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What I love most about Rome is that there is always something different to discover around each corner…from statues to memorials, to major landmarks and archaeological sites…some more interesting than others, but all deserving some insight into their historical aspects.
While on a walk, I came across a statue on the backside of the Ministry of Economics and Finance. Curious about its origins, I decided to investigate.
This monument, dedicated to Quintino Sella, an Italian politician, economist and mountaineer, was erected in 1893, and was chosen after thirty-one sketches were presented for consideration to the city. Inaugurated on April 9, 1893, in the square in front of the Ministry of Finance, the monument was eventually moved on the side of Via Cernaia.
Born in the Province of Biella, Quintino Sella studied engineering in Turin and then mineralogy in Paris, witnessing the revolution of 1848. Returning to Turin in 1852, he worked as a professor of geometry, mathematics and then, eventually, mineralogy.
In 1860, he moved into politics, serving as a deputy for the city of Cossato, secretary-general of public instruction and then received the portfolio of finance from Rattazzi and later, La Marmora. His great political influence led to his heading of a Moderate Conservative cabinet at which he remained until retiring from public life.
Despite his busy educational and political aspirations, Sella spent a great deal of time pursuing his mountaineering interests. He was involved in the competition for the first ascent of the Matterhorn and founded the Club Alpino Italiano, with a number of its mountain huts named in his honor.
Passing away in 1884, Quintino Sella was buried at the graveyard near the Santuary of Oropa, where a pyramid was erected in his honor.
The monument that I observed at the Ministry of Finance, was designed by Ettore Ferrari and consists of a cross-shaped stepped base from which rises a pedestal on which the bronze statue of the statesman appears to be walking with his right hand on his chest and holding papers in his left. A female figure with a naked breast wrapped in a wide cloak, is seated beneath Sella’s representation. On the female’s left side is a bronze figure of a naked boy, symbolizing the Genius of Finance, holding a book with the word Finanze on it.
The statue was an interesting find and after discovering its history, I went in search of the plaque also dedicated to Quintino Sella on Via Nazionale.
It wasn’t the Coliseum or the Vatican…but I learned a bit about an important Italian, just by stumbling across a statue dedicated to him.
Lots more of that in Rome!!!
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Monumento a Quintino Sella
- http://www.sovraintendenzaroma.it/i_luoghi/roma_medioevale_e_moderna/monumenti/monumento_a_quintino_sella
- Address: Via Cernaia, 21, 00185 Roma RM, Italy
- Hours: 24 hours, daily
- Admission: free
- Getting There: Metro, Castro Pretorio or Republica
Looking for a “Trajan Market” sign (or the Italian equivalent) marking the entrance, I must have walked past the actual entrance three or four times before I realized that the Museum of the Imperial Fora was where I needed to be.
Walking to the far end of the building, I utilized the stairway and headed to the courtyard on the side of the market. Here, current exhibitions are on display and I was pleasantly surprised to discover The Spiral, an installation designed by artist Luminita Taranu, inspired by the Trajan’s Column. I loved the colorful hues and metals used in the creation of this masterpiece…and I loved the photo opportunities it presented!
Walking back through the interior part of the compound, I took more time to inspect the intricacies of the construction and the pieces that occupied its interior.
Walking along the Via del Quirinale, I noticed a church on my left. Noticing people entering, I decided to take a look inside.
The Chapel of the Passion, has three canvases with scenes from the Passion of Jesus Christ by Giacinto Brandi and the chapel to the left of the altar, The Chapel of Saint Stanislaus Kostka, houses the shrine of the saint, a bronze and lapis lazuli urn and a painting of the Madonna With Child and Saint Stanislaus Kostka. Make sure to check out the ceiling fresco by Govanni Odazzi.
Many other intricately carved statues grace the pediments above the chapels and the domed ceiling is centered with an oculus allowing the church to be lighted naturally. Bringing my attention to the floor, I was entranced by the amazing inlaid mosaics which mirrors the elliptical dome overhead. Bernini did not want large funerary monuments within the church to ruin the architectural lines, so the mosaics mark the grave of those such as Cardinal Giambattista Spinola.
Paying the sacristan on duty, I was then directed me up a stairway. Entering a small room, I discovered paintings and information about Saint Stanislaus Kostka. As I walked into the rooms that the saint spent his final years, what caught my eye…and actually, caught me a bit off guard…was a life-size marble statue depicting the dying saint, designed by Pierre Legros. Portrayed at the age of 18, the saint rests on a marble bed and holds in one hand, a small framed image of the Virgin Mary and a real rosary in the other. Surrounded by paintings from his life, the Baroque decor is even more engaging, painted deep red and trimmed in an abundance of gold.
Relics belonging to the saint are displayed in a case the left and two altars fill the wall spaces. The rooms were so mesmerizing and yet so intimate, not something you get to experience in the normal course of a church visit.
Finally, as my visit was drawing to a close, I took one more round in the church and then stepped outside to take a better look at the exterior. A simple beauty, marked by a semicircular porch with two Ionic columns invites visitors in to its exaggerated beauty on the inside.
Massive crowds fill the interior every day seeking to inspect this architectural phenomenon. Though classified as a temple, it is unknown how worship was conducted here as it is quite different from many other ancient Roman temples. Today, though, many take a seat near the altar, head bowed in prayer and contemplation…appropriate as its inception as a church when Byzantine emperor Phocas bequeathed it to Pope Boniface IV in AD 608.
Interspersed between the bays are the tombs of many famous figures from Italian history…painters Raphael and Annibale Carracci, composer, Arcangelo Corelli and architect Baldassare Peruzzi as well as the Italian kings, Vittorio Emanuele II and Umberto I. There are also many paintings that adorn the walls, the best known being the Annunication by Melozzo da Forli.
After my visit was complete, I stepped out into the piazza to take a better look at the fabulous temple from afar. The crowds were probably as thick here as they were inside, however, I was able to step up onto the raised platform that surrounded the amazing fountain that holds court in the center of the square.
If you are on your way to the Piazza Navona, or just in the area, step inside to see this incredible architectural gem and then have a seat around the beautiful fountain. Grab a gelato or a drink and relax for a while.
Entering the complex near the Arch of Titus, we discovered many paths throughout to survey the area in its entirety, encompassing the two basilicas, Fulvia Aemilia, a 100 meter public hall with a two-story porticoed facade dating back to 179 BC and Basilica Julia, built by Julius Caesar on the site of Basilica Sempronia in 54 BC. The Tempio di Antonino e Faustina, erected in AD 141 and transformed into a church in the 8th century (Chiesa di San Lorenzo in Miranda) and the Temple of Romulus are two of the most intact buildings on the premises. Near the Temple of Romulus, you will find the Basilica of Maxentius, the largest building on the forum, originally measuring 100 meters by 65 meters.
Also on the Via Sacra, we discovered the Casa delle Vestali, the home of the virgins who tended the sacred flame in the Tempio di Vesta. These priestesses, aged between six and ten years, were selected from aristocratic families to serve in the temple for thirty years. So great was the responsibility of keeping both the flame and their virginity intact that the penalty of flogging and/or death was imposed for those who did not adhere to the orders. The statues which honor these virgins line the Via Sacra and though most are in good condition, a many are missing their heads.
At the end of the Via Sacra, we came upon the Arco di Settimio Severo, a 23 meter high structure, built in AD 203 and dedicated to the emperor and his two sons, Caracalla and Geta. The arch commemorated the Roman victory over the Parthians.
The remains of the Rostri could be seen in front of the arch. This elaborate podium was the site of Mark Antony’s famous, “Friends, Romans and countrymen…” speech. Facing the Rostri is the Colonna di Foca (Column of Phocus) which fronts what once was the Forum’s main square.
Palatine Hill is connected to the Forum and at the center of the seven hills of Rome. Standing above the Forum, it was once the place where Imperial palaces were built. Heading uphill, we made our way through the grounds.
The Houses of Augustus and Livia, are still standing and in good condition and house some impressive art and frescoes. Tours of both of these impressive structures are available, however, advance tickets were required and we were not in possession. If you can secure them ahead of time, it is worth the effort in order to check out Augustus’ private study.
The Palatine Museum is also open to the public and contains a display of Roman statuary and findings from the hippodrome, however, being the end of our day, we decided that this would have to wait until another visit.
Having been to this architectural phenomenon at least five or six times, I never tire of seeing its structural prowess which has withstood the elements for so many years. I enjoy meandering through the passageways and gazing out on the arena which was the site of much action in its early years.
The Colosseum is the largest amphitheater in the world, measuring 186 meters long, 156 meters wide and 50 meters high!
There were three stories, each containing columns of a different style. The bottom columns were from the simple Doric order, the center, Ionic and the top, Corinthian. 
The emperor’s enjoyed the entertainment so much that they not only organized the events but also paid for them, allowing for the free entry of those desiring to attend. By also providing food, they ensured their popularity and support.
Emperor Vespasian’s son, Titus, was the first to hold games to commemorate the completion of the Colosseum. These games continued for 100 days. Gladiatorial games continued until the fifth century and animal hunts until the sixth.
Those with weak constitutions were not encouraged to attend as many events were quite brutal. During certain games held by the emperors, around 10,000 animals were killed in a single day.
A large number of rooms and underground passages were located beneath the Colosseum. Here, gladiators and animals waited to meet their fate. There were also thirty-six trap doors which could be used for special effects. 
Restoration efforts began in the 1990s and can still be seen continuing today. Funding from the admittance of thousands of visitors each year allow for the preservation of this mighty monument.
There is a ticket booth within the Colosseum, however, you can avoid waiting in line twice, once for the ticket purchase and once for entry. A new ticket office has been opened across from the Colosseum and alongside the entrance to the Roman Forum. After purchasing ticket, make sure to enter the line for entrance at the Colosseum. Tickets can also be purchased online and and by telephone.
Located near the intersection of Via del Gambero and Via della Mercede, San Silvestro, is hardly noticeable with other, more grand churches in the area. An unassuming building of a yellowish color with architectural details in limestone, its most notable features are the four baroque statues of San Silvestro by Lorenzo Ouone, Saint Stephen by Michelangelo Borgognone, Saint Clare by Guiseppe Mazzoni and Saint Francis by Vincenzo Felice at the apex. It doesn’t stand out or appear to be a church, however, as you approach from Piazza di San Silvestro, you realize that this is not the facade of the actual church. The street exterior lures you into an atrium which sequesters it from the busy Roman streets. The walls here are embedded and decorated with fragments of early Christian and pagan monuments and sculpture, many with inscriptions, obtained from excavations and restorations and the church’s entrance is at far side. Most interesting here is an ancient sarcophagus and several antiquated columns on the right side of the atrium.
