Routes in Rome
Transcript of 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
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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
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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.
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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
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1 Caf Greco
2 Casa Keats-Shelley
3 Piazza di Spagna
4 Santa Trinit dei Monti
5 Fontana di Trevi
6 Quirinale7 Palazzo Barberini
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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-
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The Historic City Centre
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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
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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.
General admission: 6,20. Reduced admission: 3,10
www.museodiroma.comune.roma.it
Galleria Spada Palazzo Spada
Piazza Capodiferro, 13
Tel. 06 6832409Open Tuesday-Sunday from 8:30am-7:30pm.
General admission: 5. Reduced admission: 2,50
www.galleriaborghese.it/spada/it/default.htm
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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
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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
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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.
General admission: 2,60. Reduced admission: 1,60
www.comune.roma.it/museodiroma.trastevere/
Galleria Corsini
Via della Lungara, 10
Tel. 06 68802323
Open Tuesday-Sunday from 8:30am-7:30pm.
General admission: 4. Reduced admission: 2
www.galleriaborghese.it/corsini/it/default.htm
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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).
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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
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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
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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.
General admission: 5. Reduced admission: 2,50
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.
General admission: 6. Reduced admission: 3
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.
General admission: 5. Reduced admission: 2,50
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.
General admission: 4. Reduced admission: 2
www.archeorm.arti.beniculturali.it/sar2000/cripta/cripta.asp
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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.
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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