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How to visit Rome in 3 days guide
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1
Piazza del Popolo
22
Piazza di Spagna
3
Fontana di Trevi
4
Piazza Colonna
Piazza del Popolo is a large urban square in Rome. The name in modern Italian literally
means “People’s Square”, but historically it derives from the poplars (populus in Latin,
pioppo in Italian) after which the church of Santa Maria del Popolo, in the northeast
corner of the piazza, takes its name. The piazza lies inside the northern gate in the
Aurelian Walls, once the Porta Flaminia of ancient Rome, and now called the Porta del
Popolo. This was the starting point of the Via Flaminia, the road to Ariminum
(modern-day Rimini) and the most important route to the north. At the same time,
before the age of railroads, it was the traveller’s first view of Rome upon arrival. For
centuries, the Piazza del Popolo was a place for public executions, the last of which took
place in 1826.
How to visit Rome and don’t visit the famous Piazza di Spagna, at the bottom of the
Spanish Steps, is one of the most famous squares of Rome (Italy). It owes its name to the
Palazzo di Spagna, seat of the Embassy of Spain among the Holy See. In the middle of
the square is the famous Fontana della Barcaccia, dating to the beginning of the
baroque age, sculpted by Pietro Bernini and his son, the more famous Gian Lorenzo
Bernini. At the right corner of the Spanish Steps there is the house of the English poet
John Keats, who lived there until his death in 1821: nowadays it has been changed into a
museum dedicated to him and his friend Percy Bysshe Shelley, full of books and
memorabilia of English Romanticism. At the left corner there is the Babington’s tea
room, founded in 1893.The side near Via Frattina is overlooked by the two façades (the
main one, designed by Gian Lorenzo Bernini, and the side one created by Francesco
Borromini) of the Palazzo di Propaganda Fide, a property of the Holy See. In front of it,
actually in a lengthening of Piazza di Spagna named Piazza Mignanelli, there is the
Column of the Immaculate Conception, erected in 1856, two years after the
proclamation of the dogma.
Trevi Fountain is oen of the famous monument of how to visit Rome guide, (Italian:
Fontana di Trevi) is a fountain in the Trevi district in Rome, Italy, designed by Italian
architect Nicola Salvi and completed by Pietro Bracci. Standing 26.3 metres (86 ft) high
and 49.15 metres (161.3 ft) wide,[1] it is the largest Baroque fountain in the city and one
of the most famous fountains in the world. The fountain has appeared in several notable
films, including Federico Fellini’s La Dolce Vita, and is a popular tourist attraction. The
fountain at the junction of three roads (tre vie)[2] marks the terminal point[3] of the
“modern” Acqua Vergine, the revived Aqua Virgo, one of the aqueducts that supplied
water to ancient Rome. In 19 BC, supposedly with the help of a virgin, Roman technicians
located a source of pure water some 13 km (8.1 mi) from the city. (This scene is
presented on the present fountain’s façade.) However, the eventual indirect route of the
aqueduct made its length some 22 km (14 mi). This Aqua Virgo led the water into the
Baths of Agrippa. It served Rome for more than 400 years.[4] Legend holds that in 19 BC
thirsty Roman soldiers were guided by a young girl to a source of pure water thirteen
kilometers from the city of Rome. The discovery of the source led Augustus to
commission the construction of a twenty-two kilometer aqueduct leading into the city,
which was named Aqua Virgo, or Virgin Waters, in honor of the legendary young girl. The
aqueduct served the hot Baths of Agrippa, and Rome, for over four hundred years.
Piazza Colonna is a piazza at the center of the Rione of Colonna in the historic heart of
Rome, Italy. It is named for the marble Column of Marcus Aurelius which has stood there
since 193 CE. The bronze statue of Saint Paul that crowns the column was placed in
1589, by order of Pope Sixtus V. The Roman Via Lata (now the Via del Corso) runs
through the piazza’s eastern end, from south to north. The piazza is rectangular. Its
north side is taken up by Palazzo Chigi, formerly the Austro-Hungarian empire’s
embassy, but is now a seat of the Italian government. The east side is taken up by the
19th century public shopping arcade Galleria Colonna (since 2003 Galleria Alberto Sordi),
the south side is taken up by the flank of Palazzo Ferraioli, formerly the Papal post office,
and the little Church of Santi Bartolomeo ed Alessandro dei Bergamaschi (1731-35). The
west side is taken up by Palazzo Wedekind (1838) with a colonnade of Roman columns
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taken from Veii. The piazza has been a monumental open space since Antiquity; the
temple of Marcus Aurelius stood on the site of Palazzo Wedekind. (TCI) The fountain in
the Piazza (1577) was commissioned by Pope Gregory XIII from Giacomo Della Porta who
was assisted by Rocco De Rossi. In 1830 it was restored, and had two sets of dolphins
side by side, with tails entwined, sculpted by Achille Stocchi, set at either end of the long
basin. The central sculpture was then substituted with a smaller sculpture and spray.[1]
4
Montecitorio
The building was originally designed by Gian Lorenzo Bernini for the young Cardinal
Ludovico Ludovisi, nephew of Pope Gregory XV. However, with the death of Gregory XV
by 1623, work stopped, and was not restarted until the papacy of Pope Innocent XII
(Antonio Pignatelli), when it was completed by the architect Carlo Fontana, who modified
Bernini’s plan with the addition of a bell gable above the main entrance. The building
was designated for public and social functions only due to Innocent XII’s firm
antinepotism policies which were in contrast to his predecessors.
In 1696 the Curia apostolica (papal law courts) was installed there. Later it was home to
the Governatorato di Roma (the city administration during the papal period) and the
police headquarters. The excavated obelisk of the Solarium Augusti, now known as the
Obelisk of Montecitorio, was installed in front of the palace by Pius VI in 1789.
With the Unification of Italy in 1861 and the transfer of the capital to Rome in 1870,
Montecitorio was chosen as the seat of the Chamber of Deputies, after consideration of
various possibilities. The former internal courtyard was roofed over and converted into a
semi-circular assembly room.
But the original palace was not ideally suited to its new role and it was rebuilt during the
early 1900s leaving only the facade intact. The architect, Ernesto Basile, was an exponent
of Art nouveau. He added the so-called Transatlantico, the long and impressive salon
which surrounds the debating chamber and now acts as the informal centre of Italian
politics.
The debating chamber is characterized by numerous decorations in the Art Nouveau
style: the impressive canopy of coloured glass (the work of Giovanni Beltrami), the
pictorial frieze entitled The Italian People (by Giulio Aristide Sartorio) which surrounds
the chamber, the bronze figures flanking the presidential and government benches, and
the panels depicting The Glory of the Savoy Dynasty by Davide Calandra.
4.1
Gelateria Giolitti
5
Pantheon
5.1
Caffè S.Eustacchio
Visiting Rome in the summer means suffering extreme temperatures so what better to
chill out than by having a tasty ice cream? Look for the Giolitti ice cream shop which
makes one of the best ice creams in Rome and its worth mentioning.
The Pantheon in the guide how to visit Rome is one of the must. (/ˈpænθiən/ or US
/ˈpænθiɒn/;[1] Latin: Pantheon,[nb 1] [pantʰewn] From Greek: Πάνθεον [ἱερόν], an
adjective understood as “[temple consecrated] to all gods”) is a building in Rome, Italy,
commissioned by Marcus Agrippa during the reign of Augustus (27 BC – 14 AD) as a
temple to all the gods of ancient Rome, and rebuilt by the emperor Hadrian about 126
AD. The building is circular with a portico of large granite Corinthian columns (eight in
the first rank and two groups of four behind) under a pediment. A rectangular vestibule
links the porch to the rotunda, which is under a coffered concrete dome, with a central
opening (oculus) to the sky. Almost two thousand years after it was built, the Pantheon’s
dome is still the world’s largest unreinforced concrete dome.[3] The height to the oculus
and the diameter of the interior circle are the same, 43.3 metres (142 ft).[4]
It is one of the best-preserved of all Ancient Roman buildings. It has been in continuous
use throughout its history, and since the 7th century, the Pantheon has been used as a
Roman Catholic church dedicated to “St. Mary and the Martyrs” but informally known as
“Santa Maria Rotonda.”[5] The square in front of the Pantheon is called Piazza della
Rotonda.
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6
Piazza Navona
Piazza Navona is a city square in Rome, Italy. It is built on the site of the Stadium of
Domitian, built in 1st century AD, and follows the form of the open space of the stadium.[1] The ancient Romans came there to watch the agones (“games”), and hence it was
known as “Circus Agonalis” (“competition arena”). It is believed that over time the name
changed to in avone to navone and eventually to navona.
Defined as a public space in the last years of 15th century, when the city market was
transferred to it from the Campidoglio, the Piazza Navona was transformed into a highly
significant example of Baroque Roman architecture and art during the pontificate of
Innocent X, who reigned in from 1644 until 1655 and whose family palace, the Palazzo
Pamphili, faced the piazza. It features important sculptural and architectural creations:
in the center stands the famous Fontana dei Quattro Fiumi or Fountain of the Four
Rivers (1651) by Gian Lorenzo Bernini, topped by the Obelisk of Domitian, brought here
in pieces from the Circus of Maxentius;[2] the church of Sant’Agnese in Agone by
Francesco Borromini, Girolamo Rainaldi, Carlo Rainaldi and others; and the aforementioned Pamphili palace, also by Girolamo Rainaldi, that accommodates the long gallery
designed by Borromini and frescoed by Pietro da Cortona.[3]
Piazza Navona has two additional fountains: at the southern end is the Fontana del
Moro with a basin and four Tritons sculpted by Giacomo della Porta (1575) to which, in
1673, Bernini added a statue of a Moor, or African, wrestling with a dolphin, and at the
northern end is the Fountain of Neptune (1574) created by Giacomo della Porta. The
statue of Neptune in the northern fountain, the work of Antonio Della Bitta, was added
in 1878 to make that fountain more symmetrical with La Fontana del Moro in the south.
At the southwest end of the piazza is the ancient ‘speaking’ statue of Pasquino. Erected
in 1501, Romans could leave lampoons or derogatory social commentary attached to the
statue.
During its history, the piazza has hosted theatrical events and other ephemeral activities.
From 1652 until 1866, when the festival was suppressed, it was flooded on every
Saturday and Sunday in August in elaborate celebrations of the Pamphilj family. The
pavement level was raised in the 19th century and the market was moved again in 1869
to the nearby Campo de’ Fiori. A Christmas market is held in the piazza.
7
Piazza Campo de Fori
Campo de’ Fiori (meaning in English: Field of Flowers) is a rectangular square south of
Piazza Navona in Rome, Italy, at the border between rione Parione and rione Regola. It is
just diagonally southeast of the Palazzo della Cancelleria and one block northeast of the
Palazzo Farnese. Campo de’ Fiori, translated literally from Italian, means “field of
flowers”. The name was first given during the Middle Ages when the area was actually a
meadow.
In Ancient Rome the area was unused space between Pompey’s Theatre and the
flood-prone Tiber. Though the Orsini established themselves on the south flank of the
space in the 13th century, until the 15th century the square remained undeveloped. The
first church in the immediate vicinity was built during the pontificate of Boniface IX
(1389-1404), Santa Brigida a Campo de’ Fiori; with the building-up of the rione, the
church has now come to face that part of the former square that is now Piazza Farnese.
In 1456 under Pope Callixtus III, Ludovico Cardinal Trevisani paved the area: This was
part of a greater project of improvement of the rione Parione. This renewal was both the
result and cause of several important buildings being built in the surroundings; in
particular, the Orsini palace on Campo de’ Fiori was rebuilt. The Renaissance Palazzo
della Cancelleria can be seen in Vasi’s etching, rising majestically beyond the far right
corner of the square.
Campo de’ Fiori has never been architecturally formalized. The square has always
remained a focus for commercial and street culture: the surrounding streets are named
for trades—Via dei Balestrari (crossbow-makers), Via dei Baullari (coffer-makers), Via dei
Cappellari (hat-makers), Via dei Chiavari (key-makers) and Via dei Giubbonari (tailors).
With new access streets installed by Sixtus IV— Via Florea and Via Pellegrino— the
square became a part of the Via papale (“Pope’s road”), the street linking Basilica of St.
John Lateran and the Vatican and run through by the Pope after his election during the
so-called “Cavalcata del possesso”, when he reached the lateran from the Vatican to take
possession of the city. This brought wealth to the area: A flourishing horse market took
place twice a week (Monday and Saturday) and a lot of inns, hotels and shops came to
be situated in Campo de’ Fiori. The most famous of them, the “Taverna della Vacca”
(“cow’s Inn”) still stands at the south west corner of the square, at the begin of Via de’
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Cappellari, and belonged to Vannozza dei Cattanei, the most famous lover of Alexander
VI Borgia, whose family seal is still on display on the house facade.
Executions used to be held publicly in Campo de’ Fiori. Here, on 17 February 1600, the
philosopher Giordano Bruno was burnt alive for heresy, and all of his works were placed
on the Index of Forbidden Books by the Holy Office. In 1887 Ettore Ferrari dedicated a
monument to him on the exact spot of his death: He stands defiantly facing the Vatican,
reinterpreted in the first days of a reunited Italy as a martyr to freedom of thought. The
inscription on the base recites: A BRUNO – IL SECOLO DA LUI DIVINATO – QUI DOVE IL
ROGO ARSE (“To Bruno – the century predicted by him – here where the fire burned”).
The body of theologian and scientist Marco Antonio de Dominis was also burned in this
square, in 1624.
The demolition of a block of housing in 1858 enlarged Campo de’ Fiori, and since 1869 a
daily vegetable and fish market has been held there, which before took place every
morning in piazza Navona. The ancient fountain known as la Terrina (the “soupbowl”)
that once watered cattle, was resited in 1889, and replaced with a copy: This now keeps
flowers fresh. Its inscription: FA DEL BEN E LASSA DIRE (“Do the good and let them talk”)
suits the gossipy nature of the marketplace. In the afternoons, local games of football
give way to set-ups for outdoor cafés.
At night, Campo de’ Fiori is a meeting place for tourists and young people coming from
the whole city. In the years after 2000 it has turned into one of the most dangerous
places of the city during night, theater of repeated assaults and affrays by drunkards
and soccer supporters.[1][2]
8
Piazza di San Pietro
St. Peter’s Square (Italian: Piazza San Pietro, Latin: Forum Sancti Petri, is a massive plaza
located directly in front of St. Peter’s Basilica in the Vatican City, the papal enclave
surrounded by Rome, directly west of the neighbourhood or rione of Borgo. How visit
Rome and one of the famous place in the world.
At the centre of the square is a four-thousand-year-old Egyptian obelisk, erected at the
current site in 1568. Gian Lorenzo Bernini designed the square almost 100 years later,
including the massive Tuscan colonnades, four columns deep, which embrace visitors in
“the maternal arms of Mother Church.” A granite fountain constructed by Bernini in 1675
matches another fountain designed by Carlo Maderno dating to 1613.
The open space which lies before the basilica was redesigned by Gian Lorenzo Bernini
from 1656 to 1667, under the direction of Pope Alexander VII, as an appropriate
forecourt, designed “so that the greatest number of people could see the Pope give his
blessing, either from the middle of the façade of the church or from a window in the
Vatican Palace” (Norwich 1975 p 175). Bernini had been working on the interior of St.
Peter’s for decades; now he gave order to the space with his renowned colonnades,
using the Tuscan form of Doric, the simplest order in the classical vocabulary, not to
compete with the palace-like façade by Carlo Maderno, but he employed it on an
unprecedented colossal scale to suit the space and evoke a sense of awe.
There were many constraints from existing structures (illustration, right). The massed
accretions of the Vatican Palace crowded the space to the right of the basilica’s façade;
the structures needed to be masked without obscuring the papal apartments. The
obelisk marked a centre, and a granite fountain by Carlo Maderno[1] stood to one side:
Bernini made the fountain appear to be one of the foci of the ovato tondo[2] embraced
by his colonnades and eventually matched it on the other side, in 1675, just five years
before his death. The trapezoidal shape of the piazza, which creates a heightened
perspective for a visitor leaving the basilica and has been praised as a masterstroke of
Baroque theater (illustration, below right), is largely a product of site constraints.
The colossal Tuscan colonnades, four columns deep,[3] frame the trapezoidal entrance
to the basilica and the massive elliptical area[4] which precedes it. The ovato tondo’s
long axis, parallel to the basilica’s façade, creates a pause in the sequence of forward
movements that is characteristic of a Baroque monumental approach. The colonnades
define the piazza. The elliptical centre of the piazza, which contrasts with the trapezoidal
entrance, encloses the visitor with “the maternal arms of Mother Church” in Bernini’s
expression. On the south side, the colonnades define and formalize the space, with the
Barberini Gardens still rising to a skyline of umbrella pines. On the north side, the
colonnade masks an assortment of Vatican structures; the upper stories of the Vatican
Palace rise above.
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IAt the center of the ovato tondo stands an Egyptian obelisk of red granite, 25.5 metres
tall, supported on bronze lions and surmounted by the Chigi arms in bronze, in all 41
metres to the cross on its top. The obelisk was originally erected at Heliopolis by an
unknown pharaoh of the Fifth dynasty of Egypt (c. 2494 BC – 2345 BC). During its history
of c. 4400 years (at the start of the 2010s), the obelisk has been successfully moved
three times.
St. Peter’s Square obelisk
The Emperor Augustus (c. 63 BC – 14 AD) had the obelisk moved to the Julian Forum of
Alexandria, where it stood until 37 AD, when Caligula ordered the forum demolished and
the obelisk transferred to Rome. He had it placed on the spina which ran along the
centre of the Circus of Nero, where it would preside over Nero’s countless brutal games
and Christian executions.
It was moved to its current site in 1586 by the engineer-architect Domenico Fontana
under the direction of Pope Sixtus V; the engineering feat of re-erecting its vast weight
was memorialized in a suite of engravings (illustrated right). The Vatican Obelisk is the
only obelisk in Rome that has not toppled since ancient Roman times. During the Middle
Ages, the gilt ball on top of the obelisk was believed to contain the ashes of Julius
Caesar.[5] Fontana later removed the ancient metal ball, now in a Rome museum, that
stood atop the obelisk and found only dust. Christopher Hibbert (page 178) writes that
the ball was found to be solid. Though Bernini had no influence in the erection of the
obelisk, he did use it as the centerpiece of his magnificent piazza.
The paving is varied by radiating lines in travertine, to relieve what might otherwise be a
sea of cobblestones. In 1817 circular stones were set to mark the tip of the obelisk’s
shadow at noon as the sun entered each of the signs of the zodiac, making the obelisk a
gigantic sundial’s gnomon. Below is a view of St. Peter’s Square from the cupola (the top
of the dome) which was taken in June, 2007.
St. Peter’s Square today can be reached from the Ponte Sant’Angelo along the grand
approach of the Via della Conciliazione (in honor of the Lateran Treaty of 1929). The
spina (median with buildings) which once occupied this grand avenue leading to the
square was demolished ceremonially by Benito Mussolini himself on October 23, 1936
and was completely demolished by October 8, 1937. St. Peter’s Basilica was now freely
visible from the Castel Sant’Angelo. The effect of its demolition, however, was to destroy
the characteristic Baroque surprise. The Via della Conciliazione was completed in time
for the Great Jubilee of 1950.
9
Castel S. Angelo
The Mausoleum of Hadrian, usually known as Castel Sant’Angelo (English: Castle of the
Holy Angel), is a towering cylindrical building in Parco Adriano, Rome, Italy. It was initially
commissioned by the Roman Emperor Hadrian as a mausoleum for himself and his
family. The building was later used by the popes as a fortress and castle, and is now a
museum. The Castel was once the tallest building in Rome.
The tomb of the Roman emperor Hadrian, also called Hadrian’s mole,[1] was erected on
the right bank of the Tiber, between 130 AD and 139 AD. Originally the mausoleum was
a decorated cylinder, with a garden top and golden quadriga. Hadrian’s ashes were
placed here a year after his death in Baiae in 138 AD, together with those of his wife
Sabina, and his first adopted son, Lucius Aelius, who also died in 138 AD. Following this,
the remains of succeeding emperors were also placed here, the last recorded deposition
being Caracalla in 217 AD. The urns containing these ashes were probably placed in
what is now known as the Treasury room deep within the building. Hadrian also built the
Pons Aelius facing straight onto the mausoleum – it still provides a scenic approach from
the center of Rome and the right bank of the Tiber, and is renowned for the Baroque
additions of statues of angels holding aloft elements of the Passion of Christ.
The popes converted the structure into a castle, beginning in the 14th century; Pope
Nicholas III connected the castle to St Peter’s Basilica by a covered fortified corridor
called the Passetto di Borgo. The fortress was the refuge of Pope Clement VII from the
siege of Charles V’s Landsknechte during the Sack of Rome (1527), in which Benvenuto
Cellini describes strolling the ramparts and shooting enemy soldiers.
Leo X built a chapel with a Madonna by Raffaello da Montelupo. In 1536 Montelupo also
created a marble statue of Saint Michael holding his sword after the 590 plague (as
described above) to surmount the Castel.[5] Later Paul III built a rich apartment, to
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ensure that in any future siege the Pope had an appropriate place to stay.
Montelupo’s statue was replaced by a bronze statue of the same subject, executed by
the Flemish sculptor Peter Anton von Verschaffelt, in 1753. Verschaffelt’s is still in place
and Montelupo’s can be seen in an open court in the interior of the Castle.
The Papal state also used Sant’Angelo as a prison; Giordano Bruno, for example, was
imprisoned there for six years. Another prisoner was the sculptor and goldsmith
Benvenuto Cellini. Executions were performed in the small inner courtyard. As a prison,
it was also the setting for the third act of Giacomo Puccini’s Tosca; the eponymous
heroine of the opera leaps to her death from the Castel’s ramparts.
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1
Piazza del Popolo
Piazza del Popolo is a large urban square in Rome. The name in modern Italian literally
means “People’s Square”, but historically it derives from the poplars (populus in Latin,
pioppo in Italian) after which the church of Santa Maria del Popolo, in the northeast
corner of the piazza, takes its name.
The piazza lies inside the northern gate in the Aurelian Walls, once the Porta Flaminia of
ancient Rome, and now called the Porta del Popolo. This was the starting point of the Via
Flaminia, the road to Ariminum (modern-day Rimini) and the most important route to
the north. At the same time, before the age of railroads, it was the traveller’s first view of
Rome upon arrival. For centuries, the Piazza del Popolo was a place for public executions, the last of which took place in 1826.
2
Piazza Venezia e
Vittoriano
2.1
Campidoglio
3
Foro Romano
The Altare della Patria (Altar of the Fatherland) also known as the Monumento Nazionale
a Vittorio Emanuele II (National Monument to Victor Emmanuel II) or “Il Vittoriano” is a
controversial monument built in honour of Victor Emmanuel, the first king of a unified
Italy, located in Rome, Italy. It occupies a site between the Piazza Venezia and the
Capitoline Hill.
The eclectic structure was designed by Giuseppe Sacconi in 1885; sculpture for it was
parceled out to established sculptors all over Italy, such as Leonardo Bistolfi and Angelo
Zanelli.[1] It was inaugurated in 1911 and completed in 1925.[2]
To date, the Vittoriano is the largest monument in white marble Botticino (Brescia) ever
created, and features stairways, Corinthian columns, fountains, an equestrian sculpture
of Victor Emmanuel and two statues of the goddess Victoria riding on quadrigas. The
structure is 135 m (443 ft) wide and 70 m (230 ft) high. If the quadrigae and winged
victories are included, the height is to 81 m (266 ft).[2] It has a total area of 17,000
square meters.
The base of the structure houses the museum of Italian Unification.[2][3] In 2007, a
panoramic elevator was added to the structure, allowing visitors to ride up to the roof
for 360 degree views of Rome.[4]
The monument holds the Tomb of the Unknown Soldier with an eternal flame, built
under the statue of Italy after World War I following an idea of General Giulio Douhet.
The body of the unknown soldier was chosen on 26 October 1921 from among 11
unknown remains by Maria Bergamas, a woman from Gradisca d’Isonzo whose only
child was killed during World War I. Her son’s body was never recovered. The selected
unknown was transferred from Aquileia, where the ceremony with Bergamas had taken
place to Rome and buried in a state funeral on 4 November 1921.
The Capitoline Hill (Latin: Collis Capitōlīnus), between the Forum and the Campus
Martius, is one of the seven hills of Rome. It was the citadel (equivalent of the ancient
Greek acropolis) of the earliest Romans. By the 16th century, Capitolinus had become
Capitolino in Italian, with the alternative Campidoglio stemming from Capitolium, one of
the three major spurs of the Capitolinus (the others being Arx and Tarpeius). The English
word capitol derives from Capitoline. The Capitoline contains few ancient ground-level
ruins, as they are almost entirely covered up by Medieval and Renaissance palaces (now
housing the Capitoline Museums) that surround a piazza, a significant urban plan
designed by Michelangelo.
The Roman Forum (Latin: Forum Romanum, Italian: Foro Romano) is a rectangular forum
(plaza) surrounded by the ruins of several important ancient government buildings at
the center of the city of Rome. Citizens of the ancient city referred to this space, originally a marketplace, as the Forum Magnum, or simply the Forum.
It was for centuries the center of Roman public life: the site of triumphal processions
and elections; the venue for public speeches, criminal trials, and gladiatorial matches;
and the nucleus of commercial affairs. Here statues and monuments commemorated
the city’s great men. The teeming heart of ancient Rome, it has been called the most
celebrated meeting place in the world, and in all history.[1] Located in the small valley
between the Palatine and Capitoline Hills, the Forum today is a sprawling ruin of architectural fragments and intermittent archaeological excavations attracting 4.5 million
sightseers yearly.[2]
Many of the oldest and most important structures of the ancient city were located on or
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near the Forum. The Roman kingdom’s earliest shrines and temples were located on the
southeastern edge. These included the ancient former royal residence, the Regia (8th
century BC), and the Temple of Vesta (7th century BC), as well as the surrounding
complex of the Vestal Virgins, all of which were rebuilt after the rise of imperial Rome.
Other archaic shrines to the northwest, such as the Umbilicus Urbis and the Vulcanal
(Shrine of Vulcan), developed into the Republic’s formal Comitium (assembly area). This
is where the Senate—as well as Republican government itself—began. The Senate
House, government offices, tribunals, temples, memorials and statues gradually
cluttered the area.
Over time the archaic Comitium was replaced by the larger adjacent Forum and the
focus of judicial activity moved to the new Basilica Aemilia (179 BC). Some 130 years
later, Julius Caesar built the Basilica Julia, along with the new Curia Julia, refocusing both
the judicial offices and the Senate itself. This new Forum, in what proved to be its final
form, then served as a revitalized city square where the people of Rome could gather for
commercial, political, judicial and religious pursuits in ever greater numbers.
Eventually much economic and judicial business would transfer away from the Forum
Romanum to the larger and more extravagant structures (Trajan’s Forum and the
Basilica Ulpia) to the north. The reign of Constantine the Great, during which the Empire
was divided into its Eastern and Western halves, saw the construction of the last major
expansion of the Forum complex—the Basilica of Maxentius (312 AD). This returned the
political center to the Forum until the fall of the Western Roman Empire almost two
centuries later.
Unlike the later imperial fora in Rome—which were self-consciously modelled on the
ancient Greek plateia (πλατε α) public plaza or town square—the Roman Forum developed gradually, organically and piecemeal over many centuries.[3] This is so despite the
tidying up of men like Sulla, Caesar and Augustus who attempted, with some success, to
impose a degree of order there. By the Imperial period the large public buildings that
crowded around the central square had reduced the open area to a rectangle of about
130 by 50 metres.[4]
Its long dimension was oriented northwest to southeast and extended from the foot of
the Capitoline Hill to that of the Velian Hill. The Forum’s basilicas during the Imperial
period—the Basilica Aemilia on the north and the Basilica Julia on the south—defined its
long sides and its final form. The Forum proper included this square, the buildings facing
it and, sometimes, an additional area (the Forum Adjectum) extending southeast as far
as the Arch of Titus.[5]
Originally the site of the Forum had been marshy lake where waters from the surrounding hills drained.[6] This was drained by the Tarquins with the Cloaca Maxima.[citation
needed] Because of its location, sediments from both the flooding of the Tiber River and
the erosion of the surrounding hills have been raising the level of the Forum floor for
centuries. Excavated sequences of remains of paving show that sediment eroded from
the surrounding hills was already raising the level in early Republican times.[citation
needed]
As the ground around buildings began to rise, residents simply paved over the debris
that was too much to remove. Its final travertine paving, still visible, dates from the reign
of Augustus. Excavations in the 19th century revealed one layer on top of another. The
deepest level excavated was 3.60 metres above sea level. Archaeological finds show
human activity at that level with the discovery of carbonised wood.[citation needed]
An important function of the Forum, during both Republican and Imperial times, was to
serve as the culminating venue for the celebratory military processions known as
Triumphs. Victorious generals entered the city by the western Triumphal Gate (Porta
Triumphalis) and circumnavigated the Palatine Hill (counterclockwise) before proceeding
from the Velian Hill down the Via Sacra and into the Forum.[7]
From here they would mount the Capitoline Rise (Clivus Capitolinus) up to the Temple of
Jupiter Optimus Maximus on the summit of the Capitol. Lavish public banquets ensued
back down on the Forum.[7] (In addition to the Via Sacra, the Forum was accessed by a
number of storied roads and streets, including the Vicus Jugarius, Vicus Tuscus, Argiletum, and Via Nova.)
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4
Colosseo
How to visit Rome and don’t see the Colosseum or Coliseum, also known as the Flavian
Amphitheatre (Latin: Amphitheatrum Flavium; Italian: Anfiteatro Flavio or Colosseo) is an
elliptical amphitheatre in the centre of the city of Rome, Italy. Built of concrete and
stone,[1] it was the largest amphitheatre of the Roman Empire, and is considered one of
the greatest works of Roman architecture and engineering. It is the largest amphitheatre
in the world.[2]
The Colosseum is situated just east of the Roman Forum. Construction began under the
emperor Vespasian in 70 AD,[3] and was completed in 80 AD under his successor and
heir Titus.[4] Further modifications were made during the reign of Domitian (81–96).[5]
These three emperors are known as the Flavian dynasty, and the amphitheatre was
named in Latin for its association with their family name (Flavius).
The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators,[6][7]
and was used for gladiatorial contests and public spectacles such as mock sea battles,
animal hunts, executions, re-enactments of famous battles, and dramas based on
Classical mythology. The building ceased to be used for entertainment in the early
medieval era. It was later reused for such purposes as housing, workshops, quarters for
a religious order, a fortress, a quarry, and a Christian shrine.
Although in the 21st century it stays partially ruined because of damage caused by
devastating earthquakes and stone-robbers, the Colosseum is an iconic symbol of
Imperial Rome. It is one of Rome’s most popular tourist attractions and has close
connections with the Roman Catholic Church, as each Good Friday the Pope leads a
torchlit “Way of the Cross” procession that starts in the area around the Colosseum.[8]
The Colosseum, like all the Historic Centre of Rome, Properties of the Holy See in Italy
and the Basilica of Saint Paul Outside the Walls, was listed as a World Heritage Site by
UNESCO in 1980. In 2007 the complex was also included among the New7Wonders of
the World, following a competition organized by New Open World Corporation (NOWC).
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
5
Circo Massimo
6
Bocca della verità
The Circus Maximus (Latin for greatest or largest circus, in Italian Circo Massimo) is an
ancient Roman chariot racing stadium and mass entertainment venue located in Rome,
Italy. Situated in the valley between the Aventine and Palatine hills, it was the first and
largest stadium in ancient Rome and its later Empire. It measured 621 m (2,037 ft) in
length and 118 m (387 ft) in width, and could accommodate about 150,000 spectators.[1]
In its fully developed form, it became the model for circuses throughout the Roman
Empire. The site is now a public park.
La Bocca della Verità (English: the Mouth of Truth) is a must of how to visit Rome guide.
Is an image, carved from Pavonazzo marble, of a man-like face, located in the portico of
the church of Santa Maria in Cosmedin in Rome, Italy. The sculpture is thought to be
part of a first-century ancient Roman fountain, or perhaps a manhole cover, portraying
one of several possible pagan gods,[1] probably Oceanus. Most Romans believe that the
‘Bocca’ represents the ancient god of the river Tiber.
The most famous characteristic of the Mouth, however, is its role as a lie detector.
Starting from the Middle Ages, it was believed that if one told a lie with one’s hand in the
mouth of the sculpture, it would be bitten off. The piece was placed in the portico of the
Santa Maria in Cosmedin in the 17th century. This church is also home to the supposed
relics of Saint Valentine.
The Mouth of Truth is known to English-speaking audiences mostly from its appearance
in the 1953 film Roman Holiday. The film also uses the Mouth of Truth as a storytelling
device since both Hepburn’s and Peck’s characters are not initially truthful with each
other.
This scene from Roman Holiday was parodied in the 2000 Japanese film Sleeping Bride
by Hideo Nakata. It was also replicated in the film Only You starring Robert Downey Jr.
and Marisa Tomei.
In part two of the manga JoJo’s Bizarre Adventure, Battle Tendency, the Mouth of Truth is
the entrance to the cavern where the three “Men in the Column” were sleeping.
The Megaman Battle Network 4 video games (“Red Sun” and “Blue Moon”) feature a
statue resembling The Mouth of Truth at the beginning of the World Netbattling championship tournament in Netopia by which Lan and MegaMan must pass by having Lan’s
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hand if he is not actually a contestant; Lan reluctantly agrees to stick his hand inside
after the statue taunts Lan about being nervous. The statue turns out to be a fingerprint
scanner which verifies Lan’s identity to let him pass.
The Mouth of Truth is also featured as a furniture item in the Animal Crossing video
game series. If the player touches the Mouth of Truth, its depicted expression changes
to that of an angry frown, referencing the belief that telling a lie with one’s hand in the
mouth of the statue results in the hand being bitten off.
The Mouth of Truth statue is referenced to in the Castle sixth season episode “Get A
Clue” when Castle (Nathan Fillion) sticks his hand inside a statue, parodying the effect
and also opening a hidden door by a switch inside the statue’s mouth.
Electronic coin-operated reproductions of the Mouth are found in fairgrounds of Spain,
Hungary and even Japan, at some motorway service stations in the UK and Croatia,
usually together with photo booths. There is also a full size replica of the Mouth of Truth
at the private Pikake Botanical Gardens in Valley Center, California.
There is a similar sculpture of a lion in Mahabalipuram, Tamil Nadu, India that, according
to local lore, bites off one’s hand if a lie is told.
In France at Parc Astérix, one reproduction of the Mouth is used as a bin and thanks the
people dropping garbage down its throat.
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TERZO GIORNO
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1
Colle del Quirinale e
Palazzo
Il The Quirinal Hill (Latin: Collis Quirinalis) is one of the Seven Hills of Rome, at the
north-east of the city center. It is the location of the official residence of the Italian Head
of State, who resides in the Quirinal Palace; by metonymy “the Quirinal” has come to
stand for the Italian President.
It was originally part of a group of hills that included Collis Latiaris, Mucialis (or Sanqualis), Salutaris. These are now lost due to building in the 16th century and later.[1]
According to Roman legend, the Quirinal Hill was the site of a small village of the
Sabines, and king Titus Tatius would have lived there after the peace between Romans
and Sabines. These Sabines had erected altars in the honour of their god Quirinus
(naming the hill by this god).[citation needed]
Tombs from the 8th century BC to the 7th century BC that confirm a likely presence of a
Sabine settlement area have been discovered; on the hill, there was the tomb of Quirinus, which Lucius Papirius Cursor transformed into a temple for his triumph after the
third Samnite war. Some authors consider it possible that the cult of the Capitoline Triad
(Jove, Minerva, Juno) could have been celebrated here well before it became associated
with the Capitoline Hill. The sanctuary of Flora, an Osco-sabine goddess, was here too.[2]
According to Livy, the hill first became part of the city of Rome, along with the Viminal
Hill, during the reign of Servius Tullius, Rome’ sixth king, in the 6th century BC.[3]
In 446 BC, a temple was dedicated on the Quirinal in honour of Semo Sancus Dius Fidius,
and it is possible that this temple was erected over the ruins of another temple. Augustus, too, ordered the building of a temple, dedicated to Mars. On a slope of the Quirinal
were the extensive gardens of Sallust.
On the Quirinal Hill Constantine ordered the erection of his baths, the last thermae
complex erected in imperial Rome. These are now lost, having been incorporated into
Renaissance Rome, with only some drawings from the 16th century remaining.
In the Middle Ages, the Torre delle Milizie and the convent of St. Peter and Domenic
were built, and above Constantine’s building was erected the Palazzo Rospigliosi; the two
famous colossal marble statues of the “Horse Tamers”, generally identified as the
Dioscuri with horses, which now are in the Piazza Quirinale, were originally in this
Palazzo. They gave to the Quirinal its medieval name Monte Cavallo, which lingered into
the 19th century, when the hill was transformed beyond all recognition by urbanization
of an expanding capital of a united Italy. In the same palazzo were also the two statues
of river gods that Michelangelo moved to the steps of Palazzo Senatorio on the Capitoline Hill.
According to the political division of the center of Rome, the Hill belongs to the rione
Trevi.
The Quirinal Hill is today identified with the Palazzo del Quirinale, the official residence
of the President of the Italian Republic and one of the symbols of the State. Before the
abolition of the Italian monarchy in 1946, it was the residence of the king of Italy, and
before 1871 it was, as originally, a residence of the Pope.
The healthy[4] cool air of the Quirinal Hill attracted aristocrats and papal families that
built villas where the gardens of Sallust had been in antiquity. A visit to the villa of
Cardinal Luigi d’Este in 1573 convinced Pope Gregory XIII to start the building of a
summer residence the following year, in an area considered healthier than the Vatican
Hill or Lateran: His architects were Flaminio Ponzio and Ottaviano Nonni, called Mascherino; under Pope Sixtus V, works were continued by Domenico Fontana (the main facade
on the Piazza) and Carlo Maderno, and by Gian Lorenzo Bernini for Pope Clement XII.
Gardens were conceived by Maderno. In the 18th century, Ferdinando Fuga built the
long wing called the Manica Lunga, which stretched 360 meters along via del Quirinale.
In front lies the sloping Piazza del Quirinale where the pair of gigantic Roman marble
“Horse Tamers” representing Castor and Pollux, found in the Baths of Constantine, were
re-erected in 1588. In Piranesi’s view, the vast open space is unpaved. The Palazzo del
Quirinale was the residence of the popes until 1870, though Napoleon deported both
Pius VI and Pius VII to France, and declared the Quirinale an imperial palace. When Rome
was united to the Kingdom of Italy, the Quirinale became the residence of the kings until
1946.
Today, the Palazzo hosts the offices and the apartments of the Head of State and, in its
long side along via XX Settembre (the so-called Manica Lunga), the apartments that were
furnished for each visit of foreign monarchs or dignitaries.
Several collections are in this Palazzo, including tapestries, paintings, statues, old
carriages (carrozze), watches, furniture, and porcelain.
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In Piranesi’s view, the palazzo on the right is the Palazzo della Sacra Consulta, originally a
villa built upon the ruins of the Baths of Constantine, which was adapted by Sixtus V as a
civil and criminal court. The present façade was built in 1732–1734 by the architect
Ferdinando Fuga on the orders of Pope Clement XII Corsini, whose coat-of-arms,
trumpeted by two Fames, still surmounts the roofline balustrade, as in Piranesi’s view. It
formerly housed Mussolini’s ministry of colonial affairs. davanti a tutti. L'amante eseguì
perfettamente quanto da lei richiesto.
2
Cripta dei Cappuccini
3
Terme di Caracalla
The Capuchin Crypt is a small space comprising several tiny chapels located beneath the
church of Santa Maria della Concezione dei Cappuccini on the Via Veneto near Piazza
Barberini in Rome, Italy. It contains the skeletal remains of 3,700 bodies believed to be
Capuchin friars buried by their order.[1] The Catholic order insists that the display is not
meant to be macabre, but a silent reminder of the swift passage of life on Earth and our
own mortality.[2]
Described by Frommer’s as “one of the most horrifying images in all of Christendom”,[3]
large numbers of the bones are nailed to the walls in intricate patterns, many are piled
high among countless others, while others hang from the ceiling as light fixtures.
When the monks arrived at the church in 1631, moving from the old monastery, they
brought 300 cartloads of deceased friars. Fr. Michael of Bergamo oversaw the arrangement of the bones in the burial crypt.[5] The soil in the crypt was brought from Jerusalem,[6] by order of Pope Urban VIII.[7]
As monks died during the lifetime of the crypt, the longest-buried monk was exhumed to
make room for the newly deceased who was buried without a coffin,[8] and the newly
reclaimed bones were added to the decorative motifs.[6][9] Bodies typically spent 30
years decomposing in the soil, before being exhumed.[10]
Chiesa dell’Immacolata in via V. Veneto, 27
Convento dei frati cappuccini – Roma
The Baths of Caracalla (Italian: Terme di Caracalla) in Rome, Italy, were the second
largest Roman public baths, or thermae, built in Rome between AD 212 and 216, during
the reign of the Emperor Caracalla.[1] Chris Scarre provides a slightly longer construction period 211-217 AD.[2] They would have had to install over 2,000 tons of material
every day for six years in order to complete it in this time. Records show that the idea for
the baths were drawn up by Septimius Severus, and merely completed or opened in the
lifetime of Caracalla.[3] This would allow for a longer construction timeframe. They are
today a tourist attraction.
Emperor Caracalla had the complex built as a piece of political propaganda. Romans
from every social class enjoyed themselves in the impressive, exquisitely detailed
building. Not only did this create a sense of unity, it also improved the public’s opinion of
Caracalla because they attributed their pleasurable experience and lavish surroundings
to him.[original research?]
The baths remained in use until the 6th century when the complex was taken by the
Ostrogoths during the Gothic War, at which time the hydraulic installations were
destroyed.[4] The bath was free and open to the public. The building was heated by a
hypocaust, a system of burning coal and wood underneath the ground to heat water
provided by a dedicated aqueduct. It was in use up to the 19th century. The Aqua Marcia
aqueduct by Caracalla was specifically built to serve the baths. It was most likely reconstructed by Garbrecht and Manderscheid to its current place.
In the 19th and early 20th century, the design of the baths was used as the inspiration
for several modern structures, including St George’s Hall in Liverpool and Pennsylvania
Station in New York City. At the 1960 Summer Olympics, the venue hosted the gymnastics events.
The baths were the only archaeological site in Rome damaged by an earthquake near
L’Aquila in 2009.[5]
Baths were originally ornamented with high quality sculptures, for example, among the
well-known pieces recovered from the Baths of Caracalla are the Farnese Bull and
Farnese Hercules and over life-size early 3rd century patriotic figures (now in the Museo
di Capodimonte, Naples). One of many statues is the colossal 4 m statue of Asclepius.
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4
Trastevere
Trastevere is the 13th rione of Rome, on the west bank of the Tiber, south of Vatican
City. Its name comes from the Latin trans Tiberim, meaning literally “beyond the Tiber”.
The correct pronunciation is, with the accent on the second syllable. Its logo is a golden
head of a lion on a red background, the meaning of which is uncertain. To the north,
Trastevere borders on to the XIV rione, Borgo.
In Rome’s Regal period (753-509 BC), the area across the Tiber belonged to the hostile
Etruscans: the Romans named it Ripa Etrusca (Etruscan bank). Rome conquered it to
gain control of and access to the river from both banks, but was not interested in
building on that side of the river. In fact, the only connection between Trastevere and
the rest of the city was a small wooden bridge called the Pons Sublicius (Latin: “bridge
built on wooden piles”).
By the time of the Republic c. 509 BC, the number of sailors and fishermen making a
living from the river had increased, and many had taken up residence in Trastevere.
Immigrants from the East also settled there, mainly Jews and Syrians. The area began to
be considered part of the city under Augustus, who divided Rome into 14 regions
(regiones in Latin); modern Trastevere was the XIV and was called Trans Tiberim.
Since the end of the Roman Republic the quarter was also the center of an important
Jewish community,[1] which inhabited there until the end of the Middle Ages.
With the wealth of the Imperial Age, several important figures decided to build their
villae in Trastevere, including Clodia, (Catullus’ “friend”) and Julius Caesar (his garden
villa, the Horti Caesaris). The regio included two of the most ancient churches in Rome,
the Titulus Callixti, later called the Basilica di Santa Maria in Trastevere, and the Titulus
Cecilae, Santa Cecilia in Trastevere.
In order to have a stronghold on the right Bank and to control the Gianicolo hill, Transtiberim was partially included by Emperor Aurelian (270–275) inside the wall erected to
defend the city against the Germanic tribes.
In the Middle Ages Trastevere had narrow, winding, irregular streets; moreover, because
of the mignani (structures on the front of buildings) there was no space for carriages to
pass. At the end of the 15th century these mignani were removed. Nevertheless,
Trastevere remained a maze of narrow streets. There was a strong contrast between the
large, opulent houses of the upper classes and the small, dilapidated houses of the poor.
The streets had no pavement until the time of Sixtus IV at the end of the 15th century. At
first bricks were used, but these were later replaced by sampietrini (cobble stones),
which were more suitable for carriages. Thanks to its partial isolation (it was “beyond the
Tiber”) and to the fact that its population had been multicultural since the ancient
Roman period, the inhabitants of Trastevere, called Trasteverini, developed a culture of
their own. In 1744 Benedict XIV modified the borders of the rioni, giving Trastevere its
modern limits.
Nowadays, Trastevere maintains its character thanks to its narrow cobbled streets lined
by medieval houses. At night, natives and tourists alike flock to its many pubs and
restaurants, but much of the original character of Trastevere remains. The area is also
home to several foreign academic institutions including The American University of
Rome and John Cabot University (both of which are private American universities), the
American Academy in Rome, the Rome campus of the Thomas More College of Liberal
Arts, the Canadian University of Waterloo School of Architecture (between the months of
September and December), and the American Pratt Institute School of Architecture
therefore serving as home to an international student body.
The unique character of this neighborhood has attracted artists, foreign expats, and
many famous people. In the sixties and seventies, the American musicians/composers
Frederic Rzewski and Richard Teitelbaum, of the group Musica Elettronica Viva, lived in
Via della Luce. Sergio Leone, the director of Spaghetti Westerns, grew up in Viale Glorioso (there is a marble plaque to his memory on the wall of the apartment building), and
went to a Catholic private school in the neighborhood. Ennio Morricone, the film music
composer, went to the same school, and for one year was in the same class as Sergio
Leone.
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4.1
Typical Trastevere
Trattoria
How could you visit Rome in three days and not eat in a typical restaurant like this. If you
are visiting Trastevere day or night, you can’t not go to Enzo’s restaurant in Via dei
Vascellari 19. We have tried the menu and we recommend it 100% both as far as its
quality food and its rustic atmosphere. Its an average priced restaurant. Check the
“where to eat guide in Rome”.
4.2
Trastevere at night
Trastevere at night. Trasteveere is a wonderful neighbourhood to go out at night with its
beautiful typical squares, which you will love.
5
End of the trip, you
go home…
If you still have time you can visit the wonders of this eternal city or rent a car and visit
the outskirts of Rome. Let us know if you have enjoyed our guide of how to visit Rome in
three days
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NOTE:
1) We have omitted many important museums, such as the Capitoline museums,
churches or SMMaggiore as solely a matter of time and locations.
2) You buy a city guide that will ensure you have a full information!
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