Spanish Steps (Rome, Italy)

The monumental Spanish Steps

The monumental Spanish Steps

The monumental  Spanish Steps (ItalianScalinata di Trinità dei Monti), a stairway of 135 steps (the slightly elevated drainage system is often mistaken for the first step), climbs a steep slope between the Piazza di Spagna at the base and Piazza Trinità dei Monti, was built from 1723–1725 with French diplomat Étienne Gueffier’s bequeathed funds of 20,000 scudi.

Piazza di Spagna

Piazza di Spagna

Designed by the little-known architect Francesco de Sanctis (though Alessandro Specchi was long thought to have produced the winning entry), following a competition in 1717, it links the Bourbon Spanish Embassy and the Trinità dei Monti church (under the patronage of the Bourbon kings of France), both located above at the top, to the Holy See in Palazzo Monaldeschi below.

Trinità dei Monti Church

Trinità dei Monti Church

At the base of the stairway is the  Fontana della Barcaccia (“Fountain of the ugly Boat”), an Early Baroque sculptural fountain built, with travertine as its material, from 1627–29.  It is often credited to Pietro Bernini who, since 1623, was Pope Urban VIII’s architect for the Acqua Vergine, an aqueduct from 19 BC which is the source of the fountain’s water. His more famous son, Gian Lorenzo Bernini, was recently said to have collaborated on the decoration. According to a legend, the pope had the fountain installed after he had been impressed by a boat brought here by the 1598 flood of the Tiber River.

Fontana della Barcaccia

Fontana della Barcaccia

Fontana della Barcaccia (4)

The center baluster

Made into the shape of a half-sunken ship, with water overflowing from its sides into a small basin, it was built slightly below street level due to the low water pressure (hence no water spectacle) from the aqueduct which flows from seven points of fountain: – the center baluster; two inside the boat (from sun-shaped human faces) and four outside the boat. As a reminder of Pope Urban VIII’s ancestry, the fountain is decorated with the papal coat of arms of the Barberini family.

Fontana della Barcaccia (3)

Sun-shaped human faces

As one begins to climb the steps one can see, at the corner on the right, the house where English poet John Keats lived and died in 1821.  It is now a museum dedicated to his memory, full of memorabilia of the English Romantic generation.

Keats-Shelley Memorial House (1)

The Spanish Steps was featured in a number of films, TV shows and music albums:

  • The 1953 film Roman Holiday, starring Audrey Hepburn and Gregory Peck, made the Spanish Steps famous to an American audience.
  • Halfway up the steps, on the right, was the apartment that was the setting for the 1961 film The Roman Spring of Mrs. Stone.
  • A house next to the Steps is also the setting or Bernardo Bertolucci‘s 1998 film Besieged.
  • The Steps were featured prominently in the film version of The Talented Mr. Ripley starring Matt Damon in the title role.
  • The Spanish Steps are featured in a scene in the 2015 film The Man From U.N.C.L.E.
  • The Steps are featured in numerous scenes in Alfred Bester‘s 1956 novel The Stars My Destination.
  • In an episode of Everybody Loves Raymond which aired on October 2, 2000, Ray, Debra, Frank, and Marie climb the Spanish Steps during a family vacation in Rome.
  • Refugee, a progressive rock group, recorded the song “Credo” in 1974.  It contains the lyrics “I believe in constant pauses / Like a Roman holiday / And I often stop for air / As I climb the Spanish stairs.”
  • When I Paint My Masterpiece,” a Bob Dylan song first recorded in 1971 by The Band and later appearing on the album Bob Dylan’s Greatest Hits Vol. II, mentions both the “Spanish Stairs” and the Colosseum.
  • In 1995, Norwegian singer/songwriter Morten Harket, from A-ha, released a song called “Spanish Steps” on his album Wild Seed.
  • “Walk Through the World,” a Marc Cohn song released in 1993 album The Rainy Season, includes the lyric “From the Spanish Steps to the Liberty Bell, I know the angels have seen us.”
  • The title song from Guy Clark‘s Dublin Blues album (1995) contains the lyric: “I loved you on the Spanish Steps / The day you said goodbye.”
  • The song “Spanish Steps of Rome,” a bonus track in the North American & Japanese versions of the Mindfields album released in 1999 by American rock band Toto, describes a femme fatale romance that takes place on and around the Spanish Steps.
  • In 2005, American rock band Of A Revolution released One Shot from their album Stories of a Stranger, which contains the lyrics “Rome is burning, you can taste the embers / I am walking hard on Spanish Steps.”
  • In 2007, John Tesh of Entertainment Tonight fame, recorded an instrumental tune called “Spanish Steps” on his A Passionate Life.

The Spanish Steps have been restored several times, most recently in 1995. 

L-R: Jandy and the author

L-R: Jandy and the author

Spanish Steps: Piazza di Spagna, RomeItaly

Trevi Fountain (Rome, Italy)

Trevi Fountain

Trevi Fountain


The impressive Trevi Fountain (ItalianFontana di Trevi), designed by Italian architect Nicola Salvi and completed by Pietro Bracci, is one of the most famous fountains in the world and arguably the most beautiful fountain in all of Rome. The fountain, located at the junction of three roads (tre vie), marks the terminal point of the “modern” Acqua Vergine, the revived Aqua Virgo, one of the aqueducts that supplied water to ancient Rome.

Bas-relief of the virgin pointing to the source of the spring

Bas-relief showing the virgin pointing to the source of the spring

Legend has it that in 19 BC, thirsty Roman soldiers, supposedly with the help of a young virgin girl, located Salone Springs, a source of pure water some 13 kms. (8.1 mi.) from the city (This scene is presented on the present fountain’s façade). The discovery of the source led Augustus Caesar to commission the construction, by Agrippa, his son-in-law, of the Aqua Virgo (Virgin Waters, in honor of the legendary young girl), a 22-km. (14-mi.) aqueduct leading into the city. The aqueduct served the hot Baths of Agrippa, and Rome, for over 400 years.

Bas-relief showing Agrippa, explaining his plan for the aqueduct to Augustus Caesar

Bas-relief showing Agrippa, explaining his plan for the aqueduct to Augustus Caesar

Work on the fountain began in 1732 and it was completed by Giuseppe Pannini in 1762, long after Salvi’s death in 1751, when Pietro Bracci‘s Oceanus (god of all water) was set in the central niche. Pannini substituted the present allegories for planned sculptures of Agrippa and “Trivia,” the Roman virgin. On May 22, 1762, it was officially opened and inaugurated by Pope Clement XIII. Today, it remains one of the most historical cultural landmarks in Rome.

Palazzo Polli and the Trevi Fountain

Palazzo Poli and the Trevi Fountain

The Palazzo Poli, the backdrop for the fountain, was given a new façade, with a giant order of Corinthian pilasters linking the two main stories. Taming of the waters is the theme of the gigantic scheme that tumbles forward, mixing water and rockwork, and filling the small square. A chariot in the shape of a shell, the central feature of the monument, is drawn by seahorses with as their guide.

Corinthian pilasters

Corinthian pilasters

Even the palace in the background blends perfectly with the composition and the game of space and mass gives an air of movement to the entire statue.

Oceanus riding a shell-shaped chariot

Oceanus riding a shell-shaped chariot

At the center, superimposed on the palazzo façade, is a robustly-modeled triumphal arch. For maximum light and shade, the enormous central niche (exedra) framing Oceanus (or Neptune), god of the sea, has free-standing columns. He rides a shell-shaped chariot that is pulled by two hippocamps (sea horses), one calm and obedient and the other one restive, and each guided by a Triton.

The calm and obedient hippocamp and his Triton

The calm and obedient hippocamp and his Triton

Sculpted by Pietro Bracci, the statues symbolize the fluctuating moods of the sea. Even with the maximum contrast in their mood and poses, both hippocamps and Tritons provide symmetrical balance.

The restive hippocamp and his Triton

The restive hippocamp and his Triton

In the niches flanking Oceanus are the statues of Abundance (spills water from her urn) and Salubrity (holds a cup from which a snake drinks).

Statue of Abundance

Statue of Abundance

Statue of Salubrity

Statue of Salubrity

Above, bas reliefs illustrate the Roman origin of the aqueducts. The bas-relief on the left shows Agrippa, the general who built the aqueduct that carries water to the fountain, explaining his plan for the aqueduct to his father-in-law Augustus Caesar. The one the right captures the moment the virgin points to the source of the spring. The allegorical statues on the top, in front of the attic, symbolize the Four Seasons. Crowning the top is the coat of arms of Pope Clement XII.

Bas-relief of the virgin pointing to the source of the spring

Bas-relief of the virgin pointing to the source of the spring

All around, natural and artificial forms merge together in a representation of rocks and petrified vegetation that run along the foundation of the palace and around the borders of a large semicircular basin that represents the sea.

Two of the Four Seasons

Two of the Four Seasons

Every day some eighty million liters of water flow over artificial rocks through the fountain. The water is reused to supply several other Roman fountains, including the Fountain of the Four Rivers, the Tortoise Fountain and the Fountain of the Old Boat in front of the Spanish Steps.

Coat-of-arms of Pope Clement XII

Coat-of-arms of Pope Clement XII

Here are some facts and trivia regarding the Trevi Fountain:

  • The largestBaroque fountain in the city, the fountain stands 26.3 m. (86 ft.) high, 49.15 m. (161.3 ft.) wide and occupies more than half the square.
  • Salvi, before he died in 1751 with his work half finished, made sure a stubborn barber’s unsightly sign would not spoil the ensemble, hiding it behind a sculpted vase, called by Romans theasso di coppe, the “Ace of Cups.”
  • The majority of the fountain was made fromTravertine stone, quarried near Tivoli, about 35 kms. (22 mi.) east of Rome.
  • In 1973, Italian National Postal Service dedicated a postage stamp to Trevi Fountain.
  • In 1998, the fountain was refurbished; the stonework was scrubbed, all cracks and other areas of deterioration were repaired by skilled artisans, and the fountain was equipped with recirculating pumps.
  • In January 2013, it was announced that Fendi, the Italian fashion company, would sponsor a 20-month, 2.2-million-euro restoration of the fountain, the most thorough restoration in the fountain’s history. Restoration work, including the installation of more than 100 LED lights to improve the nighttime illumination of the fountain, began in June 2014 and, on the evening of November 3, 2015, the fountain was reopened with an official ceremony.
  • There is a curious tradition regarding the Trevi Fountain. It is said that if you throw a coin over your shoulder into the water, you will be sure to return to Rome. Coins are purportedly meant to be thrown using the right hand over the left shoulder (or your left hand over your right shoulder), with your back to the fountain. While you’re tossing the coin, you’re not allowed to look behind you but the fountain is so large it’s basically impossible to miss.
Trevi Fountain scene at La Dolce Vita

Trevi Fountain scene at La Dolce Vita

  • The fountain has appeared in several notable films, including Federico Fellini‘s renowned 1960 Italian film La Dolce Vita.  The scene, on a quiet night in an almost unreal Rome (actually shot over a week in winter), features an alluring Anita Ekberg jumping into the Trevi Fountain, with her clothes on, and invites Marcello Mastroianni to join her. The coin tossing tradition was also the theme of 1954’s Three Coins in the Fountain and the Academy Award-winning song by that name which introduced the picture.
Three Coins in a Fountain

Trevi Fountain scene in the movie Three Coins in a Fountain

  • An estimated 3,000 Euros are thrown into the fountain each day. The money has been used to subsidize a supermarket for Rome’s needy.
  • It is illegal to steal coins from the Trevi Fountain. Still, there are regular attempts to steal coins from the fountain.
Grace, Jandy, the author and Cheska at Trevi Fountain

Grace, Jandy, the author and Cheska at Trevi Fountain

Trevi Fountain: Piazza di Trevi, Trevi district, 00187 RomeItaly

Arch of Titus (Rome, Italy)

Arch of Titus

Arch of Titus

The fluted and unfluted column section

The fluted and unfluted column section

The Arch of Titus (ItalianArco di TitoLatinArcus Titi), located just to the southeast of the Roman Forum, is one of the most celebrated monuments in the Forum Romanum.  This honorific arch was constructed from A.D. 82 – 85 by Emperor Domitian, shortly after the death of his older brother Titus (who died suddenly during a plague A.D. 81, after only a two year reign), to commemorate the immensely popular Titus’ victories, including the Siege of Jerusalem (70 CE).

Since the 16th century, this 1st-century A.D. arch has provided the general model for many triumphal arches erected. Perhaps, most famously, it is the inspiration for the Arc de Triomphe (which maintains the exact proportions of the Arch of Titus, though several times larger), in ParisFrance. Domitian‘s favored architect Rabirius, sometimes credited with the Colosseum, may have executed the arch based on the style of sculptural details.

DSC08688The large 15 m. high arch has both fluted and distinguishably unfluted columns, the latter being a result of modern restoration, starting with Raffaele Stern in 1817 and continued in 1821 by architect Giuseppe Valadier, under Pope Pius VII (with new capitals, new inscriptions on the opposite side, and restoration intentionally made in travertine masonry to differentiate between the original and the restored portions).

Winged women, personifications of victory, at spandrels

Winged women, personifications of victory, at spandrels

Winged women, personifications of victory, are found at the spandrels on the upper left and right of the arch. They stand on a globe and hold banners, trophies, laurel wreaths, and palm fronds. The keystone, between the spandrels, has a female on the east side and a male on the west side, both representing Roma and the Genius of the Roman people.

Winged women, personifications of victory, at spandrels

The deeply coffered soffit of the axial archway has, at the center, a relief of the apotheosis of Titus, showing him riding an eagle to heaven, where he’ll become one of the gods. Two 2.04 m high by 3.85 m long panel reliefs, commemorating the joint triumph celebrated by Titus and his father Vespasian in the summer of 71, line the passageway within the arch.

The apotheosis of Titus

The apotheosis of Titus

The south panel (likely originally colored gold, with the background in blue) depicts the triumphal procession as it passes through the Porta Triumphalis to the Forum Boarium, with the participants carrying booty taken from the Temple in Jerusalem (one of the few contemporary depictions of Temple period artifacts).

It features a golden 7-branched  Menorah (candelabrum), carved in deep relief, as the main focus plus other sacred objects being carried in the procession such as the Gold Trumpets, fire pans (for removing the ashes from the altar), the Table of Shew bread and, perhaps, even the Ark of the Covenant. In 2012, remains of yellow ocher paint on the menorah relief were discovered by the Arch of Titus Digital Restoration Project. The menorah depicted on the Arch, later to become a symbol of the Jewish diaspora, served as the model for the menorah used on the emblem of the state of Israel.

The quadriga (four-horsed chariot) carrying Titus

The quadriga (four-horsed chariot) carrying Titus

The north panel depicts Titus as triumphator, attended by various genii and lictors that carry fasces. The quadriga (four-horsed chariot) carrying Titus, crowned with a laurel wreath by a winged Victory, is lead by Valour, a helmeted Amazon holding the bridle of one of the horses. The two figures to the right of the chariot personify the people of Rome (naked torso) and the Senate (wearing a toga).

Significant as one of the first examples of divinities and humans being present in one scene together, it contrasts with the panels of the Ara Pacis, where humans and divinities are separated. It is also the first full attempt by Roman sculptors to create the illusion of space.

"The Roman Senate and People (dedicate this) to the divine Titus Vespasianus Augustus, son of the divine Vespasian."

“The Roman Senate and People (dedicate this) to the divine Titus Vespasianus Augustus, son of the divine Vespasian.”

In the Middle Ages, when the Frangipani family turned it into a fortified tower, the sculpture of the outer faces of the two great piers was lost when the arch was incorporated in medieval defensive walls. The attic of the arch was originally crowned by more statuary, perhaps of a bronze quadriga, and the main inscription used to be ornamented by letters made of perhaps silvergold or some other metal.

"(This) monument, remarkable in terms of both religion and art, had weakened from age: Pius the Seventh, Supreme Pontiff, by new works on the model of the ancient exemplar ordered it reinforced and preserved in the 24th year of his sacred rulership"

“(This) monument, remarkable in terms of both religion and art,
had weakened from age: Pius the Seventh, Supreme Pontiff,
by new works on the model of the ancient exemplar
ordered it reinforced and preserved in the 24th year of his sacred rulership”

Arch of Titus: Via Sacra, 00186 Rome, Italy.

Colosseum (Rome, Italy)

The Colosseum

The Colosseum

The oval, entirely free-standing Colosseum or Coliseum,  an iconic symbol of Imperial Rome, is situated just east of the Roman Forum. Following the reign of Nero, it was began by emperor Vespasian in AD 72 and completed in AD 80 by his son and successor Titus. Further modifications were made during the reign of Vespasian’s younger son Domitian (81–96).

The outer wall

The outer wall

It has suffered extensDSC00278ive damage over the centuries, with large segments having collapsed following earthquakes. In 217, the wooden upper levels of the amphitheater’s interior was destroyed by a major fire (caused by lightning, according to Dio Cassius) and was not fully repaired until about 240.  Further repairs were done in 250 or 252 and again in 320. Gladiatorial fights are. Various parts of the Colosseum were restored under Theodosius II and Valentinian III (reigned 425–455), possibly to repair damage caused by a major earthquake in 443.  More work followed in 484 and 508.

 

The outer wall (left) and the nearly intact inner wall

The outer wall (left) and the nearly intact inner wall

The great 1349 earthquake severely damaged the Colosseum.  The outer south side, lying on a less stable alluvial terrDSC00283ain, collapsed and much of the tumbled stone was reused to build palaces, churches, hospitals and other buildings elsewhere in Rome. The interior of the amphitheater was extensively stripped of stone, which was reused elsewhere.  The marble façade was burned to make quicklime. The bronze clamps, used to hold the stonework together, were pried or hacked out of the walls, leaving numerous pockmarks which still scar the building today.

 

The Colosseum interior

The Colosseum interior

In 1807 and 1827, the façade was reinforced with triangular brick wedges and, in 1831, 1846 and in the 1930s, the interior was repaired. In 1810–1814 and 1874, the arena substructure was partly excavated and, in the 1930s, was fully exposed under Benito Mussolini. Between 1993 and 2000, due to the effects of pollution and general deterioration over time, a major restoration program was carried out at a cost of 40 billion Italian lire ($19.3 million/ €20.6 million at 2000 prices).

The raked areas that once held seating

The raked areas that once held seating

Here are some interesting facts and trivia regarding the Colosseum:

  • Built of concrete and sand, it is the largest amphitheatre ever built.
  • One of Rome’s most popular tourist attractions, it receives millions of visitors annually.
  • Elliptical in plan, it is 189 m. (615 ft./640 Roman ft.) long, 156 m. (510 ft./528 Roman ft.) wide and has a base area of 24,000 sq. m. (6 acres). Its outer wall is 48 m. (157 ft./165 Roman ft.) high. Its perimeter originally measured 545 m. (1,788 ft./1,835 Roman ft.). The central arena is an oval 87 m. (287 ft.) long and 55 m. (180 ft.) wide, surrounded by a wall 5 m. (15 ft.) high, above which rose tiers of seating. The arena itself was 83 m. by 48 m. (272 ft. by 157 ft./280 by 163 Roman ft.).
  • Its outer wall was estimated to have required over 100,000 cu. m. (3,531,467 cubic ft.) of travertine stone which were set without mortar and  held together by 300 tons of iron clamps.
  • According to the Codex-Calendar of 354, the Colosseum could accommodate 87,000 spectators, although modern estimates put the figure at between 50,000 and 80,000, having an average audience of some 65,000.
  • The Colosseum was used for gladiatorial contests (last mentioned around 435) and public spectacles such as mock sea battles (for only a short time as the hypogeum was soon filled in with mechanisms to support the other activities), animal hunts (continued until at least 523, when Anicius Maximus celebrated his consulship with some venationes), executions, re-enactments of famous battles, and dramas based on Classical mythology.
  • In the Early Medieval era, the building ceased to be used for entertainment but numerous vaulted spaces in the arcades under the seating were later reused for housing and workshops.  It was also reused as a fortress (around 1200 by the Frangipani family), quarters for a Christian religious order (from mid-14th century until as late as the early 19th century), a quarry (stones from the Colosseum were taken for the building of other sacred sites), and a Christian shrine (in 1749, by Pope Benedict XIV).
  • The Colosseum is also depicted on the Italian version of the five-cent euro coin.
  • The Colosseum has become a symbol of the international campaign against capital punishment. The color of the Colosseum’s night time illumination changes from white to gold whenever a person condemned to the death penalty anywhere in the world gets their sentence commuted or is released,or if a jurisdiction abolishes the death penalty (most recently on November 2012, following the abolition of capital punishment in the American state of Connecticut in April 2012).
  • Large concerts, using the Colosseum as a backdrop, have been held just outside. They included  concerts o Ray Charles (May 5, 2002), Paul McCartney (May 11,  2003), Elton John (September 3, 2005), and Billy Joel (July 31, 2006).
Cross dedicated to the Christian martyrs, placed in 2000 by Pope John Paul II

Cross dedicated to the Christian martyrs, placed in 2000 by Pope John Paul II

The iconic Colosseum has been featured in numerous films:

Roman Holiday

Roman Holiday

Demetrius and the Gladiators

Demetrius and the Gladiators

Colosseum seating

Colosseum seating

The remainder of the present-day exterior of the Colosseum is, in fact, the original interior wall. The surviving part of its monumental façade comprises three stories of superimposed arcades framed by half-columns of the DoricIonic, and Corinthian orders and surmounted by a podium on which stands a tall attic decorated with Corinthian pilasters, both of which are pierced by windows interspersed at regular intervals. At the second- and third-floor arcades, arches framed statues, probably honoring divinities and other figures from Classical mythology. The north side of the perimeter wall, though still standing, has distinctive triangular brick wedges at each end that are modern additions, having been constructed in the early 19th century to shore up the wall.

Maenianum Primum

Maenianum Primum

Positioned around the top of the attic are 240 mast corbels that originally supported a retractable awning,known as the velarium (a canvas-covered, net-like structure made of ropes, with a hole in the center), that kept the sun and rain off spectators over two-thirds of the arena and sloped down towards the center to catch the wind and provide a breeze for the audience. Working on the velarium are sailors specially enlisted from the Roman naval headquarters at Misenum and housed in the nearby Castra Misenatium.

Maenianum Secundum

Maenianum Secundum

DSC00299The amphitheater was ringed by 80 numbered outer entrances, many of which have disappeared with the collapse of the perimeter wall (only entrances XXIII to LIV still survive) at ground level, 76 of which were used by ordinary spectators.  All four axial entrances, richly decorated with painted stucco reliefs (of which fragments survive) consisted of a northern main entrance  reserved for the Roman Emperor and his aides and three other axial entrances most likely used by the elite. Special boxes at the north and south ends, for the Emperor and the Vestal Virgins, provide the best views of the arena. They were provided with separate tunnels to permit them to enter and exit the Colosseum without needing to pass through the crowds. A broad platform or podium, for the senatorial class (they  were allowed to bring their own chairs), flanked them at the same level

Maenianum Secundum in Legneis

Maenianum Secundum in Legneis

Fragment of an ancient Roman equestrian statue

Fragment of an ancient Roman equestrian statue

The maenianum primum, the tier above the senators, was occupied by the non-senatorial noble class or knights (equites) while the next level up, divided into two sections, is the maenianum secundum, originally reserved for ordinary Roman citizens (plebeians). The lower part (the immum) was reserved for wealthy citizens while the upper part (the summum) was for poor citizens. The maenianum secundum in legneis, a level added at the very top of the building during the reign of Domitian (either standing room only or having very steep wooden benches), was a gallery for the common poor, slaves and women. Gravediggers, actors and former gladiators were banned altogether from the Colosseum.

The author

The author

Inscriptions identified the areas reserved for specific groups (boys with their tutors, soldiers on leave, foreign dignitaries, scribes, heralds, priests, etc.) with the names of some 5th century senators still seen carved into the stonework (presumably reserving areas for their use). Stone (and later marble) was provided for the seats of citizens and nobles (presumably they brought their own cushions with them).

L-R: Kyle, Cheska, Jandy and Grace

L-R: Kyle, Cheska, Jandy and Grace

Curved passages and low walls (praecinctiones or baltei) divided each tier into sections (maeniana) and were further subdivided into cunei, or wedges, by the steps and aisles from the vomitoria. Each row (gradus) of seats was numbered, permitting each individual seat to be exactly designated by its gradus, cuneus, and number.

Hypogeum

Hypogeum

The arena (part of it re-floored), comprising a wooden floor covered by sand (harena or arena is the Latin word for sand), covers the hypogeum  (literally meaning “underground”), an elaborate two-level subterranean network, built by Emperor Domitian, of tunnels and cages beneath the arena where gladiators and animals were held before contests began. It was connected by underground tunnels to a number of points outside the Colosseum. Caged animals and scenery pieces concealed underneath were provided instant access to the arena by 80 vertical shafts while larger hinged platforms, called hegmata, provided access for elephants and the like.

Hypogeum (2)

A museum, dedicated to Eros, is located in the upper floor of the outer wall of the building.

Base of the statue of Praefectus Urbi (Prefect of Rome)

Base of the statue of Praefectus Urbi (Prefect of Rome)

Colosseum: Piazza del Colosseo, 1, 00184 RomeItaly. Open daily, except January 1 and December 25. Tel:  (+39) 06 39967700 (Mondays-Saturdays, 9 AM -1:30 PM and 2:30 -5 PM).  Tickets (€2) can also be bought (often avoiding a long queue) at the ticket offices in Via di San Gregorio (Palatine), Largo Salara Vecchia (former Largo Romolo e Remo  – Roman Forum) and Via Sacra (Roman Forum, Arco di Tito). The Colosseum, together with the Forum/Palatine Hill ticket, is valid for both.

How to Get There
The Colosseum is located a few hundred yards from Piazza Venezia, and close to the Forum.

  • On “B” line Metro station Colosseo
  • “A” line Metro station Manzoni, then two stops of Tram No. 3 going southwards
  • Bus lines 60, 75, 85, 87, 271, 571, 175, 186, 810, 850, C3, and the electric minibus 117
  • Tramway Line No. 3.

Arch of Constantine (Rome, Italy)

Arch of Constantine

Arch of Constantine

Situated between the Colosseum and the Palatine Hill is the Arch of Constantine (ItalianArco di Costantino), a triumphal arch erected and dedicated on July 25, 315 by the Roman Senate to commemorate,  as described on its attic inscription, Constantine I‘s victory over  the then reigning emperor  Maxentius (306–312) at the Battle of Milvian Bridge on October 28, 312.  The largest and the last of

DSC08670

West side o the arch

the existing Roman triumphal arches, it spans the Via triumphalis, the way taken by the emperors when they entered the city in triumph.

Though dedicated to Constantine, this 21 m. high, 25.9 m. wide and 7.4 m. deep arch is actually a collage incorporating much of the decorative material from earlier work from the time of the emperors Trajan (98–117), Hadrian (117–138) and Marcus Aurelius (161–180).

Attic detail, south - left side

Attic detail, south – left side

It is also the only one to make extensive use of spolia, reusing several major reliefs from 2nd century imperial monuments to make up for the lack of time to create new art. The most impressive surviving civic monument from Rome in Late Antiquity, it is, with regards to its origins and meanings, also one of the most controversial.

Attic detail, south - right side

Attic detail, south – right side

The arch has three archways, the central one being 11.5 m. high and 6.5 m. wide and the lateral archways 7.4 m. by 3.4 m. each. The attic, above the archways, is composed of brickwork reveted (faced) with marble.

Inscription at the top of the attic

Inscription at the top of the attic – “To the Emperor Caesar Flavius Constantinus, the greatest, pious, and blessed Augustus: because he, inspired by the divine, and by the greatness of his mind, has delivered the state from the tyrant and all of his followers at the same time, with his army and just force of arms, the Senate and People of Rome have dedicated this arch, decorated with triumphs”

The emperor sacrificing a pig, sheep and bull (suovetaurilia)

The emperor sacrificing a pig, sheep and bull (suovetaurilia)

On the top of each column, large sculptures representing Dacians, dating from the time of Trajan, can be seen, which. Above the central archway, identical on both sides of the arch, is the inscription, forming the most prominent portion of the attic.

Above the minor lateral archways, flanking the inscription on both sides, are four pairs of relief panels (eight in total), taken from an unknown monument.

It commemorates Marcus Aurelius’ war against the Marcomanni and the Sarmatians from 169 – 175, which ended with Marcus Aurelius’ triumphant return in 176. They are, from left to right:

  • the emperor’s return to Rome after the campaign (adventus) – north side
  • the emperor leaving the city and saluted by a personification of theVia Flaminia – north side
  • the emperor distributing money among the people (largitio) – north side
  • the emperor interrogating a German prisoner – north side
  • a captured enemy chieftain led before the emperor – south side
  • other prisoners led before the emperor – south side
  • the emperor speaking to the troops (adlocutio) – south side
  • the emperor sacrificing a pig, sheep and bull (suovetaurilia) – south side
Captured enemy chieftain led before the emperor

Captured enemy chieftain led before the emperor

From the same time period the two large (3 m high) panels decorating the attic on the east and west sides of the arch show scenes from Trajan‘s Dacian Wars.

Together with the two reliefs on the inside of the central archway, these came from a large frieze celebrating the Dacian victory.

The general layout of the main facade is identical on both sides of the arch.  The four columns (one of which has been transferred into the Basilica di San Giovanni in Laterano and was replaced by a white marble column), on bases (plinths or socles), are of the Corinthian order, decorated on three sides and made of Numidian yellow marble (giallo antico).

The emperor speaking to the troops (adlocutio)

The emperor speaking to the troops (adlocutio)

Other prisoners led before the emperor

Other prisoners led before the emperor

They divide the structure into a central arch and two lateral arches, the latter being surmounted by two round reliefs, dating to the times of Emperor Hadrian, over horizontal friezes.

The reliefs on the front show Victoria, either inscribing a shield or holding palm branches.  Those to the side show captured barbarians alone or with Roman soldiers.

The pairs of round reliefs display scenes of hunting and sacrificing:

  • hunt of a boar – north side
  • sacrifice toApollo – north side
  • hunt of a lion– north side
  • sacrifice toHercules – north side
  • the departure for the hunt – south side
  • sacrifice toSilvanus – south side
  • the hunt of a bear – south side
  • sacrifice toDiana – south side
Relief detail - left

Relief detail – left

Round relief, south side - Sacrifice to Silvanus

Round relief, south side – Sacrifice to Silvanus

In all the medallions, the head of the emperor, originally Hadrian’s, has been reworked.  On the north side, it has been reworked into Constantine in the hunting scenes and into Licinius or Constantius I in the sacrifice scenes.  On the south side, it’s vice versa. The porphyry framing of the 2 m. diameter reliefs is only extant on the right side of the northern facade. Similar medallions, also during Constantine’s time, are located on the small sides of the arch.   The Sun and the Moon, both on chariots, rises on the eastern and western sides, respectively.

Round relief, south side - Sacrifice to Diana

Round relief, south side – Sacrifice to Diana

The spandrel of the main arch is decorated with reliefs depicting victory figures with trophies while those of the lateral arches show river gods. The bases of the columns and the spandrel reliefs are from the time of Constantine. The “historical,” horizontal frieze below the round reliefs depict scenes from the Italian campaign of Constantine against Maxentius (which was the reason for the construction of the monument), one strip above each lateral archway and including the west and east sides of the arch.  Running around the monument, they are the main parts from the time of Constantine.

Relief detail - right

Relief detail – right

Round relief, south side - Sacrifice to Silvanus

Round relief, south side – Sacrifice to Silvanus

The frieze starts at the western side with the Departure from Milan (Profectio), continues on the southern face, with the Siege of Verona (Obsidio) on the left (southwest), an event which was of great importance to the war in Northern Italy. The Battle of Milvian Bridge (Proelium), with Constantine’s army victorious and the enemy drowning in the Tiber River , is depicted on the right (southeast).

Round relief, south side - The hunt of a bear

Round relief, south side – The hunt of a bear

Constantine and his army enter Rome (Ingressus) is depicted on the eastern side while on the northern face, looking towards the city, are two strips with the emperor’s actions after taking possession of Rome. On the left (northeast) is Constantine speaking to the citizens on the Forum Romanum (Oratio) while the final panel, to the right (northwest), depicts Constantine distributing money to the people (Liberalitas).

Spandrel over main arch

Spandrel over main arch

On each wall of the central archway is one large panel of Trajan’s Dacian War. Eight portraits busts (two on each wall) inside the lateral archways are destroyed, to such an extent that it is no longer possible to identify them.

Scenes from Trajan's Dacian Wars

Scenes from Trajan’s Dacian Wars

Arch of Constantine : Via di San Gregorio, Rome, Italy.

Palatine Hill (Rome, Italy)

The Roman Forum

The surprisingly peaceful and majestic Palatine Hill (LatinCollis Palatium or Mons Palatinus; ItalianPalatino) is the centermost of the Seven Hills of Rome and is one of the most ancient parts of the city. It stands 40 m. above the Forum Romanum, looking down upon it on one side, and upon the Circus Maximus on the other. Here are some interesting trivia regarding the Palatine Hill:

  • The English word “palace,” the Italian word “palazzo,” the French word “palais,” the German word “palest,” the Czech word “palace,” etc.,  are all derived from the Palatine.
  • Cacus, a ferocious, fire-breathing giant cannibal , was said to have once lived in a cave the Palatine. Regularly terrorizing the residents of neighboring Aventine Hill, he was finally defeated by the hero Hercules.
  • The Palatine is site of the festival of the Lupercalia, derived from the Lupercal, the cave where Romulus the mythical founder of Rome, and his twin brother Remus were found and raised by the she-wolf.
  • Regarded as one of the most prestigious neighborhoods in the city because of its mythical association, central location, spectacular views of the city, cooler summer temperature and cleaner air, the Palatine was the site of the residences of many affluent Romans of the Republican period (c.509 BC – 44 BC) and, during the Empire (27 BC – 476 AD), was the site of the palaces, now in ruins, of Emperors Tiberius (14 – 37 AD) and Domitian (81 – 96 AD).
  • The emperor Augustus (27 BC – 14 AD) was born on the Palatine.  He later lived there in luxury, with his wife Livia (58 BC – 29 AD). The remains of the House of Augustus and the House of Livia, with some of the most impressive ancient art in the city, are beautifully decorated with colorful frescoes. Beside his own palace, Augustus also built a temple to Apollo. Situated near the House of Livia is the temple of Cybele, currently not fully excavated and not open to the public. Cut into the side of the hill behind this structure is the so-called House of Tiberius.
  • In 41 AD, the 28 year old Emperor Caligula was assassinated in the cryptoporticus, a a semi-subterranean, barrel-vaulted corridor of about 130 m. beneath the palaces on the Palatine, stabbed up to 30 times by his loyal guard who responded by indiscriminately slaughtering anyone (including innocent bystanders) who were nearby.
  • During the Middle Ages, convents and churches (the oratory of Caesarius, Santa Anastasia, Santa Lucia, San Sebastiano) were built over the remains of older buildings of the Palatine, and the noble Frangipani family used them, along with the Colosseum and Arch of Constantine, to create a fortified stronghold.
  • In 1550, during the Renaissance Period, Cardinal Alessandro Farnese purchased a section of the Palatine and created beautiful Farnese Gardens, the first private botanical gardens in Europe.  Featuring a nymphaeum, an aviary, a tree-shaded park of terraces, lawns, flowerbeds, pavilions, fountains and a wealth of art, over time it fell into disuse but some parts can still be visited today.

The Palatine Hill, and the Forum Romanum  beneath it, is now a large open-air museum.  Using the same ticket as the Colosseum, we visited it via the entrance on Via di San Gregorio, the street just beyond the Arch of Constantine, going away from the Colosseum.

Check out “Colosseum” and “Arch of Constantine

Jandy and Grace at the Via di San Gregorio entrance

Overlooking the  Roman Forum is the enormous Flavian Palace  (also known as the Domus Flavia or the Domus Augustana) which was built, extended and modified largely during the reigns of VespasianTitus and Domitian of the Flavian dynasty (69 – 96). This palace, which extends across the Palatine Hill, looks out over the Circus Maximus, a huge structure which could accommodate 300,000 spectators. During the reign of the emperor Septimius Severus (146 – 211), the imposing brick building of the greater part of the palace visible from the Circus was undertaken.

Domus Severiana

The 621 m. (2,037 ft.) long and 118 m. (387 ft.) wide Hippodrome of Domitian or Stadium, which could accommodate 150,000 spectators, was built between AD 81 and 96.  Situated in the valley between the Aventine and Palatine hills, immediately adjacent to the Flavian palace of Severus, it is the first and largest stadium in ancient Rome and its later Empire.

House of Livia

House of Augustus

Temple Antoninus

The Hippodrome has the appearance of a Roman Circus (its name means “circus” in Greek) but is too small to accommodate chariots. Hippodromes, originally areas for exercising horses, were later used, in Rome, to describe elongated rectangular gardens or as a Greek stadium that is a venue for foot races. The tower is part of a medieval fortification

Circus Maximus

During the Severan period, it was used for sporting events and, while it is certain that it was most likely originally built as Domitian’s private stadium-shaped garden, its exact purpose is disputed.

Basilica of Maxentius

Temple of Venus and Rome

Antiquarium Forense

The nearby, small Palatine Museum exhibits Roman statuary (most coming from the Hippodrome) and artifacts dating from before the official foundation of Rome.

Palatine Museum

Claudian Aqueduct

On the eastern side of the Hippodrome is a large exedra decorated with sculptures and fountains commanding views of the garden below.

Farnese Gardens

Aviaries of the Farnese Gardens

Palatine Hill: Piazza di Santa Maria Nova, Rome. Admission: €12 (including admission to the Colosseum and Roman Forum). Tickets to the House of Augustus and House of Livia need to be booked separately and in advance.

How to Get There: Located close to the Colosseum and Roman Forum, the area around Palatine is walking distance from the Circus Maximus and Piazza Venezia. Well-served by public transport, lots of buses, such as the 75 and 87, stop near the Colosseum and it is also a short walk from the Colosseo (Line B) metro station. If going to Palatine by bus or taxi, keep in mind that the Via dei Fori Imperiali (the road connecting Piazza Venezia and the Colosseum), is mainly closed to traffic on Saturdays and Sundays.

La Bocca della Verita (Rome, Italy)

Church of Santa Maria in Cosmedin

Church of Santa Maria in Cosmedin

From Piazza Navona, we rode a couple of buses to get to the beautiful but very modest Paleo- Christian Church of Santa Maria in Cosmedin, at the foot of the Aventine Hills.  Inside the left wall of the portico of the church was a queue leading to the famous  La Bocca della Verita (English: the Mouth of Truth), a sculpture of a man-like face with a relief carving of an open mouth, 2 oddly shaped horns, wide eyes and a flowing mane of hair carved from a massive round medallion of Pavonazzetto marble from Docimium in Frigia (today’s Turkey).  It has a diameter of 175 cms. (about 5 ft., 9in.); a thickness of 19 cms. (about 7 in.) and weighs about 1,200 kgs. (26,400 lbs.).

The author tries his hand at La Bocca della Verita

The author tries his hand at La Bocca della Verita

The Bocca, thought to be part of a first-century ancient Roman fountain or perhaps a manhole cover from the nearby Temple of Hercules Invictus (it is also thought that cattle merchants used it to drain the blood of cattle sacrificed to the god Hercules), portrays one of several possible pagan river gods, probably Oceanus. Most Romans believe that it represents the ancient god of the Tiber River.

Grace

Grace and Kyle

Cheska and Kyle

Cheska and Kyle

However, the most famous characteristic of the La Bocca della Verita, starting from the Middle Ages, is its role as a lie detector, the reason for its unshakeable fame. It was believed that if one told a lie, with one’s hand in the mouth of the sculpture, it would be bitten off.  Roman soldiers used to bring their wives to the mouth when they returned from their campaigns and prove whether they had been faithful in their absence. It was placed inside the church in the 17th century.

Jandy

Jandy

The mask has attracted the attention and curiosity of English-speaking audiences and tourists from all over the world mostly from its appearance in the charming 1953 Hollywood film Roman Holiday where Audrey Hepburn‘s and Gregory Peck‘s characters, both of whom were not initially truthful with each other, uses the Mouth of Truth as a sort of lie detector and a storytelling device. In one of the film’s most memorable scenes, Peck, in front of a terrified Hepburn, daringly challenges the mask by putting his hand inside its mouth. This scene was also replicated in the 1994 film Only You starring Robert Downey Jr. and Marisa Tomei.

Audrey Hepburn and Gregory Peck at the Mouth of Truth in Roman Holiday

Audrey Hepburn and Gregory Peck at the Mouth of Truth in Roman Holiday

Today, queues of tourists  line up outside the church for the evidently too strong thrill of the risk as they honestly can’t resist, while hoping for the best, of audaciously sticking their hand inside this harmless, but unsettling ancient stone mask from the Classical period .

The church interior

The church interior

The church, founded in the 6th century on the ruins of the statio annonae (the food-distribution center of classical Rome), was enlarged by Pope Adrian I in the 8th century.  It is also home to the supposed relics of Saint Valentine (including his skull). Aside from the portico, other noteworthy features of the church include its elegant Romanesque campanile (the tallest Medieval belfry in Rome), the schola cantorum (choir), the rich Cosmatesque pavement and decorations and the Gothic baldacchin over the high altar.

Relic of St. Valentine

Relic of St. Valentine

A fragment of an 8th-century mosaic, from the original St Peter’s Basilica, can be found in the sacristy. A block of tufa, from which the tiny crypt was hollowed out, is said to be the remains of an altar from the Forum Boarium (the ancient cattle market), erected in honor of Hercules, in view of his victory over the giant Cacus, who stole his cattle. Throughout its history this church was repeatedly restored and redecorated, especially in the 12th and 13th centuries. At the end of the last century, the architect Giovanni Battista Giovenale gave the church its excessively Medieval appearance.

Gothic baldacchino over the high altar

Gothic baldacchino over the high altar

Church of Santa Maria in Cosmedin: Cor. Via di Greca and Via Teatro di Marcello, Piazza della Bocca della Verità 18, RomeItaly.  Open daily, 9 AM – 1 PM an 2:30 – 7 PM (off season until 5 PM).  There’s no entrance fee.

How to Get There: It is located down the street from Piazza Venezia, south of the Roman Forum, near the Tiber River, and close to Piazza Campidoglio. Take the Via de Marcello down (south) from the Capitoline Hill.

  • Metro: Circo Massimo
  • Bus: 44, 95 Piazza Venezia

Fountain of the Four Rivers (Rome, Italy)

Fountain of the Four Rivers

Fountain of the Four Rivers

The Fountain of the Four Rivers (Fontana dei Quattro Fiumi), triumphantly and theatrically unveiled to the Roman populace on June 12, 1651, is Rome’s greatest achievement in this genre and the epitome of Baroque theatricality.

Piazza Navona

Piazza Navona

The author (right) and son Jandy at Piazza Navona

The author (right) and son Jandy at Piazza Navona

This fountain, which can be strolled around, was built on Piazza Navona, the site of the Stadium of Domitian, built in 1st century AD. It was designed by Gian Lorenzo Bernini for Pope Innocent X (reigned 1644-1655).  The pope’s family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant’Agnese in Agone of which Innocent was the sponsor.

Palazzo Pamphili

Palazzo Pamphili

Bernini‘s design was influenced by the design of the Monument of the Four Moors (Monumento dei Quattro mori). It may have also been influenced by a fountain in Marino, Lazio which was constructed to commemorate the defeat of the Ottomans at the Battle of Lepanto in 1571.

The obelisk

The obelisk

The base of the fountain is a basin whose center has a slender, ancient Egyptian obelisk, brought in pieces from the Circus of Maxentius to Rome by the Emperor Caracalla. It was built for the Roman Serapeum in AD 81 but had been buried for a long time at Capo di Bove.

Pamphili family emblem

Pamphili family emblem

Beneath it are four semi-prostrate giant nudes of river gods, all in awe of the central tower surmounted with the Pamphili family emblem of a dove with an olive twig, symbol of Papal power and the Holy Spirit. The river gods depict the four major rivers of the four continents, (whose rivers feed the ocean, represented by the large pool) as then recognized by the Renaissance geographers, through which papal authority had spread.

The river gods

The river gods

Supported on the base by a jagged and pierced mountainous disorder of  travertine marble rocks, the marble giants are arranged at the center of a scene of carved grottoes and decorated with flowers, exotic plants and 7 animals (a horse, a sea monster, a serpent, a dolphin, a crocodile, a lion and a dragon) that further carry forth identification.

Lion

Lion

Sea monster

Sea monster

Each carries a certain number of allegories and metaphors with it. The Nile, representing Africa, has a head draped with a loose piece of cloth, meaning that no one, at that time, knew exactly where the Nile’s source was.  Symbolically, this also refers to what the Catholic world saw as the dark ignorance of the “pagan” world: the sculpture has not seen the light of Christianity

Statue of the Nile River

Statue of the Nile River

The apathetic Ganges river god, representing Asia, carries a long oar, representing the river’s navigability, and looks away from the light of the Church, representing the spiritual ignorance of this hedonistic land.

Statue of the Ganges

Statue of the Ganges

The Danube, representing Europe, touches the Pope’s personal coat of arms, since it is the large river closest to Rome.  The most “civilized” and cultured of the figures, the Danube looks toward and embraces the light of the lord.

Statue of the Danube

Statue of the Danube

The Río de la Plata (the word plata means “silver” in Spanish), representing America, sits on a pile of coins, a symbol of the riches America could offer to Europe. The Río de la Plata also looks scared by a snake, showing rich men’s fear that their money could be stolen. Although he throws his hands back in surprise, this representative of the newly converted lands has begun to see the light.

Statue of the Rio de la Plata

Statue of the Rio de la Plata

There are a number of urban legends regarding the fountain, nasty rumors fed by the famous rivalry between the Bermini and Borromini, designer of the church of Sant’Agnese right in front of the fountain.  Borromini lost the fountain commission to Bermini. Many tour-guides, would tell you that Bernini positioned the cowering sculpture of the Rio de la Plata River as if it feared the facade of the church could possibly crumble against him; that the statue of the Nile covered its head so as not to have to see the church; and that the statue of Sant’Agnese on the facade of the church, with her hand on her chest, seems to reassure the Rio de la Plata of the church’s stability. However, the truth is the fountain was completed several years before Borromini began work on the church.

Church of Sant' Agnese

Church of Sant’ Agnese

Today, this revolutionary and grandiose monument to the power and glory of the pope and his family and dynamic fusion of architecture and sculpture, with its highly dramatic, evocative, and individualized figures, dramatically spurting water and a wealth of surprising and charming sculptural details, continues to amaze and entertain visitors to Rome.

Fontana del Moro

Fontana del Moro

Statue o the Moor

Statue of the Moor

One of our Tritons

One of four Tritons

Piazza Navona has two other fountains – the Fontana del Moro, at the southern end, and the Fountain of Neptune at the northern end. The Fontana del Moro has a basin and four Tritons sculpted by Giacomo della Porta in 1575.  In 1673, Bernini added a statue of a Moor,  standing on a conch shell, wrestling with a dolphin.

Fountain of Neptune

Fountain of Neptune

The Fountain of Neptune was also created by Giacomo della Porta in1574.  In1878, the statue of Neptune, by Antonio Della Bitta, was added in to create a balance with La Fontana del Moro.

Museo di Roma

Museo di Roma

Other buildings within the piazza include the Museo di Roma, housed in the large Neoclassical Palazzo Braschi, covering the history of the city in the period from the Middle Ages through the nineteenth century; and the Church of Nostra Signora del Sacro Cuore (Our Lady of the Sacred Heart, also known as the Church of San Giacomo degli Spagnoli), the national church of the Spanish community in Rome.

Church of Our Lady of the Sacred Heart

Church of Our Lady of the Sacred Heart

Fountain of the Four Rivers: Piazza Navona, Boccadellaverità, Rome, Italy.