rome
the eternal city
What does it mean that a city is eternal? That it lives forever? I dont knoe but with 3000 years on its back its old. Even the known world was ruled frome here once. Today its most known for the pope and its churches. But since its a capital, it of couse has a modern side - you just arent seeing it downtown. Only when you are getting frome the airport to your hotel.
Altare della Patria
The Altare della Patria (English: "Altar of the Fatherland"), also known as the Monumento Nazionale a Vittorio Emanuele II ("National Monument to Victor Emmanuel II") or Il Vittoriano, is a monument built in honour of Victor Emmanuel, the first king of a unified Italy.
The eclectic structure was designed by Giuseppe Sacconi in 1885; sculpture for it was parceled out to established sculptors all over Italy, such as Leonardo Bistolfi and Angelo Zanelli. It was inaugurated in 1911 and completed in 1925. The Vittoriano features stairways, Corinthian columns, fountains, an equestrian sculpture of Victor Emmanuel and two statues of the goddess Victoria riding on quadrigas. The structure is 135 m (443 ft) wide and 70 m (230 ft) high. If the quadrigae and winged victories are included, the height reaches 81 m (266 ft). It has a total area of 17,000 square meters. The monument holds the Tomb of the Unknown Soldier with an eternal flame, built under the statue of goddess Roma after World War I following an idea of General Giulio Douhet. The base of the structure houses the museum of Italian Unification. |
Arch of Septimius Severus
The white marble Arch of Septimius Severus (Italian: Arco di Settimio Severo) at the northwest end of the Roman Forum is a triumphal arch dedicated in AD 203 to commemorate the Parthian victories of Emperor Septimius Severus and his two sons, Caracalla and Geta, in the two campaigns against the Parthians of 194/195 and 197-199.
After the death of Septimius Severus, his sons Caracalla and Geta were initially joint emperors. Caracalla had Geta assassinated in 212; Geta's memorials were destroyed and all images or mentions of him were removed from public buildings and monuments. Accordingly, Geta's image and inscriptions referring to him were removed from the arch. The arch was raised on a travertine base originally approached by steps from the Forum's ancient level. The central archway, spanned by a richly coffered semicircular vault, has lateral openings to each side archway. The Arch is about 23 metres in height, 25 metres in width and 11.85 metres deep. The three archways rest on piers, in front of which are detached composite columns on pedestals. Winged Victories are carved in relief in the spandrels. |
Capitoline Museums
The Capitoline Museums (Italian: Musei Capitolini) are a group of art and archeological museums in Piazza del Campidoglio, on top of the Capitoline Hill. The historic seats of the museums are Palazzo dei Conservatori and Palazzo Nuovo, facing on the central trapezoidal piazza in a plan conceived by Michelangelo Buonarroti in 1536 and executed over a period of more than 400 years. The history of the museums can be traced to 1471, when Pope Sixtus IV donated a collection of important ancient bronzes to the people of Rome and located them on the Capitoline Hill. Since then, the museums' collection has grown to include a large number of ancient Roman statues, inscriptions, and other artifacts; a collection of medieval and Renaissance art; and collections of jewels, coins, and other items.
The statue of a mounted rider in the centre of the piazza is of Emperor Marcus Aurelius. It is a copy, the original being housed on-site in the Capitoline museum. Many Roman statues were destroyed on the orders of Christian Church authorities in the Middle Ages; this statue was preserved in the erroneous belief that it depicted the Emperor Constantine, who made Christianity the official state religion of the Roman empire. Open to the public in 1734 under Clement XII, the Capitoline Museums are considered the first museum in the world, understood as a place where art could be enjoyed by all and not only by the owners |
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Church of the Gesù
The Church of the Gesù (Italian: Chiesa del Gesù) is the mother church of the Society of Jesus (Jesuits), a Catholic religious order. Officially named Chiesa del Santissimo Nome di Gesù all'Argentina (English: Church of the Most Holy Name of Jesus at the "Argentina"), its facade is "the first truly baroque façade", introducing the baroque style into architecture.
First conceived in 1551 by Saint Ignatius of Loyola, the founder of the Jesuits Society of Jesus, and active during the Protestant Reformation and the subsequent Catholic Reformation, the Gesù was also the home of the Superior General of the Society of Jesus until the suppression of the order in 1773. The church having been subsequently regained by the Jesuits, the adjacent palazzo is now a residence for Jesuit scholars from around the world studying at the Gregorian University in preparation for ordination to the priesthood. |
Fontana del Tritone
Fontana del Tritone (Triton Fountain) is a seventeenth-century fountain, by the Baroque sculptor Gian Lorenzo Bernini. Commissioned by his patron, Pope Urban VIII, the fountain is located in the Piazza Barberini, near the entrance to the Palazzo Barberini that Bernini helped to design and construct for the Barberini, Urban's family.
The fountain was executed in travertine in 1642–43. At its centre rises a larger than lifesize muscular Triton, a minor sea god of ancient Greco-Roman legend, depicted as a merman kneeling on the sum of four dolphin tailfins. His head is thrown back and his arms raise a conch to his lips; from it a jet of water spurts. The fountain has a base of four dolphins that entwine the papal tiara with crossed keys and the heraldic Barberini bees in their scaly tails. The Tritone, the first of Bernini's free-standing urban fountains, was erected to provide water from the Acqua Felice aqueduct which Urban had restored, in a dramatic celebration. It was Bernini's last major commission from his great patron who died in 1644. At the Triton Fountain, Urban and Bernini brought the idea of a sculptural fountain, familiar from villa gardens, decisively to a public urban setting for the first time; previous public fountains in the city of Rome had been passive basins for the reception of public water. |
Palazzo Barberini
The palazzo is disposed around a forecourt centered on Bernini's grand two-storey hall backed by an oval salone, with an extended wing dominating the piazza, which lies on a lower level. At the rear, a long wing protected the garden from the piazza below, above which it rose from a rusticated basement that was slightly battered like a military bastion. The main block presents three tiers of great arch-headed windows, like glazed arcades, a formula that was more Venetian than Roman. On the uppermost floor, Borromini's windows are set in a false perspective that suggests extra depth, a feature that has been copied into the 20th century. Flanking the hall, two sets of stairs lead to the piano nobile, a large squared staircase by Bernini to the left and a smaller oval staircase by Borromini to the right.
As well as Borromini's false-perspective window reveals, other influential aspects of Palazzo Barberini that were repeated throughout Europe include the unit of a central two-storey hall backed by an oval salone and the symmetrical wings that extended forward from the main block to create a cour d'honneur. |
Palazzo Colonna
Starting with Filippo Colonna (1578–1639) many changes have refurbished and create a unitary complex around a central garden. Architects including Girolamo Rainaldi and Paolo Marucelli labored on specific projects. Only in the 17th and 18th centuries were the main facades completed, one facing Piazza SS. Apostoli and the other Via della Pilotta. Much of this design was completed by Antonio del Grande (including the grand gallery), and Girolamo Fontana (decoration of gallery). In the 18th century, the long low facade designed by Nicola Michetti with later additions by Paolo Posi with taller corner blocks (facing Piazza Apostoli) was constructed recalls earlier structures resembling a fortification.
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Pantheon
The Pantheon ( Latin: Pantheon, from Greek Πάνθεον meaning "every god") is a building in Rome, Italy, on the site of an earlier building commissioned by Marcus Agrippa during the reign of Augustus (27 BC – 14 AD). The present building was completed by the emperor Hadrian and probably dedicated about 126 AD. He retained Agrippa's original inscription, which has confused its date of construction.
The building is circular with a portico of large granite Corinthian columns (eight in the first rank and two groups of four behind) under a pediment. A rectangular vestibule links the porch to the rotunda, which is under a coffered concrete dome, with a central opening (oculus) to the sky. Almost two thousand years after it was built, the Pantheon's dome is still the world's largest unreinforced concrete dome. The height to the oculus and the diameter of the interior circle are the same, 43.3 metres (142 ft). It is one of the best-preserved of all Ancient Roman buildings, in large part because it has been in continuous use throughout its history, and since the 7th century, the Pantheon has been used as a church dedicated to "St. Mary and the Martyrs" (Latin: Santa Maria ad Martyres) but informally known as "Santa Maria Rotonda". |
St. Peter's Basilica
The Papal Basilica of St. Peter in the Vatican, or simply St. Peter's Basilica (Italian: Basilica Papale di San Pietro in Vaticano), is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome.
Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and one of the largest churches in the world. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome, St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom". Catholic tradition holds that the Basilica is the burial site of St. Peter, one of Christ's Apostles and also the first Pope; supposedly, St. Peter's tomb is directly below the high altar of the Basilica. For this reason, many Popes have been interred at St. Peter's since the Early Christian period. There has been a church on this site since the time of the Roman Emperor Constantine the Great. Construction of the present basilica, replacing the Old St. Peter's Basilica of the 4th century AD, began on 18 April 1506 and was completed on 18 November 1626 |
San Carlo alle Quattro Fontane
The church of San Carlo alle Quattro Fontane (Saint Charles at the Four Fountains), also called San Carlino, is a Roman Catholic church in Rome, Italy. The church was designed by the architect Francesco Borromini and it was his first independent commission. It is an iconic masterpiece of Baroque architecture, built as part of a complex of monastic buildings on the Quirinal Hill for the Spanish Trinitarians, an order dedicated to the freeing of Christian slaves. He received the commission in 1634, under the patronage of Cardinal Francesco Barberini, whose palace was across the road. However, this financial backing did not last and subsequently the building project suffered various financial difficulties.
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San Pietro in Vincoli
San Pietro in Vincoli (Saint Peter in Chains) is a Roman Catholic titular church and minor basilica in Rome, Italy, best known for being the home of Michelangelo's statue of Moses, part of the tomb of Pope Julius II.
Also known as the Basilica Eudoxiana, it was first rebuilt on older foundations in 432–440 to house the relic of the chains that bound Saint Peter when he was imprisoned in Jerusalem, the episode called "Liberation of Saint Peter". The Empress Eudoxia (wife of Emperor Valentinian III), who received them as a gift from her mother, Aelia Eudocia, consort of Valentinian II, presented the chains to Pope Leo I. Aelia Eudocia had received these chains as a gift from Iuvenalis, bishop of Jerusalem. The basilica, consecrated in 439 by Sixtus III, has undergone several restorations, among them a restoration by Pope Adrian I, and further work in the eleventh century. From 1471 to 1503, in which year he was elected Pope Julius II, Cardinal Della Rovere, the nephew of Pope Sixtus IV, effected notable rebuilding. The front portico, attributed to Baccio Pontelli, was added in 1475. The cloister (1493–1503) has been attributed to Giuliano da Sangallo. Further work was done at the beginning of the 18th century, under Francesco Fontana, and there was also a renovation in 1875. |
Sant'Ambrogio e Carlo al Corso
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Sant'Ambrogio e Carlo al Corso (usually known simply as San Carlo al Corso) is a basilica churc. This church is dedicated to Saint Ambrose and Saint Charles Borromeo, both natives of Milan. It is one of at least three churches in Rome dedicated to Borromeo.
Its construction was begun in honour of the canonization of St. Charles Borromeo in 1610, under the direction of Onorio Longhi and, after his death, of his son Martino Longhi the Younger. The ground plan is based on the Latin cross. The dome, resembling that of Santi Luca e Martina, was designed by Pietro da Cortona (1668), who was also responsible for the apse and rich internal decorations. The façade was designed by Cardinal Luigi Alessandro Omodei, who did not like the project prepared by Carlo Rainaldi. The central vault is frescoed with a Fall of the Rebel Angels (1677–1679) by Giacinto Brandi. |
Santa Maria della Vittoria
Santa Maria della Vittoria (English: Our Lady of Victory) is a Roman Catholic titular church dedicated to the Virgin Mary located in Rome, Italy. The church is known for the masterpiece of Gian Lorenzo Bernini in the Cornaro Chapel, the Ecstasy of Saint Teresa.
The church is the only structure designed and completed by the early Baroque architect Carlo Maderno, though the interior suffered a fire in 1833 and required restoration. Its façade, however, was erected by Giovanni Battista Soria during Maderno's lifetime, 1624–1626, showing the unmistakable influence of Maderno's Santa Susanna nearby. |
Santi Apostoli
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The Church of the Twelve Holy Apostles (Italian: Santi Dodici Apostoli) is a 6th-century Roman Catholic parish and titular church and minor basilica in Rome, Italy, dedicated originally to St. James and St. Philip and later to all Apostles. Today, the basilica is under the care of the Conventual Franciscans, whose headquarters in Rome is in the adjacent building.
The Cardinal Priest of the Titulus XII Apostolorum is Angelo Scola. Among the previous Cardinal Priests are Pope Clement XIV, whose tomb by Canova is in the basilica, and Henry Benedict Stuart. Pope Clement XI instigated dramatic renovations of the church. A new Baroque interior was designed by Carlo Fontana and Francesco Fontana, and was completed in 1714. The church was later restored again, with the facade completed by Giuseppe Valadier in 1827 |
Spanish Steps
The Spanish Steps (Italian: Scalinata di Trinità dei Monti) are a set of steps in Rome, Italy, climbing a steep slope between the Piazza di Spagna at the base and Piazza Trinità dei Monti, dominated by the Trinità dei Monti church at the top.
The monumental stairway of 135 steps (the slightly elevated drainage system is often mistaken for the first step) was built with French diplomat Étienne Gueffier’s bequeathed funds of 20,000 scudi, in 1723–1725, linking the Bourbon Spanish Embassy, and the Trinità dei Monti church that was under the patronage of the Bourbon kings of France, both located above — to the Holy See in Palazzo Monaldeschi located below. The stairway was designed by architects Francesco de Sanctis and Alessandro Specchi. |
Swiss Guard
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The Pontifical Swiss Guard has its origins in the 15th century. Pope Sixtus IV (1471–1484) had already made an alliance with the Swiss Confederation and built barracks in Via Pellegrino after foreseeing the possibility of recruiting Swiss mercenaries.
The Pontifical Swiss Guard has served the popes since the 16th century. Ceremonially, they shared duties in the Papal household with the Palatine Guard and Noble Guard, both of which were disbanded in 1970 under Paul VI. Today the Papal Swiss Guard have taken over the ceremonial roles of the former units. At the end of 2005, there were 135 members of the Pontifical Swiss Guard. After the 13 May 1981 assassination attempt on Pope John Paul II by Mehmet Ali Ağca, a much stronger emphasis has been placed on the guard's non-ceremonial roles, and has seen enhanced training in unarmed combat and small arms. The official dress uniform is of blue, red, orange and yellow with a distinctly Renaissance appearance. Commandant Jules Repond (1910–1921) created the current uniforms in 1914. While both Michelangelo and a painting of the Pontifical Swiss Guard bearing Pope Julius II on a litter (by Raphael) are often cited as inspiration for the Pontifical Swiss Guard uniform. A clear expression of the modern Pontifical Swiss Guard uniform can be seen in a 1577 fresco by Jacopo Coppi of the Empress Eudoxia conversing with Pope Sixtus III. It shows the precursor of today's recognizable three-colored uniform with boot covers, white gloves, a high or ruff collar, and either a black beret or a black Comb morion (silver for high occasions). Sergeants wear a black top with crimson leggings, while other officers wear an all-crimson uniform. |
Tempietto
The Tempietto ("small temple") is a small commemorative tomb (martyrium) built by Donato Bramante, possibly as early as 1502, in the courtyard of San Pietro in Montorio.
In Rome, Bramante, was able to study the ancient monuments first hand. The temple of Vesta at Tivoli was one of the precedents behind the Tempietto. However, circular churches had already been employed by early Christians for martyriums, like Santa Constanza. Bramante would have been aware of these early Christian precedents, and as a result, the Tempietto is circular. It is almost a piece of sculpture, for it has little architectonic use. Perfectly proportioned, it is composed of slender Tuscan columns, a Doric entablature modeled after the ancient Theater of Marcellus, and a dome. It is the earliest example of the Tuscan order in the Renaissance. The Tuscan is a form of the Doric order, well suited for strong male gods (such as Hercules) so Tuscan was well suited for St. Peter's. It is meant to mark the traditional exact spot of St. Peter's martyrdom, and is an important precursor to Bramante's rebuilding of St. Peter’s. |
Trevi Fountain
The Trevi Fountain (Italian: Fontana di Trevi) is a fountain designed by Italian architect Nicola Salvi and completed by Pietro Bracci. Standing 26.3 metres (86 ft) high and 49.15 metres (161.3 ft) wide, it is the largest Baroque fountain in the city and one of the most famous fountains in the world.
Competitions had become the rage during the Baroque era to design buildings, fountains and even the Spanish Steps. In 1730 Pope Clement XII organized a contest in which Nicola Salvi initially lost to Alessandro Galilei – but due to the outcry in Rome over the fact that a Florentine won, Salvi was awarded the commission anyway. Work began in 1732 and the fountain was completed in 1762, long after Salvi's death, when Pietro Bracci's Oceanus (god of all water) was set in the central niche. The Trevi Fountain was finished in 1762 by Giuseppe Pannini, who substituted the present allegories for planned sculptures of Agrippa and "Trivia", the Roman virgin. It was officially opened and inaugurated on May 22 by Pope Clemens XIII It remains one of the most historical cultural landmarks in Rome. The majority of the piece is made from Travertine stone. |
Vatican Museums
The Vatican Museums (Italian: Musei Vaticani) are the museums of the Vatican City and are located within the city's boundaries. They display works from the immense collection built up by the Popes throughout the centuries including some of the most renowned classical sculptures and most important masterpieces of Renaissance art in the world.
Pope Julius II founded the museums in the early 16th century. The Sistine Chapel with its ceiling decorated by Michelangelo and the Stanze della Segnatura decorated by Raphael are on the visitor route through the Vatican Museums. There are 54 galleries, or salas, in total, with the Sistine Chapel, notably, being the very last sala within the Museum. |
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villa farnesina
The villa was built for Agostino Chigi, a rich Sienese banker and the treasurer of Pope Julius II. Between 1506–1510, the Sienese artist and pupil of Bramante, Baldassarre Peruzzi, aided perhaps by Giuliano da Sangallo, designed and erected the villa. The novelty of this suburban villa design can be discerned from its differences from that of a typical urban palazzo (palace). This villa, intended to be an airy summer pavilion, presented a side towards the street and was given a U shaped plan with a five bay loggia between the arms. In the original arrangement, the main entrance was through the north facing loggia which was open. Today, visitors enter on the south side and the loggia is glazed.
Chigi also commissioned the fresco decoration of the villa by artists such as Raphael, Sebastiano del Piombo, Giulio Romano, and Il Sodoma. The themes were inspired by the Stanze of the poet Angelo Poliziano, a key member of the circle of Lorenzo de Medici. Best known are Raphael's frescoes on the ground floor; in the loggia depicting the classical and secular myths of Cupid and Psyche, and The Triumph of Galatea. This, one of his few purely secular paintings, shows the near-naked nymph on a shell-shaped chariot amid frolicking attendants. |