rome – Snapping The Globe

The Golden House

It is well documented that most Roman emperors enjoyed flaunting their wealth, however, there was one that took his lavish lifestyle in the Eternal City to another realm.

Nero.

Deciding that he would build a palace to outdo all palaces, the Domus Aurea, he set forth with these plans in 64AD, after a major fire had swept through the city, destroying much of the area of the Oppian Hill. With this part of the city leveled, making room for his palatial plans, this led to speculation that Nero himself had started the fire.

Not to be deterred by rumors, he set forth with the construction of a complex, located near the Forum. The massive compound sat on 80 hectares, contained 150 rooms, gardens, a lake, fields, vineyards, pasture and forests with domesticated and wild animals. The rooms were lavishly decorated with gold, gems, precious marble and mother of Pearl, unlike any other built during the era. Records indicate that the house shone like gold with the light reflecting on these lavish decorations…hence the nickname, Golden House. And in the case that anyone’s memory lapsed and forgot who they were visiting, a 35-meter-high statue of Nero was situated at the entrance!

Some time ago, I had read about the Domus Aurea. Not open to the public during this timeframe, I had marked it as a point of interest on my Google map and filed it away hopefully for a future visit. Last spring, while perusing the internet, I came across an article advertising tours of the Domus Aurea. Tickets were limited and groups were small, so I excitedly booked a time slot in the afternoon.

Upon my arrival, what I first notice was that I was entering the gates of not only the Domus Aurea, but a park. A park filled with people sitting on benches, children skateboarding on the paved walkways and lovers relaxing on the grass in the shade of the massive trees. Deciding that it would be nice to walk through after my tour was complete, I continued to follow my directions, soon discovering a gate marked Domus Aurea, only to discover that it was not my intended destination.

*Parco del Colle Oppio and entrance to Domus Aurea grounds*

Virtual reality tours, which show the true nature of how Nero lived, are conducted on the weekends, when restoration work is not being conducted and embark from this location, however, being a weekday, I was directed to another building a little further.

After checking in, more people arrived and we were ushered into the building’s atrium with suggestions that we don outerwear for the cooler temperatures inside.

*Main entrance and walkway to Domus Aurea underground*

Not sure what exactly I was there to experience on my tour, I followed the guide down a long walkway, descending perhaps fifty feet or more to where the remains of Nero’s complex now lies, having been plundered, buried, and built upon by his successors.

Arriving in an impressively excavated, dimly lit, octagonal room, I marveled at the spotlighted statue occupying the center of the room and the astrological symbols being projected onto the vaulted ceiling. Indeed, it was much cooler, and I zipped up my jacket as I made my way around the rotunda, examining the adjacent rooms.

Our guide explained that this was the first time that these rooms have been made available as part of a temporary exhibition. This exhibition conjures up the Domus Aurea’s rediscovery by torchlight, in the 15th century, by those, including the painter Raphael, inspiring his future works.

I admired the best-preserved frescoes of the Domus Aurea in the Room of Achilles on Skyros which portrays a scene inspired by the story of Troy. Other rooms contained projections of the grotesques (a style of decorative painting or sculpture consisting of the interweaving of human and animal forms with flowers and foliage), architectural depictions of the palace designs and statues, including a reproduction of the Laocoon.

*Left photo, reproduction of the Laocoon*

We were also allowed into the dilapidated (due to weather and dampness) Room of Hector and Andromache, the first room to be discovered in the complex. The room was long and extremely tall; however, some remnants of its original artistry can still be detected.

Having examined all aspects of this beautifully restored piece of the palace, I made my way back up the inclined walkway and out into the warm, late afternoon sunshine.

Winding around the back of the building I had just exited, I followed the pathways, through the Parco del Colle Oppio, searching for the Baths of Trajan, which had been built on top of Nero’s palace, about 40 to 50 years later.

After Nero’s suicide in 68 A.D., his successors, Ortho and possibly Titus, added to the completion of the Domus Aurea, but later successors sought to erase Nero’s memory. Parts of the palace and grounds were filled with earth and built over, the Baths of Titus, the Flavian Amphitheater, the Temple of Venus and Roma and the Baths of Trajan were all built on the site.

The Baths of Trajan, built by architect, Apollo of Damascus, were created for the emperor Trajan and as a recreational and social center for both male and female Roman citizens in the early 5th century. There were the first “great baths” in Rome and at the time, the largest existing thermal building in the world. Not in use for very long, it was deserted and left for ruin.

The remains of these ruins are scattered through the northwest side of the Parco del Colle Oppio…amidst area’s playgrounds. Children were running throughout the area with parents watching, exercising or visiting with others. It was interesting to see these citizens using these hallowed grounds as a recreational site, which it once was in a different capacity, all the while knowing what lies beneath them and around them…the Domus Aurea.

*Baths of Trajan and middle right, Cisterna delle Sette Sale (across from rear entrance)*

*Rear entrance along Via delle Terme di Traiano*

*Front entrance, right across from Colosseum*

What an interesting way to grow up among some of Rome’s most historical sites!

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Domus Aurea

https://www.coopculture.it/en/poi/domus-aurea/
Address: Via della Domus Aurea, 00184 Roma RM, Italy
Hours: Thursday, 1600-1900, Friday, Saturday and Sunday, 0900-1700, Monday, Tuesday, Wednesday, closed.
Admission: 23 euro

Baths of Trajan

Address: Parco del Colle Oppio, Via della Domus Aurea, 1 00184 Roma RM, Italy
Hours: Dawn to dusk, daily.
Admission: free

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

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 Second Dome

Churches, cathedrals and basilicas are a dime a dozen in Rome.

Most are beautiful. Some, not so much. Aside from these two differences, what sets many of them apart?

As I was walking down Corso Vittorio Emanuele II, it was getting dark and I had plans to meet a friend for dinner still some distance away. As I glanced at the building I was passing, I noticed that it was the Basilica of Andrea della Valle.

It would have to be a quick visit, but I was willing to walk back to my hotel a little faster or risk being a bit late for dinner with my friend, just to take a quick peak at this basilica.

The Basilica of Andrea della Valle’s origins date back to the Theatines, a religious order founded in the 1524. In 1582, the order was bestowed a palace and a small church with the obligation of building a large church dedicated to St. Andrew, the patron saint of Amalfi. The construction of this church was begun in 1590 and it was the desire of Cardinal Alessandro Peretti for the basilica to have the second largest dome in the city, behind St. Peter’s Basilica.

As the decoration of the basilica was undertaken, the decision of which artist would ornament the grand dome was a difficult one. Two artists were selected due to the inability of the Cardinal and the Pope to choose one over the other, with Dominichino assigned to the apse half dome and Giovanni Lanfranco to the main dome. The beautiful frescoes on the apse half dome leading to the main dome are what stopped me in my tracks when I entered the church. This is what truly sets this church apart from others.

There are exquisite chapels on each side of the basilica with works of art by important sculptors and painters, some, the pupils of masters, Bernini and Michelangelo. In fact, the Strozzi Chapel was probably designed by Michelangelo, although executed by Leone Strozzi. There are many Cardinals buried within these chapels as well as the bishop of Carcassone, France, Annibale Rucellai. The church also houses the tombs and cenotaphs of Popes Pius II and Pius III, the tomb of Giovanni della Casa, author of Il Galateo and the tomb of the martyr Saint Fortunatus in the Chapel of the Madonna della Purita.

It is important to check out the antique wooden crucifix in the Chapel of the Crucifix and the thirty-six stop pipe organ housed in the gallery. Built in 1845, it is still in use and can often be heard on weekday afternoons, when its organist practices.

And that was it.

As quickly as I came, I went.

Was worth being late for dinner? Absolutely!

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Sant’Andrea della Valle

http://santandrea.teatinos.org/
Address: Vidoni Square, 6, 00186 Rome
Hours: 0730-1930, daily
Admission: free
Getting There: Metro, Spagna, walk 17 minutes, Metro, Barberini, walk 19 minutes

The Icon

The Jewish Quarter of Rome.

For all of my knowledge of the Eternal City, I was surprised that I did not know that this area existed and was surprised by some amazing finds!

The Portico of Ottavia, the Temple of Apollo Sosianus and the Theatre of Marcellus were remarkable discoveries in a city where I thought I had seen the majority of its architectural wealth!

Ascending the stairs, to the Via Montanara, after my visit to the Theatre of Marcellus, I began to walk towards the Piazza di Campitelli. A church on the left caught my attention.

It was still early…yes…I had time!

The church of Santa Maria in Portico in Campitelli is a church hidden on a side street in the Jewish Quarter. Built in the 17th century, on the site of a primitive church that was located here from 523-526, this ancient church was constructed to house an icon of the Virgin Mary, who was said to have miraculously appeared at the the table of a Roman woman who assisted the poor. It was believed that this icon played a major role in stopping a plague and has been carried in procession through the streets ever since.

It was almost dark as I glanced at the facade of the church, all lit up in the cold winter evening. Not positive that the church was indeed open, I tentatively stepped up to the entrance, and glanced around. The interior was a stark contrast to its exterior, dimly lit and no daylight illuminating its few windows. As I stepped inside, however, this obfuscated ambiance led to the mystery of this church…what would I find in the shadows?

My eyes were immediately drawn to the main altar, the berth of the much venerated religious icon that the church is known for. Decorating the sanctuary is an ornate, Bernini inspired altarpiece which captured every bit of my attention trying to decipher and appreciate every gold detail. Though I did not notice it forthwith, my eyes soon settled upon a very small enameled icon of the Blessed Mother and the Child Jesus, enthroned within the particulars of the artistry. This was the icon that Santa Maria in Portico in Campitelli is known for!

Continuing my investigation of the church, I first glanced upward at the magnificent dome which enhances the main altar and then moved on to the many chapels that line each side of the church. The chapels on the left are that of the Altieri and Capizucchi families, each containing amazing works of art including marble altarpieces, vaulted frescoes, funeral monuments. The second chapel on the left has a notable altarpiece depicting the Glory of Blessed Leonardi whose relic is located here. Saint John Leonardi, lived from 1541 to 1609 and is buried within the church. He was a priest and founder of the Order that still ministers to the church to the present day.

There are chapels on the right displaying paintings and stuccos and a chapel of the relics which allows access to the sacristy containing a portable Byzantine altar with micromosaic images of the Redeemer, the Virgin and St. John the Evangelist.

Other notable features include a Baptistery with two fifteenth century tabernacles, a ciborium and holy oils, monuments to Cardinal Nardi and Cardinal Bartolomeo Pacca and a splendid gold Baroque organ in the gallery.

Though the entire space is not an immense one, I thought that it offered a sense of elegance, a rich history and especially during the darkened evening hours, an air of secrecy. As I investigated each nook and cranny, I eagerly pondered what I would find and reveled in every treasure.

If your itinerary finds you in Rome’s Jewish Quarter, take a few minutes to lay your eyes upon the famous icon displayed above the altar and ask for protection from the Our Lady of Campitelli.

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Santa Maria in Portico in Campitelli

https://www.santamariainportico.it/
Address: Campitelli Square, 9, 00186 Rome
Hours: 0700-1230 and 1530-1900, daily
Admission: free

The Imposter

The Roman Colosseum is a major landmark known throughout the world.

The Jewish Colosseum. Never heard of it…not as it is called and not by its actual name either.

For as many visits as I have had to Rome, this spectacular piece of architecture had never been on my radar, despite walking in the area many times.

The former monument once held 55,000 spectators and is visited by thousands of tourists and bordered by Arch of Constantine and the Roman Forum. It is one of the landmarks that most visitors to Rome aspire to visit, along with the Pantheon, the Vatican, the Trevi Fountain and the Roman Forum.

The Jewish Colosseum, or Theatre of Marcellus, a smaller colosseum, once held 13,000 spectators and is tucked away behind the Altare de Patria. Not many tourists actively seek it out, some merely stumbling upon it while walking a path from the Capitoline Hill area to the river.

Many, however, confuse the two.

Located in the Jewish Quarter of Rome, the Theatre of Marcellus is a bit of an impostor…well, only for those, not in the know! There are actually many differences!

Those of us who are familiar with the original, easily recognize the differences between the two, but it is easy to understand that many who are first-timers to Rome or see pictures of the theater may be easily confused.

The theater, erected in the 1st century BC, was originally conceived by Julius Caesar and then recommenced by Octavian Augustus after Caesar’s death. It was built on the remains of the ancient Circus Flaminius (221 BC) which was used as a marketplace and for assemblies and many porticoes and temples filled the area. At first glance, it appears to be quite similar to the Colosseum, with both being constructed with three floors of arcades, however, only the two-story fragment on the theater has survived the test of time and modern construction. Located in the Jewish Ghetto area of Rome, it has become known as the Jewish Colosseum.

As I walked along the Via del Foro Piscario, examining the Temple of Apollo Sosianus, it was surprising to see this lesser version of the structure that once hosted the mighty gladiator games.

It was impressive to see the Theatre of Marcellus at close range, however, the structure is not open to visitors and I had to be content to walk along its perimeter. As I made my way around the formation, however, I was bewildered to see that the arcades stopped abruptly. Instead of the characteristic network of arches, corridors, tunnels and ramps that form part of the structure, there were smooth walls and modern windows.

As I retraced my steps, to re-examine the facade, I began to notice the two-stories of arcades, not three. There were windows and a modern walls and windows topping the structure. Not at all like the Roman colosseum!

Of course, every city develops over time and some ancient monuments are destroyed or concealed when modernization occurs. The theater, which once hosted live performances, was reconstructed during the Middle Ages. The top tier of seating was removed and the residence of the Orsini was built atop the ruins during the 16th century.

What I was now seeing was the Palazzo Orsini and a series of apartments and behind the theater were more ruins next to the church of San Nicola in Carcere (added to my list of future churches to visit!).

Walking back to the open area and ascending the steps, I was rewarded with remarkable views of not only this impostor Colosseum, but the entire area of relics, including the Portico of Ottavia and the Temple of Apollo Sosianus.

How had I never know this existed?

I guess I am not alone, but more people should seek out this special area of Rome, rich in history and architecure.

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Teatro Marcello

Address: Teatro di Marcello Street, 00186 Rome
Hours: 24 hours, daily. Exterior view only.
Admission: free
Getting There: Bus, Teatro Marcello/Ara Coeli stop, Lines 30, 44, 51, 63, 81, 83, 85, 87, 118

The Portico, The Church and The Temple

Seeking out adventure in Italy is easy.

So, while in Rome, when a friend asked me to rent a car and drive to some nearby cities, I was tempted. Very tempted.

Problem was, I had promised my cousin that I would seek out some special rosaries in Vatican City that he had asked me to purchase!

What to do? What to do?

Always striving to keep my promises and pleased to have such an important errand for the day, I headed out into the beautiful afternoon in search of the religious treasures he was seeking. After many religious shops and several texts, I finally found what he was requesting, made the purchases and then walked out past St. Peter’s Basilica.

Not really having a plan for the rest of the afternoon, of which I still had much time, I headed toward the Tiber River and walked southeast, soaking up the warm sun, which was casting its brilliant rays on the swift moving waters. As I neared Tiber Island, I decided to take a left away from my original trek, not really sure where my path was leading.

Striding up the Via del Portico d’Ottavia an area of the city I had never transited, I encountered a large tour group standing in front of the facade of a lofty ruined structure. Not sure what I was viewing, I made my way down the ramp to study the signage and learned that what I was standing in front of was the Portico of Octavia, an ancient structure built by Augustus in the name of his sister, Octavia Minor after 27 BC. The structure was used as a fish market until the end of the 19th century and the colonnaded walks enclosed the temples of Jupiter Stator and Juno Regina as well as a library.

The church of Sant’Angelo in Pescheria is built into the ruins and as I made my way across the walkway, I entered this religious temple.

Famous for the ruined portico as its narthex, the church was originally dedicated to St. Paul and then later, St. Michael. Rebuilt during the Middle ages, the church was used as the headquarters for the Confraternity of Fishmongers. A reconstruction on the right hand aisle, for their use, resulted in the Chapel of St. Andrew, the patron saint of fisherman. Interestingly enough, the fishmongers became dissatisfied with their small chapel and built their own church next door, Sant’Andrea dei Pescivendoli, which is now deconsecrated. The chapel is one of the treasures of the church and decorated in gilded stucco and frescoed panels. The panels on the ceiling show events in the life of St. Andrew and fish are featured throughout. The panels flanking the altar, date back to 1598, and feature St. Francis of Assisi on the left and St. Francis of Rome on the right. You can also spot the Contrafraternity’s shield on the marble floor which features a deer, a pair of geese and a large sturgeon.

The left side aisle was once dedicated to Our Lady of Graces but is now graced by a modern crucifix decorated with a bronze sculpture. The altar contains an opening which allows a glimpse of the relics of the martyrs Cyrus and John of Alexandria which were brought from the church of Santa Passera in the 14th century. On the altar, you can also find the relics of the martyred Saint Symphorosa and her comanions.

As I turned to face the rear of the church, I was confronted with the gallery which houses the original organ installed in the 18th century. It is not in very good condition and therefore, unplayable.

The church now used by the Communita Maria, a Marian lay worshiping community, is often frequented by those visiting the ruins of the Portico. The front door is often not open, as it was on my visit, however, you can use the walkway to the left of the portico. This passes through to the Via Sant’Angelo in Pescheria, a dead-end street, where you can find the most commonly used entrance to the church on the right. This was the doorway that I exited and I made my way around to the front of the portico once again.

Heading down to the Via del Foro Pescario, I marveled at the ruins that littered the sides of the ancient street. On the right, I encountered the remains of the Temple of Apollo Medicus Sosianus, the Roman temple dedicated to Apollo, whose full name is derived from its final rebuilder, Gaius Sosianus. Some may recognize Sosianus as the person responsible for placing Herod on the throne of Jerusalem.

I gazed up at the only parts remaining of the temple, three columns that form the front right-hand corner of the temple, which was restored in 353 BC and 179 BC. The temple originally displayed six columns on the front, two at the side and seven more attached to the inner chamber wall. The chamber was once decorated with colored marbled and contained a large collection of marble statues, all relating to Apollo. Several relics from the temple can be seen in the Central Montemartini Museum.

Though I knew that I was near Palatine Hill and the Capitoline Museums, areas I was familiar with, I was struck that I had never encountered this little slice of history.

And as I turned to the right, my bearings were even more disconcerted.

The colosseum was here?

To be continued…

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Portico di Ottavia

Address: Via del Portico d’Ottavia, 29, 00186 Rome
Hours: Summer, 0900-1900, Winter, 0900-1800
Admission: free
Getting There: Bus, Teatro Marcello/Ara Coeli stop, Lines 30, 44, 51, 63, 81, 83, 85, 87, 118

Church of Sant’Angelo in Pescheria

Address: Via della Tribuna di Campitelli, 00186 Rome
Hours: unknown
Admission: free
Getting There: Bus, Teatro Marcello/Ara Coeli stop, Lines 30, 44, 51, 63, 81, 83, 85, 87, 118

Temple of Apollo Medicus Sosianus

Address: Via del Teatro di Marcello, 42, 00186 Rome
Hours: Summer, 0900-1900, Winter, 0900-1800
Admission: free
Getting There: Bus, Teatro Marcello/Ara Coeli stop, Lines 30, 44, 51, 63, 81, 83, 85, 87, 118

One More Off the List

There are more than 900 churches in Rome.

I intend to see them all.

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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Santa Teresa d’Avila Catholic Church

Address: Italia Street, 37 – 00198 Rome, Italy
Hours: Weekdays, 0700-1200, 1615-1915, Sundays, 0800-1300, 1615-1915
Admission: free
Mass schedule: Weekdays, 0730, 0830, 1830. Sundays, 0930, 1030, 1200 and 1830

Museum For the Arts

Sometimes the best laid plans fall apart.

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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Museo Ludovisi Boncompani Decorative Art Museum

http://www.polomusealelazio.beniculturali.it/index.php?en/246/museo-boncompagni-ludovisi-per-le-arti-decorative-il-costume-e-la-moda-dei-secoli-xix-e-xx
Address: Via Boncompagni, 18, 00187 Roma, Italy
Hours: 0930-1900, Closed Monday
Admission: free
Getting There: Metro, Republica, and then about a 10 minute walk

Castle of the Holy Angel

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.

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!

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

Castle Sant’Angelo

http://castelsantangelo.beniculturali.it/
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.
Getting There: Metro, Ottaviano. Buses numbers 23, 34, 49, 64, 87, 280, 492, 926 and 990.