In the Plaza Independencia, you can spend a good part of your day see only what is there, including devouring a scrumptious lunch going to mass and making new friends!
Quito’s Cathedral stands on the southern side of the plaza and is a one of the most important churches in the city. Dating back to 1535, when the Spanish founded Quito, it was given the name of Metropolitan Cathedral, until twenty-five years ago, when it was name the Primada Cathedral for the evangelizing work that the church had done over the years.
Construction of the cathedral began between 1550 and 1560 with many renovations over the years, until its completion in 1806. As we walked through the building, the many architectural styles that make up the interior should be a great contrast, however, the styles blend together remarkably…the arches are of the Gothic design, while the altar is very Baroque…the choir area is Neoclassic and the ceilings Moorish.
There are many main attractions in the church that are not to be missed that include the High Altar, gilded and backed by a monumental dome and fronted by a beautiful carved, wooden altarpiece, stunning stained glass windows, stone plates of the first settlers, its Moorish-styled coiffured ceiling, three domes (one carved in the shape of a convex quadrangle, the second, oval-shaped and the third, circular), a carved and gilded wooden pulpit (topped with a sculpture of St. Peter), ornate side chapels and the spacious high choir which houses a German organ.
Many prominent citizens have been interred here, including Mariscal Sucre (liberator Simon Bolivar’s right-hand man), Antoinio Jose de Sucre, Cardinal de la Torre, priests, bishops and many of the Republic’s presidents.
Most importantly, the cathedral houses the most notable relic in all of Quito, that of the Christian martyr, Saint Urcisino. Given as a gift from Pope Pius IX to President Garcia Moreno, it was has resided here since 1871.
The cathedral also contains a museum with many types of art, both ecclesiastical and colonial and an imitation of the Last Supper painting cannot be missed…instead of the usual dinner fare, Jesus and the apostles dine on cuy, the traditional South American dish…yes, it’s guinea pig.
It was revealed to me some time after our visit that visitors can climb through a very narrow and dark staircase and passages and emerge on the roof for a great view of the city and the square beneath, as well as climb to the domes. I guess since it was the end of our day, we missed this!
Though I was sad about not having known about the climb to the top, I had the privilege of looking down on the city from many vantage points during my visit…from the top of the Teleferico, from Panecillo Hill and from the top of the Basilica. Instead of being regretful of what we did not get to do, I will focus on the many beautiful things we witnessed inside this amazing cathedral!
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Admission: National Tourists, Adults, $2.00, Children, Students, Seniors, People with Disabilities, $1.00. Visit to Domes (Church+Museum+Domes) $4.00. Foreign Tourists, Adults, $3.00, Children, Students, Seniors, People with Disabilities, $2.00. Visit to Domes (Church+Museum+Domes) $6.00.
With so many things to do and see in Quito’s historic city center, it was hard to choose, much less squeeze as much as we could into one day!
Trying to maintain a balance of churches, convents and monasteries was the challenge as there are so many to visit.
The Monasterio Museo del Carmen Alto was one of the monasteries that I was interested in for its rich history. Built in 1653, it is still home to twenty Carmelite nuns and houses an fascinating museum.
The whitewashed, two-story building was the former home of Quito’s patron saint, Mariana de Jesus (1618-1645). Today, thousands of pilgrims make their way to the monastery to pay their respects to this Ecuadorian saint. Thousands more come to tour the exhibits which explore the daily routines of the cloistered nuns who have made their lives here, the religious art and artifacts from the monastery’s prestigious history and to purchase some of the nuns traditional sweets.
The cloistered nuns at Carmen Alto stay busy by producing limones desamargados, hollowed out tiny lemons filled with a sweet creamy center. After your visit, make sure to stop by the gift shop near the exit where you can stock up on these sweet treats as well as traditional baked goods, aromatic waters for nerves and insomnia, bee pollen, honey and bottles of mistela (anise-flavored liqueur).
The Museo del Carmen Alto is a great place to soak up some of Quito’s religious history as well as gather some unique souvenirs!
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Address: Garcia Moreno y Rocafuerte, Junto al Arco de la Reina, Quito, Pinchincha 17015
Hours: Wednesday-Sunday, 0930-1700
Admission: Adults, $3.00, Students (with I.D.), $2.00, Children, $1.50, Seniors over 65 years and those with disabilities, free. Spanish tours, free. English tours, $4.00.
Getting There: Located in the Historic Center of Quito on García Moreno and Rocafuerte streets, next to the Arco de la Reina. By Trolebus, stop at the station of the Plaza de Santo Domingo. By car, parking available on La Ronda, Guayaquil Street, in Cadisan, Calle Mejía and García Moreno.
There are five UNESCO World Heritage Sites in Ecuador.
The city of Quito received the prestigious honor in 1978.
Notorious for it equatorial crossing, Quito is known as the Middle of the World. It’s famous Old Town, which helped to earn its UNESCO World Heritage status, can be found in the middle of the city.
Founded in the 16th century on the ruins of an Inca city, the capital of Ecuador is one of the best preserved and least altered historic centers in Latin America. The city’s chief attraction is its Old Town, el Centro Historico, and its ample array of churches, monasteries and convents which date back to the beginnings of the colony. The Old Town spans a relatively small area, so it is quite easy to cover the distance in a day. Trying to decide what to see within that area is the most difficult part.
The best way to begin the exploration of Quito is in the Plaza de la Independencia, the city’s main square. Since the Basilica had taken up our entire morning, we would officially begin our tour the Old Town here.
Also known to the locals as Plaza Grande, the square is a part of the city’s rich history and a place where they go to chat, relax, play, eat and sometimes, get their shoes polished! It is surrounded by some of the most beautiful buildings in the city, including the Governor’s Palace (Palacio de Gobierno), the home and office of the Ecuadorian president, the Metropolitan Cathedral (Cathedral Metropolitana) and a centralized fountain surrounded by well manicured gardens.
Deciding to have a bite to eat before beginning our explorations we wandered into the Palacio Arzobispal (Archbishop’s Palace), a beautiful manor located along the north side of the plaza, which is the official residence of the Archbishop of Quito. In its three cobblestone courtyards, there is a multitude of shops and eateries. In this mall, we found Cafe del Fraile situated on the second floor, extending onto the ornate wooden balconies.
The food and service were equally as good as the scenery, both inside the restaurant and out. Seated on the balcony, we had an excellent view of the courtyard below and of some of the beautiful religious artwork that decorated it. So mesmerized by the theological pieces, I had to take a walk throughout all of the rooms, to make sure I didn’t miss anything!
After our meal was complete, we proceeded into the plaza. We found that the police had completely surrounded the square with tall wire fencing and would only let us out onto Venezuela Street. Not sure what was happening, our question was answered a short time later when a band of protesters came marching down the street, carrying signs and bullhorns. Deciding to cross over to the other side of the square on another street, we headed to the Church of La Compañía de Jesus (The Church of the Society of Jesus).
After paying our admission, I inquired as to whether photos were allowed. Not surprisingly, I was told no, as is the norm in many of the churches in Ecuador. Of course, after beginning our tour of the church, I was so enthralled with the sheer artistry of the interior, that I had to try and capture as much as I could without being seen.
Built over a span of 160 years, this church is known as the most beautiful church in the city and possibly all of Ecuador. Its gold leaf interior, elaborate design and traditional architecture are some of the most captivating I have ever witnessed.
Moving on, we headed to the El Museo Camilo Egas…well, not really headed. As we were walking by, we were invited in by the security guard. Not sure of what we were going in to see, we just decided to go with it.
This museum is dedicated to one of the great modern Ecuadorian artists of the twentieth century, Camilo Egas. This exhibition showed the different stages of his work during his lifetime (1898-1962) and is housed in a beautifully restored 17th century mansion.
As we walked along in the city, we enjoyed the handsome architecture…some buildings in better condition than others. The thing we enjoyed the most, however, was the people, most going about their daily activities and those practicing their traditional trades…the hatters, shoemakers and food vendors.
It was pretty easy to navigate the city using Google Maps on my Iphone, however, people often relate that making their way around the Old Town can be quite confusing. Noticing different types of signs, we learned that many streets have two different names…the official name on green plaques and the historical name painted on ceramic tiles. Most streets in the immediate Old Town area, however, have been laid in a grid-like fashion, from north to south, so getting around the center is fairly easy.
Heading in the direction of Panecillo Hill, we had decided to make our way to Calle La Ronda, the local nightlife area, when we were stopped by the police. Apparently we stuck out like the tourists that we were and they wanted to make sure that we were cautious if we were heading toward Calle La Ronda, an area sometimes known for pickpockets and thieves. A lively area in the evenings, we had thought to check it out during the day in the event that we decided to head there for dinner later that evening.
Though the walk was uneventful, heading down off of the overpass to access Calle de la Ronda, seemed a little sketchy. Once we were on the street, however, we found it to be quiet and lined with many historic buildings. It was interesting to find out that in the past, men would serenade the women on the balconies. If they sung well, they were invited to come in and meet the family and the woman. For those that could not carry a tune? They were only met with a bucket of water to their head!
Music still plays a big part on the mile-long stretch of the pedestrian street. During the evenings, especially on Friday and Saturday, the music is cranked up and you can find many restaurants cooking up Ecuadorian specialties and vendors selling handicrafts. We did head there later that evening, but found the loud music to be quite overwhelming and chose a quieter restaurant at the far end of the street.
Swinging by the Plaza Santo Domingo, I had hoped to be able to enter the church, however we found it to be closed. Inquiring with some of the vendors, I was told it would be open later in the day. Knowing our afternoon was coming to a close, I admired the uncrowded plaza which lent to some beautiful photos and we moved on. Later that evening, when we departed Calle La Ronda, we were able to observe the Church of Santo Domingo lit up beautifully and how crowded the square had become. If street performers is your thing, this is the place to go!
Continuing on our walk through Old Town, we decided to visit the Museo del Carmen Alto which is situated on the location where Saint Mariana of Jesus (Quito’s patron saint) lived and died. (Read more about it in a future post)
Nearing Plaza Independencia, we found that the police had removed the barricades and the square was back to its normal everyday routine. Though my husband was growing tired of visiting churches and desperately wanted to grab a seat and have a beer, I persuaded him to make one last push.
The Metropolitan Cathedral situated on the southern side of the plaza was a place that I had really wanted to visit and it did not disappoint. Though it is not as extravagant from the exterior, the interior has some amazing treasures. (You can read more about in in a future post)
So that was it! SO much to do in Quito’s old town and we had only made a dent. We were spending the next day traveling out to Otavalo and its sprawling market, so seeing the rest of Quito’s treasures would have to wait until a future visit.
When spending time in Quito, there is so much more to see…the Museo Alberto Mena Caamaño and its waxworks, the Casa de María Augusta Urrutia or the Casa de Sucre, to get a glimpse inside the best preserved Old Town houses and the Governor’s Palace (tours leave every 20 minutes starting at 0900). And for the church lovers like me, there are countless sanctuaries throughout the city, many within Old Town, including Plaza de San Francisco and its baroque church, Basilica of our Lady of the Merced, The Church of El Sagrario, Carmen Bajo, Church of San Agustin, Santa Catalina de Sienna Church and Convent, Church of San Blas, El Belén, The Guápulo Church and Convent.
I really must go back!
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Admission: National Tourists, Adults, $2.00, Children, Students, Seniors, People with Disabilities, $1.00. Visit to Domes (Church+Museum+Domes) $4.00. Foreign Tourists, Adults, $3.00, Children, Students, Seniors, People with Disabilities, $2.00. Visit to Domes (Church+Museum+Domes) $6.00.
We spotted it from high above the city at the top of the Teleferico…and from Panecillo Hill. Heck, we could even see it from our hotel room!
There is one stunning structure that dominates Quito’s Old Town skyline.
The Basilica of the National Vow.
In 1883, the idea to build a church that demonstrated Ecuador’s devotion to the Roman Catholic church and the Sacred Heart was recognized by Father Julio Matovelle. Though funds were set aside by the Ecuadorian Congress the following year, hoping to put Ecuador on the map with such a prestigious building, it was not enough.
Seeking to gain the assistance of the whole nation, donations were accepted in the form of stone blocks with the vow that upon the church’s completion, the names of the donors would be carved into them. To ensure the remaining funds were in place, a tax on salt was then instituted and collected.
After over a hundred years of construction and despite a blessing by Pope John Paul II in 1985 and its inauguration in 1988, the basilica is not considered technically complete. In fact, local legend says that when the Basilica is finally completed, it will be the end of the world.
Located in the Santa Prisca neighborhood of Quito’s historic Old Town, this basilica which is often compared to Paris’ Notre Dame. It is the largest in the Americas and in Quito, which made navigating the streets seeking its destination quite easy as it towers above everything nearby, perched upon a hill.
Indeed, as I gazed upon this neo-Gothic architectural marvel, it did remind me of Notre Dame, however, as I approached, gazing upward, there were no gargoyles. The French architect, Emilio Tarlier, instead, used turtles, iguanas and other animals native to the Galapagos Islands and the Amazon, the pride and joy of the Ecuadorian culture. He also altered the style of the church to blend in with the Spanish style of the city’s Old Town, which has been declared a UNESCO World Heritage since 1978.
After paying our admission, we wandered through the main floor of the basilica, admiring the colorful stained glass windows, bronze and wooden doors, artfully tiled floors, religious artwork and statues, vaulted ceilings and wooden confessionals. There were many side chapels and altars as well as the tombs of Gabriel Garcia Moreno, the former president of Ecuador and former Archbishop, Jose Ignazio Checa Barba.
As we stared appreciatively at the giant rose window at the far end of the basilica, we noticed people congregated in the gallery beneath the window. Searching for a stairway leading to this area, we found ourselves outside in a large, stone courtyard. Asking around, we finally determined that we needed to visit the ticket window in the courtyard to pay for access to the upper level, including the towers.
Finally, making our way up the stairs, we first stood upon the gallery which offered a magnificent view of the church below and a close-up view of the stained glass windows, including the stunning rose window. Stepping out a few feet within an opening we were also able to see parts of the the exterior of the basilica, as well as the flying buttresses and close-ups of some of the stone animals that decorate the exterior. Continuing our ascent, we made our way past the cafe and entered the clock tower. A fascinating space, we were able to inspect the inner workings of the massive clocks and old pictures of the construction of the basilica that decorated the tops of the walls. Here, we also had spectacular views of the city as well as the basilica’s other tower.
On the other tower, we could see movement and discovered that there were visitors making their way up and throughout the structure. We had not seen a walkway or any other point of access that would lead to this tower. Stepping into the gift shop, we discovered that on the other side of this shop, there was an entrance to the Condor Tower. It was a rather scary, narrow plank walkway leading across the basilica above the vaulted ceiling. A little apprehensive, we cautiously made our way to the other side and up the narrow ladder to the outer platform. Walking around the tower, we found the narrow stairs leading up to the top of the tower. Waiting our turn, as their was only room for one person moving up or down, I gathered my courage and made the steep climb. Not normally scared of heights, I could appreciate the spectacular view of the church’s roof and clock towers, but as I stood there, I thought about the instability of the area. What if an earthquake suddenly shook Quito? We took a quick couple of photos together, but I honestly couldn’t make the climb back down and over the walkway back to the main structure fast enough!
The Basilica del Voto Nacional is a breathtaking landmark for the churchgoers that call it home and for the thousands of tourists that visit to regard its beauty each year. Representing the breathtaking architecture found throughout the country it is both alluring and a welcoming respite for those seeking to pray and pay respects. It is important to allow at least two hours to fully appreciate all aspects of the church, especially the climbs into the towers. Though a bit daunting to some, making the ascent to see the views of the city landscape and El Panecillo between the spires is one you will never forget.
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Basilica del Voto Nacional Quito
Address: Carchi 122 y Venezuela., Quito, Pichincha 170150
Hours: 0900-1700, daily
Admission: Church admission, $2.00 US, Tower admission, $2.00
Standing high on a cliff above the Tejo estuary, Cristo Rei, Portugal’s answer to Rio’s Christ Statue, beseeches visitors to wend across the Tagus River, to scrutinize its enormity.
As I walked along the waterfront on one of my trips to Lisbon, I glanced across the waterway to the statue, wondering just how big it actually was?
A couple of summers ago, I visited Rio’s iconic statue and marveled at its size as I stood at its base. I had also visited the more modest Christ Cristo Blanco statue in Cuzco a few months later and the Virgin Statue in Quito. Does Cristo Rei measure up to Christ the Redeemer, its inspiration?
While traveling with a friend, who hails from Rio de Janeiro, we debated this topic. As a proud Brazilian, she truly believes that no other Christ statue equals the size of the one that tops Corcovado mountain in Rio. After googling a few dimensions, we were surprised to find that although the actual statue of Christ the Redeemer outshines Cristo Rei by 2 meters, their pedestal heights are remarkably different with the latter statue’s overtaking the former’s by 76 meters.
But looking at them both from afar, why does the one in Lisbon seem smaller than the one in Rio?
With Christ the Redeemer’s location so high on the mountain and Cristo Rei’s location on a hill far across the Tagus River, the disparity of their bearings definitely add to the mystery of how large each actually appear to be.
We decided that we would visit Cristo Rei, stand beneath the statue and see if our perception of the two was the same.
Travel to the statue is not complicated and can be reached by car, traveling across the 25 de Abril Bridge, by train through the station in Pragal and by ferry over the Tagus River, through the port of Cacilhas in Almada. In the interest of time, we decided to take Uber to the ferry port and enjoy the river crossing in the bright, sunny afternoon. Once we reached the opposite shore, we jumped on the bus which deposited us at the gates of the Sanctuary a few minutes later.
Cacilhas port lighthouse
Bus stop outside of ferry terminal, Cacilhas port
Cristo Rei, inaugurated on May 17, 1959, was erected to express gratitude to God for the country being spared the effects of World War II. Taking almost ten years to complete, the statue and has attracted thousands of visitors. Over the years, additions have been made to the grounds, including the Chapel of Our Lady of Peace and a Sanctuary with a rectory, chapel, administration and meeting halls and exhibition galleries.
As we walked through the parking premises, we made our way to the statue’s base and to the entrance facing the river. Paying our admittance, we joined the line waiting for a spot in the elevator which would take us to the viewing platform at the foot of the statue.
Exiting the elevator and climbing the stairway adjacent to the gift shop, we stepped out into the sunshine and glanced upwards.
There it was…Cristo Rei…all ninety-two feet of him!
Making our way around the top of the base, we craned our neck to get a better look at the statue designed by sculptor Francisco Franco de Sousa. Like Christ the Redeemer, the figure of Christ’s arms are extended, facing the city of Lisbon, as if to embrace the city. Standing beneath the statue, we both agreed that our impression of the statues, while in their immediate presence was similar. Even my Brazilian friend was astonished at how large this statue actually was and so similar to Christ the Redeemer!
Remaining for some time, we enjoyed the fascinating views of the city all around us while standing in the shadow of the dominant icon, faced by the bronze Ten Commandments.
Finally, we decided to see all of the other areas that the sanctuary had to offer.
Making our way down within the four arches of the pedestal (oriented in the directions of the compass rose), we visited the Chapel of Our Lady of Peace and the Pope John XXIII Hall, containing eight oil paintings created by João de Sousa Araújo. An old high cross from the Sanctuary of Christ the King is also located in the hall. The Chapel of the Confidants of the Heart of Jesus displays valuable reliquaries of Saint Margaret Mary Alacoque, Saint John Eudes, Saint Faustina Kowalska and Blessed Mary of the Divine Heart Droste zu Vischering.
Exiting the pedestal, we made our way around the structure, admiring the statues of the apostles and other pieces of religious art on the premises, including stations of the cross. Here, it is also possible to admire the sweeping views of the city across the river and access to the grounds is free if unable to gain entry into the pedestal.
So, which statue did my Brazilian friend think was more impressive? Christ the Redeemer, of course! It is one of the symbols of her country and I wouldn’t expect her to choose anything but. If you ask me? It would be close, as I was impressed by both. Christ the Redeemer, however, having always been on my bucket list and located so high above the city, I think it ekes out the win!
If anyone is visiting Lisbon and looking for an afternoon of adventure, I would definitely recommend making the short journey to Cristo Rei…one of the city’s treasures!
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Getting There: Take the commuter ferry from Cais do Sodre Station across the river to Cacilhas, from where there are buses (#101) outside the station that stop at the monument. Ferry ticket price, €1.30. Bus ticket, €1.50 purchased from driver.
The first time I ever visited Lisbon, I remember seeing the colorful tiles that decorated many buildings and walls in the city.
On this visit, I was seeing pink!
Walking from the Cais do Sodre ferry station, I happened to walk across an overpass and took a look down at the street below.
IT WAS PINK!
Yes, Pink Street is aptly named for its bright, Pepto-Bismol-like color. Known for the large number of bars located here, Pepto-Bismol is probably something that many people, who frequent the area, use after a night of hard partying and heavy eating!
Taking the stairway down to the colorful Rua Nova do Carvalho, I walked along, following the rose-colored pathway, wondering how crowded this place gets when the sun goes down.
Once Lisbon’s Red Light District, sporting sleazy bars and brothels, the street was given an overhaul in 2011 and the questionable businesses were shut down. Today, instead of sailors seeking sex, the area is the one that people choose when looking for drinks, food and dancing! A tamer version than what was there before.
What a transformation! It’s like someone added a drop of white to clean the area and instead of red, it lightened up the mood!
To Pink!
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The Pink Street
Address: R. Nova do Carvalho, 1200-372 Lisboa, Portugal
Recently, while walking in the Pinciano quarter, near Villa Borghese, I happened upon the church of Santa Teresa d’Avila, an early 20th century minor basilica.
Finding the doors unlocked, I ventured in to see what this church was about.
Designed in the neo-Romanesque style, the church was constructed rather quickly, beginning in 1901, and completed only one year later. Made a parochial church by Pope Pius X in 1906, the church was entrusted to the Discalced Carmelite friars, who to this day, continue to serve the parish with their convent located next door. Forty-five years later, under the orders of Pope Pius XII, the church’s status was elevated to Minor Basilica.
The exterior of the building is constructed of red brick and is rather unremarkable except for the two-storied entrance facade with its four columns and elaborately carved relief depicting Christ Blessing St. Teresa. The main entrance is graced with a bronze door designed by Fra Serafino Melchiore and the reliefs depicts scenes from the life of St. Teresa.
Sufficient to say, I hoped the interior would differ from the exterior thinking back to many of the churches I had visited in the city. Sadly, I found the decor to be quite plain except for a few decorative additions. Designed in a Latin cross plan, there were eight side altars, dedicated to Carmelite saints and two altars flanking the sanctuary and a main altar. Adorned with works by 20th century Roman artists, there was a wheel window with stained glass showing Christ the Apostles over the entrance, 18th century wooden choir stalls hailing from Santa Maria in Campo Marzio and a 17th century bronze crucifix by Pietro Tacca. Behind a screen of carved limestone, there was also a choir which contained a life-sized statue of St. Teresa.
My time in the church of Santa Teresa d’Avila was short and although I was not overwhelmed by my visitation, I’m glad I decided to take a quick look.
One more church marked off the Rome list!
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Even though I had intended to venture out to the Priscilla Catacombs in Rome, we had arrived late and sleep seemed a little more important when my alarm went off.
Knowing that Borghese Park was not far away, I peeked out between the curtains, noticed the sunshine and thought that it might be nice to take a walk in the park and a turn in the Borghese Gallery and Museum.
Who would have known that you needed an advance reservation?
Well, I guess if I had done some prior research…
A little defeated, I headed out of the park and took a quick glance at my Google maps. There was a museum listed a few blocks away.
Why not? I had nothing else to do and the catacombs were closing in a short while.
Walking the few blocks to the location of the Museo Ludovisi Boncompagni, I stood for a moment to enjoy its Roman baroque-style appearance from across the street.
Upon entering, I approached the front desk, saying hello to the two women who were standing there. Asked to sign the guest book, I then inquired about the entrance fee but was told that entrance to the museum was complimentary…quite the nice surprise!
Making my way through the ground floor of the villa which belonged to the Prince Andrea Boncompagni, it was a bit like stepping back in time, seeing how the upper elite of Rome lived at the time.
The villa, which fell into Prince Boncompagni’s widow’s possession upon his death was donated, per her request, to be used as a center for cultural activity for the Italian State. Though it took many years for her request to be fulfilled for the building’s use as a museum, it was finally in the early 90’s when the building was renovated to be used to exhibit the first Italian collection dedicated to the decorative arts.
Each room is decorated in the style of its former glory and brimming with objects of art and architectural ornamentation. Antique furniture and lighting, statues, busts and vases filled each room, wall paper and interesting paintings lined the walls, but one of the highlights of the museum is a beautiful bronze, silver and gold crib dating back to 1901, commissioned by the City of Rome and donated to the monarchs Elena and Vittorio Emanuele III for the birth of their first child Iolanda.
As beautiful as the interiors are, however, the highlight of the museum is the extensive haute couture collection from designers such as Pucci, Ferragamo, Fausto Sarli, Gattinoni, Sorelle Fontana, Valentino and Litrico, among others.
Amidst the opulent interiors of the villa, stand mannequins draped in the grand designer’s garments and cases filled with shoes, hats, purses, and jewelry.
I loved examining the exquisite couture pieces up close, coming from a time when everything was sewn, embroidered and beaded by hand. As a person who enjoys sewing, I was quite impressed and aware of how many hours were required to create these masterpieces. And…although the accessories were protected by glass cases, more than once I caught myself wishing that I could drape a purse across my arm or place one of the hats upon my head!
The museum spans two floors and took me not more than an hour to peruse. Although it was not my first choice of how to spend my afternoon in Rome, I was quite pleased that I had stumbled upon it due to my laziness.
As I always say, sometimes, the best things you find are the ones you weren’t looking for!
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On countless occasions, I have walked by the Castel Sant’Angelo…most times heading over the Ponte Sant’Angelo bridge to the Piazza Navona, the location of two of my favorite restaurants and my absolute fave gelato shop.
Having always admired it for its spherical silhouette and commanding position along the river, I am not sure why I had never ventured inside.
With the summer crowds beginning to thin, my mind filled with the opportunities this offered. Uncrowded streets, not many long lines. I wanted to experience something different, yet still get my daily dose of culture and that could mean any number of locations to visit.
Heading out with a friend, we had decided to have dinner at The Old Bear, near the Piazza Navona, after whatever adventure we decided upon.
Hmmm…just across the river was the Castle Sant’Angelo. I was in the mood for pumpkin lasagna and yes, a castle!
Intended for use as a mausoleum by Emperor Hadrian and his family, the construction of the Castle Sant’Angelo was begun in the year 135. Only requiring four years to complete, the building was then given over to the military, eventually being integrated into the Aurelian Walls, which enclosed the city of Rome including all seven of its hills, the Campus Martius and Trastevere.
As the plague ravaged the city, Pope Gregory I experienced a vision of Saint Michael the Archangel on the top of the castle announcing the end of the epidemic. As we stood on the Ponte Sant’Angelo, itself lined with amazing angelic statues, we gazed upon the fortress and at the statue of Saint Michael comparatively placed on the apex.
After paying our entrance fee, we made our way through the five floors which are reached by a spiral ramp that first reaches the chamber of ashes and eventually cells where many historical figures were imprisoned.
There are many medieval features of the castle from its time served as a fortress. The spiraling ramp provided rapid return to safety as well as a way for horseback riders to transit the space, a small wooden bridge that sits across the imperial tomb and a drawbridge. During the years of rebellion, four bastions were added to improve the fortification of the castle. These were the bastions of San Marco, San Luca, San Giovanni and San Matteo and as we made our way through these additions, we were able to witness the many wooden catapults, rusty cannons and marble cannon balls that were useful during the attacks the city continuously received. In addition, the Bastion of San Giovanni was home to a sixteenth century gunsmith workshop in the tower and in a reconstruction of the space, we were able to take note of the items used to construct the devices.
The castle was a maze of stairs, enclosed spaces and walkways most extremely well preserved due to its continual modifications over the centuries. Finding ourselves in the Courtyard of Honour which contains the papal apartments, used as a place of refuge by the pope when they were forced to flee the Vatican, we spied the stairs which led us to the second highest point on the castle…the one where we could stand beneath the great statue of Michael the Archangel. It is here, as well, that you can stand and admire the city, including the commanding St. Peter’s Basilica, the river below and all points past.
Courtyard of Honor
Courtyard of Honor
Courtyard of Honor
The loggias were my favorite parts of the castle. The smaller of the two was built at the beginning of the sixteenth century by Pope Julius II of Rovere (you can spot his name and coat of arms on the lintel), it was used as a place for the pope to bless the crowds of pilgrims on their way towards St. Peter’s Basilica. The Grand Loggia, completed in 1543, was completed by Pope Paul III (notable for commissioning the Last Judgement in the Sistine Chapel), and conceived as an entrance to his private apartments. It is decorated with episodes of Hadrian’s life and images of the monuments that he had built, including the mausoleum itself.
Stopping at the small cafe for a short time to escape the incessant drizzle that had started, we grabbed a beverage and enjoyed the warmth and smells of the pastries served here.
Spying a break in the weather, we decided to continue on, admiring the architectural details of the castle. Eventually, we came to something totally unexpected. Within the beautifully decorated rooms, named after Clement VII Medici, we happened upon an Italian fashion exhibit showcasing haute couture and jewelry by Italian designers, including Bulgari and Valentino. Beautifully dressed mannequins and display cases filled the apartments, including the Apollo Room, which if you were not overwhelmed by the fashion displayed here, you certainly were by the magnificent marble fireplace, frescoes, door friezes and tiled floors.
Sadly, the one thing that I was so anxious to visit within the castle was the Passetto di Borgo; the passageway built in 1277 that enabled a periously-threatened pope to make a safe getaway. In 1494, Pope Alexander VI transited this passage as Charles VIII invaded the city and Clement VII escaped using the passage during the Sack of Rome in 1527, when troops of the Holy Roman Emperor massacred almost the entire Swiss Guard on the steps of St. Peter’s Basilica. In 2000, in honor of the Pope’s Jubilee year, the Passetto di Borgo was renovated and temporarily re-opened. It can be visited during specific times with the accompaniment of a guide.
Heading out of the castle, we found the rain had ceased and the darkening sky was beginning to clear. Examining the castle from the ground perspective, we walked across the bridge stopping with the masses to get one last look.
Never before having realized that Michael the Archangel was the statue that sat upon the top of the castle, I glanced at the angel once again and had a feeling of peace.
Everyone always wants a guardian angel looking out over them!
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Address: Lungotevere Castello, 50, 00193 Roma RM, Italy
Hours: Daily, 0900-1930. Closed January 1, May 1 and December 25.
Admission: €15.00, € 2.00 reduced. The entrance ticket also allows entry to the National Museum of the Palazzo di Venezia in the following eight days after purchase. From October to March, free entry on the first Sunday of each month. Guided tours included in the admission ticket. November to March, English, 1000 and 1500, Italian, 1130 and 1630. April to October, English 1000 and 1630, Italian, 1130 and 1800.
Ever see something many times, yet never tire of it?
This is how I feel about St. Peter’s Basilica.
It’s no secret that I love churches, but this one surpasses all.
Situated on Vatican Hill, St. Peter’s Basilica can be seen from many parts of Rome, beckoning visitors, that total in the millions every year, from all over the world. One of only four Major basilicas in the world (with the other three also in Rome…St. Paul’s Outside the Walls, Santa Maria Maggiore and St. John the Lateran), this basilica achieved its fame as it derives its name from the fact that it was built on the site where St. Peter was buried in 64 AD.
This UNESCO world heritage site has a capacity of over 60,000 people and covers an area of over 22,300 square meters, making it one of the world’s largest churches. Originally the site of the Circus of Nero and a cemetery, the original basilica was erected between the years of 319 and 349 AD under the orders of Emperor Constantine, the first Christian emperor of Rome. Falling into disrepair after standing for over 1,000 years, Pope Julius II (who also commissioned the Sistine Ceiling) made the decision to demolish and rebuild the structure.
The greatest architects of the Roman Renaissance and Baroque were consulted and utilized for this new basilica, including Bramante, Raphael, Michelangelo, Donato, Giacomo della Porta and Maderno with Bramante’s original design being chosen in 1506. After 120 years, the basilica was completed and consecrated by Pope Urban VIII.
St. Peter’s Square, itself, is an architectural highlight, designed by Bernini in the seventeenth century, and is overlooked by the Loggia della Benedizione, the central balcony from where the pope delivers his Urbi et Orbi blessing at Christmas and Easter. It is here, on the right, where you join the queue to enter St. Peter’s basilica. The line moves quite quickly, however, the time seemed to drag as we stood in the heat of the August afternoon, making our way to the security screening area.
Finally, we entered the massive church and as always, I found myself unsure of where to turn first. There is so much to see on the main level of St. Peter’s including the Michelangelo’s Pieta, located to the right of the entrance, between the Holy Door and the altar of Saint Sebastian.. Carved from a single slab of marble, it was created by Michelangelo when he was only twenty-two years of age and is one of his first works of art. It is the only piece he ever created that was signed.
Take a look around on the floor nearby, and see if you can spot the red disk that marks that spot where Charlemagne and later Holy Roman Emperors were crowned by the pope.
Walking along the right and left naves, there were many side altars to admire, each more beautiful than the next, but it was what was at the high altar that commanded our attention. Here, Bernini’s famous baldachin is supported by four spiral columns and made with bronze from taken from the Pantheon. The baldechin stands over the altar which sits above the site of St. Peter’s grave. So holy is this site that the pope is the only priest allowed to serve at the altar.
Above us, the dome, also created by Michelangelo, was another of the basilica’s highlights. Soaring to a height of almost four hundred feet, this dome was based on Brunelleschi’s design for the Duomo in Florence. The cupola is supported by four stone piers names after the saints whose statues adorn the Bernini designed niches…Longinus, Helena, Veronica and Andrew. Having been up in the cupola before, I was anxious to see the remaining features before heading upwards.
Another of the basilica’s treasures is the 13th century bronze statue of St. Peter. Designed by Arnolfo di Cambio, what is immediately noticed is that statue’s right foot is extremely shiny…due to the centuries of caresses by visitors hoping to receive blessings by rubbing the extremity.
Heading into the Museo Storico Artistico, located in the left nave, we perused the multitude of sacred relics, including a jewel-studded cross gifted to the church by emperor Justinian II, a 6th century Crux Vaticana and a tabernacle by Donatello.
Finding our way to the Vatican Grottoes beneath the basilica, it is here that visitors can pay their respects to the tombs and sarcophagi of 91 popes that have served the Catholic church during its long history. You can also see the several large columns from the original 4th century basilica here, but my favorite part of being in this space is the tomb of the most beloved St. John Paul II, the second longest-serving pope in modern history who is credited in ending Communist rule. It is also interesting to note that in addition to the entombed popes, there are three women laid to rest here; Queen Christina of Sweden, Agnesina Colonna Caetani and Queen Charlotte of Cyprus.
Beneath this area, excavations have uncovered what is believed to be the tomb of St. Peter. This area, however, is accessible only to those escorted by a guide, booked well in advance.
Making our way back upstairs, we decided that it was time to head upstairs, to the dome and the cupola. The dome’s ticket entrance is located on the right of the basilica’s main portico and a major decision is to be made here when purchasing a ticket.
Walk up the 551 steps to the top (kudos to those who do) or take the lift halfway and climb the remaining 320 steps. Of course, we had had a long day, traveling from Naples and exploring the Vatican, so you probably guess what our decision was.
After exiting the lift, we walked around the first level, taking in the beautiful mosaics that line the walls making up the dome’s design and the birds’ eye view of the basilica below.
Walking out onto the roof of the basilica, we walked out to check out the statues of Jesus and the Apostles that can be seen on the roof of the basilica from the square. There is also a bathroom, a refreshment stand and a gift shop that you can mail your Vatican City postmarked postcards from.
Continuing onward and upward, it was here that the journey becomes a little more challenging. This second part requires the climbing of the remaining 320 steps to the top. There is a narrow, single-file, spiral staircase that requires you to lean in to accommodate the slanting of the roof and at the end, a corkscrew staircase. Though there are some windows along the way, this part definitely made me feel extremely claustrophobic and I could not wait to reach the top.
Once I did, however, the views of the city and St. Peter’s Square below were breathtaking!
Who could ever tire of this?
That’s why I keep coming back!
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
Address: Piazza San Pietro, 00120 Città del Vaticano, Vatican City
Hours: October 1 until March 31, 0700-1830, April 1 until September 30, 0700-1900. Dome Access, October 1 until March 31, 0730-1700, April 1 until September 30, 0700-1800.
Admission: Basilica, free. Dome Access, including lift to terrace level and continue on foot (320 steps), € 10.00. Ascent on foot (551 steps), € 8.00. Reductions for schools are possible by presenting an attestation of the Institute with the list of participants, € 5.00
Getting There: Metro, Line A, Ottaviano stop and then a 10 minute walk. Bus lines 64, 62, 40 and 81 and Hop On/Hop Off buses drop off in Vatican City. Children under 10 travel free on all public transport. By car, the nearest parking facility is the underground five-story park, Terminal Gianicolo, a ten minute walk from St. Peter’s Basilica.
