art – Snapping The Globe

Around the Hoorn

So often have I visited Amsterdam over the years, that sometimes I need a bit of variety. Looking for a nice little day trip to get me away from the city I stumbled upon an article about the town of Hoorn, a city in the northern part of The Netherlands. The article had stated that Hoorn was one of the “Best Day Trips From Amsterdam”, so I thought, why not? Though it was early Fall, the sun was forecasted to be shining and it was going to be rather warm…the perfect day for some sightseeing!

Taking the train from Amsterdam’s Central Station, I thought I was doing the right thing when I arrived at the station and nabbed an earlier departure. I relaxed in my seat and readied for my hour-long trip. The train’s whistle sounded and the train began its departure from the city, while I began to watch my progress on Google maps. But wait! I was suddenly confused to see that the train heading northwesterly towards Alkmaar. It dawned on me that I made a major mistake by taking the earlier departure…this train was a local, not the express, so there I was, sightseeing in the Netherlands countryside for an extra half hour…a mistake I was sure to not make on my return!

A bit beyond my anticipated arrival, we finally pulled into the Hoorn station and I made my way past canals, flowers and quaint homes, much like I have seen in other parts of the country. I had planned a route that would take me though the center of the city and its churches, to the waterfront and to two of the city’s ancient gates.

The Grote Kerk, of which origins date back to medieval times, was my first stop, but unfortunately, I found it to be under construction and not open to the public. This structure is the third to be built on the site and dates back to 1883. While I was not allowed inside, I was able to admire its tower with its unadorned needle spire and clock from afar. I then continued on to the main square, hoping to visit the Roman Catholic church of Saint Cyriacus and Francis, popularly called the Dome Church.

Geez, were all of the churches undergoing construction???!!! Here, I found the façade of the Dome Church blocked with scaffolding, however, undeterred, I found the entrance and took a peek inside.

The Dome Church, built in 1882, is still in use today and known for its amazing dome, stained glass and renowned artwork. A small chapel greeted me as I entered, however, the interior was partitioned off by a glass wall. While I would have loved to walk through towards the main altar so that I could appreciate the dome, the glass doors were locked. Still, I was grateful that I could see some of its interior from afar.

Upon my departure, I headed toward the main part of town, passing through the Kaasmarkt (main square) and the statue of Jan Pietersz Coen. Though the city’s streets were on the quiet side, I was not surprised to see a few other tourists congregating around this statue and dining in the outdoor restaurants that lined the square.

Making my way towards the waterfront and marina, I found a paved pathway, which was perfect for exercise and just enjoying the beauty of the lake, Markermeer. As I followed the coast towards the small lighthouse at the end of the path, I took in the various artwork that lined the walkway. Designed by various artists, they comprised both modern and rustic elements. My favorite? “The Empty Coat” by Marion Jebbink.

Eventually, my walk ended at the lighthouse, a small, basic wood-beam structure. It was not very picturesque, but it had given my walk a purpose and I had some good views of the Heritage Sailing Center and the Museum of the 20th Century.

Heading back to where I had come, I then skirted the marina on the far side, making my way to the Hoofdtoren.

The Hoofdtoren is a tower named after the nearby jetty Houten Hoofd and was constructed in 1532. While it acted as one of the last defenses of the city and located at the port, it now acts as a popular restaurant. Adjacent to the tower, on the quay wall, is a statue of the Ship Boys of Bontekoe from the book of the same name and it is a nice place to take in the beautiful old boats that fill the harbor.

A little further up the Oude Doelenkade, I crossed the Hoge Bruge, the iron drawbridge that crosses the Oude Haven and headed toward the Oosterkerk. Built in 1616, the church was originally a Roman Catholic temple used by fisherman and boat captains. After the Reformation, it became a Dutch Reformed Church and was known for its beautiful stained-glass windows but also for its organ, built in 1764 by Johann Heinrich Hartmann Batz…the only one that he built in North Holland. Today, decommissioned, the historic structure is a cultural center which hosts activities such as concerts, meetings, weddings and memorials.

Sadly, it wasn’t really my day for churches…I found this one locked up as well…

Finally, crossing the Kleine Oostbrug, I made it to the edge of the city center and the Oosterpoort, the city’s only remaining gate, built in 1578. Located on the Draafsingel, a remnant of the original defensive canal, the Oosterpoort bridge runs under the gate, giving pedestrians and cyclists a pathway across the waterway. While it serves a practical purpose, it definitely gives visitors a look into the city’s history and a place for stunning photos.

As the day was coming to a close, I wound my way back through the city, crossing the pedestrian bridge, Kippebruggetje, enroute to the train station. I had enjoyed my outing in the beautiful little city of Hoorn, but shadows were now creeping in, signaling the day’s end. I wanted to make sure that I caught my train back to Amsterdam.

This time…the right train!

The Noble Tombs of Verona

The Scaliger family (also known as Della Scala or Saligieri) of Verona was an influential one from the 13th to 14th century, ruling during this time period.

The family rose to prominence during the 11th century with their founder, Masstino I della Scala becoming the chief magistrate after the defeat and death of Ezzelino da Romano, a tyrant of Verona, in 1277. Succeeded by his brother Alberto and subsequently by Alberto’s son, Bartolomeo, it was during the latter’s reign that, according to tradition, Romeo and Juliet fell in love and died.

With such prestige in life, it is expected that in death, the members of this family would also be celebrated and entombed extravagantly so that others could pay homage for many centuries.

In many cultures, cemeteries exist so that the living can pay their respects to the dead. The Italian one is no exception, however, while some gravesites that Americans are familiar with are simple headstones, prominent families in Italy are entombed in elaborate mausoleums. These mausoleums of the Scaligeri are fine examples of the artistic talents put to use to show the wealth and power that the family held.

In Verona, the Scaliger tombs stand in the courtyard of the Church of Santa Maria Antica, which dates to 1185. While I was not sure what I was enroute to see, after spotting it on Google Maps a few blocks from Juliet’s House, it was certainly a landmark that I was glad that I had sought out. To say that the Scaliger tombs are elaborate would be an understatement!

Enclosed by an iron fence, it is easy for passersby to examine the tombs from afar. I assure you, however, it is worth the minimal entrance fee to enter the premises and see these monumental burial chambers up close and personal.

*Entrance to the Scaligeri Tombs (doorway, left) and Santa Maria Antica (doorway, right)*

Adjacent to the Piazza dei Signori, the historic central square of Verona’s Città Antica and other major attractions, the memorials invite visitors to understand the idea of the wealth and power of the Lords of Verona. While the funerary monuments are not plentiful, they are indeed breathtaking examples of Gothic art.

A handout, given to me by caretakers who also accepted my entrance fee, directed me around the small courtyard and I inspected each of the tombs which are located on the ground or on raised floors.

The tomb of Cangrande I Della Scala is placed above the portal of the church and is the first of the tombs that was built in the 14th century by his own will. The tomb is comprised of a tabernacle supported by embellished dogs and on the lid is the reclining statue of the deceased. The sides are decorated and on the top of the canopy, there is a copy of the equestrian statue of Cangrande I (the original is kept in the Castelvecchio Museum along with the funerary equipment).

The ark of Mastino II, which was begun in 1345, had many design changes over the years. Originally painted and gilded, it is surrounded by a gate at the corners of which there are four statues of the Virtues. On the lid, there is a statue of Mastino II lying down and being watched over by two angels. There is an equestrian statue of Mastino II, a copy, of which the original being located in the Castelvecchio clock tower.

The ark of Cansignorio, which dates back to 1375, is the most elaborately decorated. Designed by Bonino da Campione, it depicts sculptures of warrior saints, characters from the Gospels, Virtues and Apostles and a large equestrian statue of Cansignorio.

The sarcophagus of Albert I is a richly carved monument, constructed in 1301.

The tomb of Mastino I is the oldest.

The hanging ark by Giovanni della Scala is a work by Andriolo de Santi. It was finished in 1359 at the church of S. Fermo Maggiore, where it remained until 1400.

This sarcophogi is the most ornamented in the lot. It was possibly commissioned by Alberto I in 1300 and might have been the first burial site for Cangrande.

**Possibly the first burial site of Cangrande**

After my inspection of the tombs was complete, I found the Church of Santa Maria Antica to be open on this day. This small church was originally linked with a convent founded in 744-745. In the 1200s, it became the private chapel of the Scaligeri family who then erected their famous sepulchre alongside the structure.

Wandering in, I donned a shoulder covering given to me by one of the volunteers. The modest sanctuary was dimly lit and quiet and it didn’t appear that photographs were appreciated by the woman keeping a sharp eye on the visitors. While I was able to capture a couple undetected, as I was inspecting the 14th century frescoes in the central nave, I took a moment to nod my head in prayer before departing.

There were many places that I visited on my brief trip to Verona. It was interesting to realize, in retrospect, that so many of the places I had visited, had connections to the others. The Castelvecchio Museum contained some of original pieces of the Scaligeri tombs, which I had unknowingly inspected on my visit there earlier in the day, and later on, I had visited San Fermo Maggiore church which had held the hanging ark by Giovanni della Scala for many years. I had not known all of this prior to my visit, but only later, when doing some research.

While not a lengthy visit, take a few minutes to visit the Scaligeri tombs to comprehend the beauty and history of these funerary monuments and seek out their significance in the other landmarks of Verona.

For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.

Scaliger Tombs

Address: Via San M. Antica 1, Verona VR, Italy
Hours: unknown
Admission: €3 (unverified)

Adventures in New Mexico Part 3-The Cat’s Meow

What’s the saying…when something is very appealing?

It’s the Cat’s Meow!

With all there is experience in New Mexico, I can say that phrase it is most appropriate.

After the long drive to Chaco Canyon, you would thing that we would have wanted to sleep in on the next morning. No way! There was too much to see and do and then, we needed to get to Santa Fe!

Rising early, we packed up, check out and headed to Petroglyph National Monument, one of the largest petroglyph sites in North America. Since there are four different trail systems, we chose the trail that appeared to offer the most petroglyph viewing, Piedras Marcadas Canyon. Parking in the adjacent lot, we grabbed out water and headed out onto the trail.

*Petroglyph National Monument, Piedras Marcadas Canyon Trail*

The path was easy and flat, marked with guide lines on either side, to keep hikers off of the fragile desert growth. Before long, we found ourselves alongside the rocky hills that arose from the desert floor. It took a few moments to decipher what we were supposed to be looking for but we soon began to spot the images carved into the rocks.

The petroglyphs we spied were created by the ancestors of modern Pueblo people as far back as the year 1300, by carefully removing the desert varnish with hand-held stone tools to expose the lighter color of the basalt’s interior. Centuries of weathering cause the older petroglyphs to oxidize and darken. As we now knew what to look for, it soon became easier to spot the various human figures, animals and geometric designs along the one and a half mile route.

*Roadrunner petroglyph and real roadrunner perched on the rocks*

All in all, we spent about an hour and a half out and about before completing the circuit. Deciding that there was not enough time to do another trail, we moved on.

Next up was Old Town Albuquerque.

The downtown area is comprised of approximately 150 individually owned and operated businesses, situated around the main plaza, the square and birthplace of the city in 1706. This plaza reminded me so much of the ones found in many Latin American countries with numerous people lounging on the benches around the gazebo. With so many shops, restaurants and galleries in the immediate area, we took our time doing a little shopping, grabbing a bite to eat and taking lots of photos.

One of the places I wanted to see most was San Felipe de Neri Catholic Church, one of the oldest surviving buildings in the city and the only building in Old Town dating back to the Spanish colonial period. The current church replaced the original which collapsed during the winter of 1972. I would imagine the interior exhibited European qualities, but sadly it nor the museum were not open during our visit.

San Felipe de Neri Catholic Church

Keeping an eye on the clock as we were heading to Santa Fe, we found one more place of interest, the Breaking Bad Store ABQ. Although I had no knowledge of the television series, I thought that maybe there would be some interesting souvenirs for my sons. What we discovered, however, was that this was not only a store, but a small museum of sorts dedicated to the series Breaking Bad and its follow up, Better Call Saul. While most of it didn’t resound with me, it meant a lot for my son to see mementos and set props from the show. Recently, when my husband and I finally watched all five seasons of the series, it was fun to pull out the photos and understand what all of it meant. My favorite photo? Me dressed in the Los Pollos Hermanos uniform posed behind the restaurant counter!

With our time in Albuquerque coming to a close, we headed out to the highway, making our way to Santa Fe.

When my son had mentioned to his friends that we would be visiting New Mexico, the unanimous suggestion was to visit a place with a very strange name…Meow Wolf.

Meow Wolf, a relatively new experience in Santa Fe (established in 2016) is one of three similar interactive experiences located in the United States. Along with the other two, in Denver and Las Vegas, the explorable art encounter beckons visitors to explore rooms of immersive art. Santa Fe’s version, entitled House of Eternal Return offers 70 rooms which I could only describe as a mix between an art exhibit, escape room, a fun house and a maze.

As we parked, we glimpsed what we thought we might experience with its giant metal spider, robot and of course, wolf, in the parking lot! Although we had not purchased tickets prior to our arrival, we learned that we were lucky since it was a weekday that we were able to gain entry, not usual on busy weekends.

We began our explorations in the front part of the House, trying to read every piece of paper and attempting to decipher clues. There was a strangely dressed man standing in the stairway talking about missing children and we deduced that children from the storyline were missing. We also heard other speaking about finding hamsters. We did discover a few hidden in various places, but then we never quite understood what to do with this information.

Finally, we just decided to have fun and explore all the nooks and crannies. Once we relaxed about the whole affair, it was a great deal of fun just enjoying the unique and unusual artistry.

It was great fun to discover hidden passageways in refrigerators, fireplaces closets and clothes dryers. After exploring both floors of the house, we discovered in the living room a fish tank on a shelf and then a tunnel through the fireplace which led to a life size fish tank which we could walk through! This led to other parts of the exhibit where we encountered a giant neon dinosaur skeleton whose bones made music when you hit upon them, a forest with giant mushrooms and creatures that appeared to be out of the book Where the Wild Things Are, the crazy clown room decorated with recycled bottle caps, cans, compact discs and clown videos, a Chinatown alleyway and the “black and white room” complete with a monster under the sink! There was abstract art and abstract rooms, interactive games hidden away in dark corners and an EDM music room. There was a band playing in the back and walkways overlooking their stage. Everything was dark and bright at the same time and neon and black lighting was everywhere!

It is one of the hardest things to explain and one of the most unique places I have ever visited! I will definitely have to visit the ones in Denver and Las Vegas which are differently themed.

We realized that if this was our introduction to Santa Fe, we were in for a treat! Meow Wolf was definitely the Cat’s Meow or maybe you could say, the “Wolf’s Meow”!

For more pictures check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.

Petroglyph National Monument

https://www.nps.gov/petr/index.htm
Address: Visitor’s Center, 6510 Western Trail, Albuquerque, NM 87120. Boca Negra Canyon, Atrisco Drive, NW, Albuquerque, NM 87120, Rinconada Canyon, 7601 St. Josephs Avenue, Albuquerque, NM 87120, 87114 Unnamed Cul de Sac, Albuquerque, NM 87120, Piedras Marcadas,
Address: Visitor’s Center, 6510 Western Trail, Albuquerque, NM 87120. Boca Negra Canyon, Atrisco Drive, NW, Albuquerque, NM 87120. Rinconada Canyon, 7601 St. Josephs Avenue, Albuquerque, NM 87120. Piedras Marcadas Canyon, 87114 Unnamed Cul de Sac, Albuquerque, NM 87120. Volcanoes Day Use Area, Western Trail NW, Albuquerque, NM 87120.
Hours: Boca Negra Canyon, 0830-1630. Rinconada Canyon 0800-1700. Piedras Marcadas Canyon, Sunrise to Sunset. Volcanoes Day Use Area, 0900-1700.
Admission: free

Old Town Albuquerque

https://www.albuquerqueoldtown.com/
Address: Old Town Road NW, Albuquerque, NM 87104
Hours: Most businesses open Monday-Saturday, 1000-2000, Sunday, 1100-1900. Most restaurants seat until 2100.
Admission: free

San Felipe de Neri Catholic Church

https://sanfelipedeneri.org/
Address: 2005 North Plaza NW, Albuquerque, NM 87104
Hours: 0900-1600, daily (unverified). Gift shop and museum, open from 1000-1630. Museum may not be open due to lack of docents.
Admission: free

The Breaking Bad Store ABQ

https://www.breakingbadstoreabq.com/
Address: 2047 South Plaza Street Northwest, Albuquerque, NM 87104
Hours: 1000-1700, daily. Closed on Thanksgiving, Christmas Day, New Years Day.
Admission: free

Meow Wolf Santa Fe

https://meowwolf.com/visit/santa-fe
Address: 1352 Rufina Circle, Santa Fe, NM 87507
Hours: Sunday, Monday and Thursday, 100-2000, Friday and Saturday, 1000-2200. Closed Tuesdays and Wednesdays.
Admission: Adults (ages 14 and up), $35, Children (ages 4-13), $20, Children (under 3), free, Seniors (ages 65 and up), $25, Military, $25.

In Chains

Some of Rome’s major most beloved sights are what visitors aspire to lay their eyes on while visiting the Holy City…the Colosseum, St. Peter’s Basilica, the Vatican and the Trevi Fountain, just to name a few.

Bursting with history, the city offers many museums, churches and ancient archeological sites which detail the city’s bygone times. Amongst these stand-out attractions, however, there are many hidden gems. While visitors certainly have their pick of other attractions on the way to each of these places, it may be hard to discern which are worthy of a peek inside and I make it my mission to find these hidden gems…many of them, churches.

Last spring, while plotting my route to the Domus Aureus, I spotted a church a few blocks from the Coliseum. I had planned to leave with plenty of time to grab a bite to eat and take some photos of the Coliseum, so I decided to add this detour and mark off another church from my list (yes, I am obsessed with seeing all churches in Rome!).

As I exited the Cavour metro station and marched up Oppian Hill, I became a bit confused. Although I was operating on little sleep, I could not figure out if this was my intended destination. The façade of the the supposed church was extremely plain and situated next to a university building. In fact, spotting students chatting and reading on the adjoined steps, I thought it to be an extension of the university edifice.

Fully expecting to interrupt a classroom full of scholars, engaged in a discussion on world politics, I marched up to the conventional brown door, set inside a narrow portico, and pushed it open.

No stern professor glared back at me for the abrupt interruption…

This was San Pietro in Vincoli, or St. Peter in Chains, the church that houses the restraints that bound St. Peter when he was imprisoned in Jerusalem.

Formerly known as Basilica Eudoxiana, it was built on older foundations during a span of eight years, starting in 432. Consecrated in 439, it was to become the place that would house the shackles that kept St. Peter imprisoned.

The chains from Saint Peter’s Jerusalem confinement were passed from Iuvenalis, Bishop of Jerusalem, to Aelia Eudocia (consort of Valentinian II) and then given to her daughter, Empress Eudoxia (wife of Emperor Valentinian III). They were then gifted, by the Empress, to Pope Leo I. Legend states that on August 1, when Pope Leo I compared them to the chains of St. Peter’s final imprisonment in the Rome’s Mamertime Prison, the two chains fused together prompting the pope to initiate the construction of a place where this miracle could be viewed by the faithful.

The church contains a main nave and two aisles and normally, I would first work my way through each aisle to see the side chapels. This time, I headed straight for the main altar. There was something special here that I needed to see.

Underneath the main altar, accessed by an open stairway, I found these important relics, housed in a reliquary in a lighted case and flanked by statues. Judging by todays standards and chains that I have seen used in various applications, these appear to be thin and quite flimsy. That being said, even with these restraining me, I probably could have not escaped imprisonment and I was moved knowing that these iron manacles once touched the flesh of Saint Peter.

My inquisitiveness satisfied, I moved on, focusing my attention on the other important aspect of San Pietro in Vincoli. While the basilica is more commonly known for the chains of Saint Peter, it is also very well known for being the home of Michelangelo’s statue of Moses which guards the tomb of Pope Julius II. Located on the right side of the church, the imposing funeral monument was originally intended to be part of a massive forty-seven foot statue. Instead, it became the centerpiece of the Pope’s tomb. There is much to analyze in the massive sculptural piece, however, take a hard look at Moses…he is depicted with horns, connoting “the radiance of the Lord”, a symbol that was common in early sacred art and easier to sculpt than rays of light.

*Michelangelo’s statue of Moses and the tomb of Pope Julius II*

*Moses reproductions for closer inspection*

Naturally, I proceeded to move through the two side aisles and the two side altars, inspecting the chapels and beautiful works displayed in each as well as glancing above at the 18th century coffered ceiling. This great work of art displays the Miracle of the Chains, by Giovanni Battista Parodi, depicting the healing of Saint Balbina by Pope Alexander as he touches the neck goiter with the chains that once bound Saint Peter.

*San Pietro in Vincoli coffered ceiling*

Artistry decorating the basilica include a painting depicting the Liberation of St. Peter (Domenichino,1604), Deposition (Cristoforo Roncalli) on the altarpiece on the first chapel on the left, the tomb of Cardinal Nicholas of Kues and its relief, Cardinal Nicholas before St. Peter. Other notable tombs include the one of Florentine sculptor, Antonio del Pollaiuolo (left side of entrance) who added the figures of Romulus and Remus to the sculpture of the Capitoline Wolf, the tomb of Cardinal Cinzio Aldobrandini and tombs once believe to be the seven Maccabean martyrs depicted in 2 Maccabees 7-14.

The third altar in the left aisle holds a beautiful mosaic of Saint Sebastian from the seventh century which depicts Saint Sebastian’s posthumous role in ceasing the plague in northern Italy in 680. Pay close attention to the frescoes as they illustrate skeletons and other images not often shown in Catholic churches.

As I exited the facility and walked around the peripheral, I was once again struck at its simplistic nature. Disguised by the activities of La Sapienza University next door, housed in the former associated convent, one might never know that they are walking past one of the most illustrious churches in the city.

Yes, on this day, I found one of the city’s hidden gems.

San Pietro in Vincoli

https://www.sanpietroinvincoli.com/
Address: Piazza di San Pietro in Vincoli 4/a, Roma, Italy 00184
Hours: Daily, 0800-1230 and 1500-1900
Admission: free
Getting There: By Metro, Cavour, Line B. By Bus, number 75, 84 and 117

The Musical Wall

Murals, graffiti, sculptures…

Having studied art and architecture, they always draw my interest. There are days, during my layovers, that I just wander around taking pictures of public art…and it is never in short supply in any city throughout the world.

One fall afternoon in Milan, I was walking the streets in the Navigli Canal area. Trying to locate another particular point of interest, I spotted something else marked on Google maps.

The Macan Music Wall.

Not quite sure what this would reveal, I headed in that direction.

Each year, in addition to Milan’s famous Fashion Week, the city also hosts Music Week, a pace of concerts, showcases, meetings, workshops, webinars, exhibitions and presentations. During Milan’s 2018 Music Week, the event was kicked of with the inauguration of the Macan Music Wall, a public artwork dedicated to music, unveiled, commissioned and gifted by Porsche Italia to the city.

This imposing mural covers the façade of a building in via Conchetta (corner of via Troilo) and was created by the collective of urban artists Orticanoodles and the Leagas Delaney agency. Entitled “Music Is A Never Ending Journey”, the work depicts a gigantic beating heart placed at the center of a musical cosmos. Around the heart, planets and constellations inspired by different genres and musical instruments rotate, as in a star map. Painted with special fluorescent paints, it is even visible during the nighttime hours.

To make your visit even more special, pop your Airpods in and tune to Porsche Italia’s Spotify channel, entitled “Music Is a Never Ending Journey” for the full experience!

While this is not a major attraction, it was interesting to discover while in the area and I think that it would be quite the spectacle to behold at night!

Many more art installations, sculpture and graffiti can be found the in Navigli Canal area, including the Wall of Dolls ( https://snappingtheglobe.com/?p=6924). Put on your walking shoes and start searching!

*Navigli Canal area art installations, murals and grafitti*

For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.

Macan Music Wall

Address: Via Conchetta, 8, 20136 Milano, MI, Italy
Hours: 24 hours, daily
Admission: free
Getting There: Tram 3, L.go Mahler stop. P.TA Genova FS metro stop, walk 16 minutes.

The Frari

If you ever wonder how many churches are in Venice and the islands, I have the answer for you.

About 137.

Sometimes, I go out in search of churches while visiting European cities, sometimes I just stumble upon them, as was the case while my husband and I were spending the weekend in Venice. With that many churches in such a relatively small expanse, its not hard to find one!

We had just arrived and were having lunch in the Campo dei Frari when I noticed the cross on the adjacent building. After a few pictures on the bridge, I edged toward the building and discovered the door open. Okay, my poor husband probably wanted to see the Bridge of Sighs and the Grand Canal, but surely we had a couple of minutes to see what was inside this church.

After paying our admittance, we quickly skimmed over the brochure and map handed to us and made our way throughout the interior.

What we learned was that this was no ordinary neighborhood church. The Gothic styled Basilica di Santa Maria Gloriosa dei Frari (or The Frari) is the largest church in the city and dedicated to the Assumption of Mary. This church’s beginnings go back to 1231 when land was donated with the intent of establishing a Franciscan monastery, however, grander ambitions prevailed. A three nave church was begun in 1250, however, it took eighty-eight years for its completion. Almost immediately, another church was begun…the current church, which still stands today. Taking over a century to build, the architectural footprint was reversed and a campanile was added; the second tallest in the city. The chapel of San Pietro was built from 1432-1434, the façade completed in 1440 and the main altar consecrated in 1469. Finally, the church was consecrated on May 27, 1492 with the name of Santa Maria Gloriosa.

While we found the exterior to be rather plain, the interior was filled with many grand wall monuments dedicated to distinguished Venetians buried in the church, including a number of Doges and the painter, Titian. The three naves were separated by twelve massive columns and spanned with wooden beams. It was slow work trying to take it all in and making our way throughout the church to see all that it had to offer.

After inspecting each of the monuments, which were placed where side chapels would ordinarily be located, we examined each of the important works of art that the church is known for; the masterpiece, Assumption of the Virgin on the high altar and altarpieces by Titian, the Madonna and Child with Saints (also known as the Frari Triptych) by Giovanni Bellini in its original frame and the altarpiece Madonna di Ca’ Pesaro, by Tiziano, Madonna with the Franciscan Saints by Bernardino Licinio, Donatello Sculpture in the Chapel of St. John the Baptist, Madonna with Franciscan Saints by Bernardina Licinio, Madonna and Child with Saints and Doge, by Paolo Venezia, Madonna Con Bambino E Santi by Jacopo from Faenza and the 13th century Crucifix on the left of the high altar. My favorite, however, was the Choir of the Monks (Coro dei Frati) in its original condition with 124 wooden stalls inlaid with views of Venice, created by Marco Cozzi, which sports the only rood screen (which separates the nave from the choir) still in place in Venice.

*Assumption of the Virgin on the High Altar*

*Madonna and Child with Saints (also known as the Frari Triptych)*

*Madonna with Franciscan Saints by Bernardino Licinio*

*Donatello Sculpture* in the Chapel of St. John the Baptist

*St. Mark and Saints in the Corners Chapel*

*Altar of Saint Peter (top left)*, *Monument Dedicated to the Doge Giovanni Pesaro (middle bottom)*

We also made our way outside on the right of the church and discovered the cloister. As much as I love spending time in ancient cloisters, I was disappointed as this one seemed to be quite neglected. While there were a few elaborately carved marble statues in the courtyard and on the balconies surrounding it, the beauty of these was overshadowed by the large amount of weeds growing through cracks in the flagstone.

While the monument to Antonio Canova (1827) would be something to take in, at this point in time, it was walled off for renovations. The pyramidal structure is dedicated to the neo-classical sculptor, built by his students and intended to house the heart of the sculptor Tiziano. The heart, however, was never interred here, brought to Passagno, his birth place. As most people are confused with the shape of the monument, it is clear if those understand that Canova was a Freemason and that the pyramid is the symbol of the Great Architect of the Universe.

Finally, we headed toward the exit. In most churches, one would expect to see a pipe organ in the loft above, however, the loft was absent and a beautiful sculptural work decorated the wall around the main doorway. Definitely a way to continue to engage visitors upon their exit!

Stepping out into the sunshine, it was clear we were in Venice with a canal and bridge spread out before us. While it was time to head to some of the city’s more famous sights, I was glad that we had made the time to visit this ancient church!

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Santa Maria Gloriosa dei Frari

https://www.basilicadeifrari.it/
Address: Campo dei Frari, San Polo 3072, 30125 Venezia, Italia
Hours: June 1-September 30, Monday-Thursday, 0900-1930. Friday, 0900-2300. Saturday 900-1800. Sunday, 1300-1800.
Admission: Adults, €5,00. Student (under 30 with ID card). €2,00, Senior (over 65 years), €3,00. Children (ages 0-11 years), residents of Venice, disabled travelers and assistants, authorized tour guides and leaders, free.
Getting There: From the train station and from Piazzale Roma (bus terminal) On foot: about 15 minutes, follow signs towards Frari-Rialto. By vaporetto: take Linea 1 or Linea 2, San Marco bound, get off at San Tomà stop. From Saint Mark’s square On foot: about 25 minutes, follow signs towards Ferrovia-Piazzale Roma. By vaporetto: Linea 1 or Linea 2, Ferrovia bound – get off at San Tomà stop.

No…The Other One

One of the most famous churches can be found in Barcelona.

The Sagrada Familia.

So when I was asked what I was going to do on my layover in Barcelona and I said, “Go to the cathedral,” everyone naturally assumed I was headed to the monumental landmark.

“Oh, the Sagrada Familia,” they said.

“No, the cathedral,” I replied watching the perplexed look cross their faces.

“Yes, the Sagrada Familia, the famous church,” they countered.

“No, the other one. The cathedral.” (And actually, the Sagrada Familia is a basilica and the Barcelona Cathedral, is well…a cathedral, but I can’t fault everyone for not knowing the difference).

Having always been fascinated by the architecture in the Gothic Quarter, it was a wonder that I had never visited the cathedral, one of the most visible and outstanding examples of the architectural style. Visiting Barcelona a short time after Covid protocols were put in place, I had learned that reservations were required for entry and of course, I didn’t have one on that trip. This time, I was prepared. I had purchased my timed entry before leaving New York, allowing for a short nap before heading to the Gothic Quarter.

The Barcelona Cathedral was constructed from the thirteenth to fifteen centuries (with the bulk of the work done within the fourteenth) on the foundations of a primitive basilica that was later named a cathedral. Because of the span of time taken for the completion, the distinct periods are characterized throughout its layout. The façade, which you see today, was initiated with the church’s construction, however, was not built until 1897 until 1890 and was completed in 1913.

Also known as The Cathedral of the Holy Cross and Saint Eulalia, it was named for the patron saint of Barcelona, whose remains are entombed in the cathedral’s crypt, however, this is not the only thing to see in the spectacular place of worship.

Making my entrance, I had planned a visit of approximately one and a half hours plus some additional time for the Diocesan Museum. What I did not realize was how poorly I had planned. Moving throughout the cathedral, passing my eyes over its vast interior, it dawned on me that it would take me twice that time…maybe more.

First moving through the cathedral floor, I was entranced by the ornate side chapels and the vaulted ceiling, but I quickly reached the elevators leading to the roof within the Chapel of the Innocent Saints. Spotting a short line, I decided to take advantage of the limited wait and head to the cathedral’s highest point. After a short ride, I exited the elevator and made my way up stairways and across catwalks, spying the intricacies of the cathedral’s roof, bell towers, lateral pinnacles, the cimborio crowned by the Holy Cross as well as phenomenal views of the city. Under the azure sky of the winter afternoon, I couldn’t imagine a better place to be to take in the day!

Heading down back into the cathedral, I continued my explorations, finding myself passing through the external doors of the Pieta and of Saint Eulalia, I discovered the cloister…a place of pure peace, similar, in some ways, to other cloisters I have visited…yet it offered up a surprise. The rectangular space was made up of four galleries, separated by sculpted pillars, showing scenes from the Old Testament and from a legend about the Holy Cross. Other scenes from the New Testament were spotted on the keystones. There were distinct chapels in each gallery, but it was the center of the cloister that commanded my attention. Filled with a garden of palm trees, magnolias and orange trees, there was a vast pond centered with a fountain, dating back to the mid-15th century. Still, while the pond and the beautiful greenery took my breath away, it was the residents of this cloister that made me laugh with delight. No, not nuns…geese! The large pond is the home for thirteen white geese, who despite their natural inclination to honk (and holler), stay fairly silent, almost as if they have taken a vow of silence!

Making my way back into the main part of the church, I continued my explorations of the side chapels, finally discovering one that the cathedral is well known for, The Chapel of the Holy Sacrament and of the Holy Christ of Lepanto. Constructed in 1407, it was the Chapterhouse of the Cathedral until 1676, when Saint Olegarius was canonized and the room became his mausoleum. The former Chapter Hall is not a large one and dimly lit, but highlighted on the main altar, is the burial chamber of Saint Olegarius, the bishop of Barcelona and above that, the 16th century Holy Christ of Lepanto. Quite beautiful!

*Chapel of the Holy Sacrament and of the Holy Christ of Lepanto*

The current Chapter Hall, located near the Cloister and now a museum space, displays 15th century paintings, an 11th century baptism font and the 14th century monstrance (the receptacle in which the host is held and displayed), made up from the campaign throne of King Martin the Humane. Definitely worth a look!

Eventually, I made my way back to the cathedral’s main floor and the high altar. The high altar, the main focus in the church, almost seems lost in the vastness of the space. With its towering vaulted ceilings, and the fact that it sits above the Chapel of Saint Eulalia with the staircase leading to it in front of the altar, makes me wonder if those attending mass can even see the priest performing his ritualistic duties. Nonetheless, I think it would be an amazing experience to attend mass here.

Making my way down the stairs to the Chapel of Saint Eulalia, I peered through the wrought iron gate at the burial chamber of the saint. Designed by masters from Pisa and Siena between 1327 and 1339, the reliefs narrate the story of the saint and the sepulcher is crowned by five images, four angels with candlesticks and the image of the Virgin. Beyond the Gothic chamber is the original sepulcher of Saint Eulalia, found by the bishop of Frodoino in 878 in the cemetery of Santa Maria del Mar, and a piece of broken marble with the original inscription commemorating her. Though the crypt is not consistently illuminated, there is a coin slot that accepts payment (.50€) and will highlight the space for a few moments.

Finally, I turned toward the rear of the cathedral. In the center of the cathedral floor, between the high altar and the entrance was the Choir With the Golden Fleece Choir Stalls. Construction on this most significant work in the cathedral was begun in 1390 and designed in the Catalan Gothic Style with the canopies and pinnacles being added at the end of the 15th century. What I loved the most, however, was the colorful commemorative shields painted by Juan de Borgoña that relate to the order of the Golden Fleece who were summoned to meet in Barcelona in 1519 by their master, Emperor Charles V…thus their name. Another remarkable aspect of this space is the wooden pulpit carved by sculptor Pedro Çanglada in 1403.

Taking one last look around and at also at my watch, I realized that if I was going to visit the adjacent Diocesan museum, I had better make hast. Exiting the cathedral, I stood on the front steps and gazed up at the exterior. It really is a phenomenal piece of Gothic architecture!

It was an extremely short walk to the museum building next door, however, I had one more exterior feature that I wanted to see…the Door of Saint Ivo. Located under the bell towers, this portal was the main entrance for over five hundred years and is named for Saint Ivo, the patron saint of lawyers.

Finally, making my entrance into the museum, I began my explorations of of the artistic works that have been donated to the church. Housed in the building known as the Casa de la Pia Almoina (House of the Blessed Charity) or La Canonja (the Canonry) as it once housed the canons of St. Augustin, this structure is a part of a group of medieval buildings that are integrated into the city’s 4th century (A.D.) Roman wall.

*Exterior of the Diocesan Museum and adjacent sculpture*

The collection spans three floors and contains about 3,000 items including paintings, sculptures, ceramics and religious clothing which date from the late Roman era to the twentieth century.

After working my way through each of the floors of the museum, I noticed some of the workers tidying up and realized that it was the end of the day…time for me to go.

So, the next day, another co-worker whom I hadn’t really spoken to much on the way to Barcelona asked me how I spent my layover.

“I went to the Barcelona Cathedral. It was amazing!”

“Oh, you’re a fan of Gaudi! Did you love the Sagrada Familia?”

Sigh…

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The Barcelona Cathedral

https://catedralbcn.org/en/
Address:Pla de la Seu, s/n, 08002 Barcelona, Spain
Hours: Monday to Friday, 0930-1830, Saturday, 0930-1730, Sunday, 1400-1700
Mass schedule: Weekdays (in the Chapel of the Holy Sacrament), 0900 (Catalan), 1100 (Catalan), 1200 (Spanish), 1915 (Catalan). Sundays and Holidays (on the High Altar), 0900 (Catalan), 1000 (Catalan), 1200 (Spanish), 1300 (Catalan), 1800 (Spanish), 1915 (Catalan). Saturdays and Holiday Eves (in the Chapel of the Holy Sacrament), 0900 (Catalan), 1100 (Catalan), 1200 (Spanish), (High Altar), 1800 (Spanish), 1915 (Catalan).
Admission: Cathedral, 9€ per person Cathedral and Diocesan Museum, 15€ per person
Getting There: Metro, Jaume I station or Urquinaona station

Plan Goya

Plans A, B, C, D, E and F.

When your time is limited in a city, it is imperative to have multiple plans because you never know…websites have incorrect hours, the lines are too long to get into your intended destinations or you happen to sleep too long.

On this particular day, I had plans to visit the Pantheon of Illustrious Men. It was some distance from my hotel and it closed at 3:00 p.m, so I knew that when I laid down for a quick nap, it had to be just that…quick.

So, what do you think happened?

Yes, I slept a little too long.

On this day, however, I had broken my cardinal rule. There was no Plan B, C, D, E or even F.

As I rushed to get ready, I ran through list of attractions, churches and museums in the area. Temple of Debod came to mind and I thought I would head that way to see what I would find.

It was a beautiful day and I headed on foot in the direction of the Temple of Debod. I didn’t remember that it was a place where you could enter the building; I had only remembered that it was in a park. Yet, when I arrived, there was a line formed waiting for entry.

“Okay, is this worth it?” I asked myself, looking at the empty water basins that make up the monument. I remembered walking by in the past, and it was quite lovely, but waiting an extraordinary amount of time due to Covid spacing requirements for entry, didn’t seem like a productive way to spend my shortened afternoon. Quickly taking a look at my Google maps, I realized that I wasn’t extremely far from the Real Ermita de San Antonio de La Florida (The Royal Chapel of St. Anthony of La Florida).

A few years ago, I had dragged a couple of my coworkers to this small church before taking a ride on the Teleferico en Rosales. I didn’t remember much about it except that it was extremely famous for its interior painting.

Walking through the Parque de la Montaña and near the Rosaleda del Parque del Oeste, I enjoyed the warmth of the winter afternoon. Finally, crossing the brightly bedecked pedestrian walkway above the train tracks, I found myself at the rear of the church.

Though it wasn’t extremely far, it had taken about 45 minutes and it suddenly dawned on me that it could be closed. I also suddenly remembered that there had been no photography allowed when I had first visited…oh brother…this afternoon was surely going to be a bust!

Oh well, I was here.

Walking toward the front of the church, I found a sign directing me to the entrance on the right. There was no one to greet me and I made my way through the hallway and right into the church, where I found two other visitors, eyes trained on the ceiling. Following their lead, I looked upward and remembered what this church was famous for.

Goya.

Okay, so I had moved on to Plan G. Plan Goya.

In the late 17th century, a chapel, devoted to St. Anthony of Padua, had a great many devotees, especially those of women without future matrimonial prospects. To this day, it still hosts of a pilgrimage, held on June 13, that is attended by young adult women who hope to be married.

The chapel was eventually demolished and relocated to the estate of La Florida. King Charles V ordered the construction of the new chapel between 1792 to 1798 and commissioned painter Francisco de Goya to adorn its vaults with a series of frescoes. Goya, aware of the importance of this chapel to its devotees took great care with his creation and these frescoes ultimately became some of the greatest of his masterpieces.

Due to its importance to the city of Madrid and to Spain, in 1905, the chapel was declared a National Monument and Francisco de Goya’s remains were moved here in 1919 from Bordeaux (where he had died in 1828). In order to preserve the original as a museum, an identical chapel was built beside it, in 1928, for worshipers.

As my eyes moved around the room, I was entranced by the muted movement within each series. These frescoes, depicting the miracles of St. Anthony of Padua, were painted over six months time during which Goya developed many new techniques that he went on to incorporate into his art going forward. The most captivating series, however, are within the dome and depict Saint Anthony raising a man from the dead and absolving his father who had been falsely accused of his murder.

Take a moment to sit on one of the benches, prepare for a neck ache and take it all in.

As I did this for a while, my neck spasms then began. Moving around, I then took in the two altarpieces painter by Jacinto Gómez Pastor, on each side of the rectangular Greek cross-plan chapel, as well as a gold cherub chandelier dropping from the dome. At the front of the chapel, I admired the crucifix, within the apse, decorated with angels and fronted by Goya’s tomb.

The chapel is and contains one of Madrid’s most spectacular treasures and it is a place that all visitors should seek out. Best part for me? Photographs are now allowed!

As I always like to suggest to people, “head on over,” to places that I recommend, I think that in this case it takes on an interesting connotation here.

When Goya’s remains were to be brought to Madrid, the French officials realized that his head had gone missing. Madrid’s response?

“Bring him home, even headless!”

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Real Ermita de San Antonio de La Florida

Email: http://www.madrid.es/ermita
Address: Glorieta San Antonio de la Florida, 528008
Hours: Daily, 0930-2000, Closed Monday. Summer hours, from June 15-September 15, 0930-1400, Tuesday to Friday. Saturday, Sunday and public holidays, 0930-1900.
Admission: free
Guided tours (conducted in Spanish and English, with prior booking by calling 91 542 07 22, from 9:30 to 20:00.
Getting There: Metro, Príncipe Pío (L6, L10, R). Bus, 41, 46, 75, N20. Local train (Cercanías).

In the Line of Fire

When in Rome…

That is a most popular saying, but truly, when in Rome, there are things you must experience.

The top of my list is gelato! Then there is the Trevi Fountain, The Vatican, countless museums and churches…the list is endless.

At some point on their trip, most visitors find themselves at St. Peter’s Basilica, usually in conjunction to a visit to the Vatican. Church lovers like me, not only find themselves in these famous sanctuaries but also in nearby parish churches.

Despite being just down the block from St. Peter’s Basilica, Santa Maria in Traspontina, a titular church, doesn’t fall too far behind in the beauty or interesting history department and is one sanctuary in the area that should be placed on any visitor’s must-do list.

When it was first constructed, Santa Maria in Traspontina, was located near the Castel San Angelo, traspontina…Italian for beyond the bridge. This church, sadly, was demolished by Pius IV to clear the line of fire for the cannons of the Castel. When plans for a new church were conceived, there was insistence by the papal artillery officers that the dome be low to avoid the previous problem, so instead, the decision was made to erect the church a short distance away, to the west of the Castel.

Construction began in 1566, by architect Sallustio Peruzzi, was continued by Ottavio Mascherino and completed by Francesco Peparelli, who also built the bell tower. Although the exterior is quite congruent to other churches in the area, it is interesting to note that the travertine used to build the façade came from demolition material from the Colosseum.

As I entered the church, I discovered it to be a wide open space, highlighted by a beautifully illustrated ceiling and dome, but devoid of the usual columns that define its spaces. The walls are richly decorated in ochre hues and painted panels depicting religious scenes, while the floors offset its golden decor with black and white patterned tiles.

The Latin cross interior is edged on either side with chapels, the most significant being the chapel of Our Lady of Mount Carmel, built in 1581 by the Marquise of the Guard Victory, Tolfa Orsini. The beautiful statue of the Madonna del Carmine, was placed in the church in 1922, blessed by Pope Pius XI and crowned by Bishop Luigi Pelizzi on the eve of the Feast of Mount Carmel in 1928. Other chapels are devoted to Saints Barbara, Canute, Albert of Trapani, Mary Magdalene De’ Pazzi, Andrew Corsini, Angelo of Sicily, Theresa of Jesus, Peter and Paul, Elijah, Our Lady of Carmel, the Pieta and the Holy Cross.

My eye was immediately drawn to the high altar. Erected as a monument to the beautiful image of the Italian-Byzantine Madonna, it was placed under a rich canopy, dating back to the 13th century (today’s canopy is a 19th century reproduction). The altar was created by local craftsmen and consecrated in 1694. What should not be missed, however is the altarpiece, Icon with the Virgin Mary and Child, which dates back to 1216, and brought from the Holy Land by the Carmelites.

While the church is known for its historical relocation and its dedication to the Blessed Virgin Mary, it is also more recently known for something else…Pachamama. Pachamama is known through the Amazon region as the pagan goddess of fertility. Worship of Pachamama gave way to the veneration of Mary after the Spanish conquest of South American and the eventual conversion of its people. Pagan statues of Pachamama were used in a ceremony during an assembly of Amazon officials in Rome and were then placed at the church’s altar to promote inclusivity…an act met with resistance by many of its faithful. Soon after, the idols were stolen and thrown into the Tiber River, an act recorded and uploaded to the internet. Pope Francis was highly criticized for his responsibility in placing the idols at the altar of the church, a place reserved for its own Icon with the Virgin Mary and Child. While the statues were recovered shortly thereafter, it is interesting to note that Santa Maria in Traspontina houses the office of Father Vincenzo Taraborelli, a Carmelite priest and one of the busiest exorcists in Rome. For those opposed to the Pachamama demon statues, maybe Santa Maria in Traspontina was the perfect place to house them…

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Santa Maria In Traspontina

https://www.parrocchiatraspontina.it/
Address: Via della Conciliazione 14, Rome, Italy
Hours: 0800-1300, 1600-2000, daily
Admission: free
Mass Times: Sunday and Feast Days, 0800, 0930, 1100, 1215, 1830. Daily, 0730, 0900, 1830. Rosary, daily, 1800.

The Gift

The mission of the day was to see a fountain.

I saw the fountain, but I also found a church.

Imagine that? Another church in Rome!

After a bit of research, I had learned about the history of the Fontana Delle Cariatidi and the controversy that it had stirred due to its explicit statues and its proximity to a nearby church. Deciding that the fountain was the first thing that I wanted to visit during the beautiful, Roman summer afternoon, I accomplished this feat and the church, San Gioacchino in Prati, less than a block away, became my next calling. It soon became a place that I learned a great deal about the generosity of Catholics throughout the world.

The construction of the church of San Gioacchino began in 1891, to address the problem of the expanding population and movement to the outer perimeters of the city. Pope Leo XIII (whose birth name was Gioacchino Pecci), then the head of the Catholic church, had always desired that a church be built in Rome to honor his patron saint. Because of the need and of his long-standing wish, this church became a gift to him for the celebration of his 50th anniversary of priesthood. The church took a long seven years to be completed due to the mismanagement of the project by Abbe Antonio Brugidou and delays due to natural disasters. The pope, however, persevered and realized his dream and his gift.

Finally opening to its parishioners in 1898, San Gioacchino’s interior was not quite in its finished stages, more specifically, the side chapels. Regardless, it was dedicated to St. Joachim, the father of Mary, the Blessed Mother, consecrated on June 6, 1911 and made a titular church in 1960 (assigned to a member of the clergy who is created a cardinal).

What struck me the most, in a city abound with churches, was its interesting façade, designed and built by architect, Raffael Ingami. While churches are usually known for their amazing art collection and painting on their interiors, this one is graced with beautiful paintings on the exterior, atop the portico, and depict the Blessed Mother, its namesake, St. Joachim, other saints and angels. The gold dome is decorated with perforated burgundy stars.

My walk down the main nave kept my eyes trained on the ceiling, observing its high decorated vault, edged by small, circular stained glass windows and below, a darkened balcony and large columns.

The altar and pulpit were highlighted by a small dark blue dome, awash with ambient light from the perforations in the outer stars and from the stained glass. The beautifully crafted maple pulpit, divided into chiseled panels, depicted scenes from the lives of Saint Peter, Saint Paul, Saint Joachim, Saint Anna, Saint Alfonso de Liguori, Pope Gregory the Great, Saint Agostino, Saint Girolamo and Saint Ambrogio. It was quite hard to appreciate the altar’s stark beauty, but I was willing to excuse the lack of illumination to be able to visit on a weekday and have the place all to myself.

The side altars were what I was most enchanted with, however. While most of the church was in a darkened state, many of the chapels were somewhat illuminated. What I learned about each of these elaborately decorated chapels was that while they were not completed initially, a unique plan was set in place to do so.

Abbe Brugidou, returned to Lyon by Pope Leo XIII for his inadequacy in fulfilling obligations to bring the church’s construction to completion, did have an idea that proved to be astute. Catholics from specific countries around the world were invited to contribute to the project in honor of the pope. Each country that actualized the monetary benefaction, were to have its own chapel. Many countries took part in this process and the construction debts were exculpated quickly.

Moving along each side of the church, I admired these chapels dedicated to the countries of Brazil, Portugal, Bavaria, Poland, Canada, England, United States, Spain, France, Italy, Holland, Belgium, Ireland and Argentina. Each unique and resplendent in the own right, it was quite moving to know that each country cared about a small church in another country, and their pope, to assist it in its realization.

While San Gioacchino may not be the oldest or the most visited church in Rome, it may hold the title of one that achieved a most impossible dream. A true gift.

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San Gioacchino in Prati

http://www.sangioacchino.org
Address: Pompeo Magno, 25, 00192 Roma RM, Italy
Hours: 0800-2000 (unverified)
Admission: free
Getting There: Metro, Lepanto (Line A)