Holy of Holies) which was once a

private chapel used exclusively by the pope.

The chapel contains an interesting portrait ofChrist, authored by an unknown painter. Less

devout visitors wanting to visit the chapel can

do so via two alternative staircases on either

side of the Scala Santa.

Regardless of religious beliefs, the Scala Santa

is one of the most impressive expressions of

faith that one can witness in our day and age.

PIAZZA SAN GIOVANNI

This enormous square is most famous for being

the site of Rome's cathedral, the Basilica of

San Giovanni in Laterano . This basilica was

the first Christian church to be built in

Rome, commissioned by Emperor

Constantine. The church has prevailed through

several bouts of adversity, surviving two fires

that nearly destroyed it. Fortunately, the church

was rebuilt both times in a manner that respec-

ted its original design and structure.

The facade features a set of enormous bronze

doors that were originally part of the Curia in

the Roman Forum. The doors sit below an 18th

century portico by Alessandro Galilei and

serve as the main entrance to the basilica. The

majestic, spacious interior bears the signature

of Borromini, who was commissioned in the

INFO

Museo Nazionale Romano Term e di Diocleziano

Via E. De Nicola, 78

Tel. 06 39967700

Open Tuesday-Sunday from 9am-7:45pm.


www.archeorm.arti.beniculturali.it/sar2000/diocleziano/default.asp

Museo Nazionale Romano- Pa lazzo Massimo alle Terme

Largo di Villa Peretti, 1

Tel. 06 4814144Open Tuesday-Sunday from 9am-7:45pm.


www.archeorm.arti.beniculturali.it/sar2000/Museo_romano/Pal:massimo.asp

Museo Nazionale Romano Palazzo Altemps

Piazza di San Apollinare, 44

Tel. 06 6833759

Open Tuesday-Sunday from 9am-7:45pm.


www.archeorm.arti.beniculturali.it/sar2000/Altemps/Pal_altemps.asp

Museo Nazionale Romano Cr ipta Balbi

Via Botteghe Oscure, 31

Tel. 06 6780167Open Tuesday-Sunday from 9am-7:45pm.


www.archeorm.arti.beniculturali.it/sar2000/cripta/cripta.asp


25/35

1 Piazza dei Cinquecento

2 Museo Nazionale Romano

3 Terme di Diocleziano

4 Stazione termini

5 Santa Maria Maggiore

6 San Pietro in Vincoli

7 Domus Aurea

8 Baslica de San Clemente

9 Scala Santa

17th century to renovate the entire basilica.

Marble is the predominant material, which

adds to the almost regal quality of the space as

does the incredible Giotto fresco that covers

the length of one entire wall. A Gothic balda-

chin hangs above the altar , which is reputed

to cover the relics of the apostles Paul and

Peter. Only the pope may conduct mass under

the baldachin, a privilege that is honoured onevery Maundy Thursday.

One of the most impressive sites within the

basilica is the cloister. Admission to the basi-

lica is free of charge, but a morning visit to the

cloister costs 2 . The fee is reduced to 1 if

you visit the cloister in the afternoon, shortly

before closing time at 6pm. A sense of perfect

serenity characterises the cloister, where you

can see a number of sarcophagi as well as the

personal effects of several pontiffs.

Upon leaving the basilica, make sure to visit

the adjacent building, which houses the bap-

tistery. The battistero (baptistery) is where thefirst Christian baptisms took place in Rome.

Like the basilica, the baptistery was built

under Emperor Constantine and both structu-

res have been remodelled several times over

the centuries, not always to favourable effect.

The chapels ofSaint Rufina, Saint John the

Evangelist a nd Saint Venanzio are all note-

worthy for their beautiful mosaics.

Another attraction is the Palazzo

Lateranense, which served as the pope's resi-

dence for many years and now houses the

Offices of the Roman Diocese. The palace

was the site of some of the most important

events in the history of the Catholic Church,including the signing of the Letrn Pact in

1929 which established the Vatican as an

independent state.


26/35

The Vatican is the world's smallest, indepen-

dent state, an autonomous region, despite its

physical proximity to Rome, with a population

of 500. The Vatican has its own communication

network (press, radio, and television channels),stamps and transportation system; prior to the

introduction of the Euro, it even had its own

currency, minted within the confines of the tiny

state. The governing authority of the state isthe Pope, the highest official in the CatholicChurch. As this is being written, only a fewmonths have passed since the death of John

Paul II and the nomination of his successor,

Benedict XVI. The entire world closely follo-

wed the Pope's funeral and the nomination pro-

cess that reaches its conclusion with the tradi-

tional column of white smoke. Regardless of

religious beliefs, people around the world f

routes in rome

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