Sol Invictus - The Festivity Before Christmas

December 25th has always been a special day, since the ancient times. Several traditions overlap  on this day: the oldest one started in the year 272 AD, when Emperor Aurelianus imported from Syria, whose legendary Queen Zenobia was defeated during the same year,  the worship of the Sun, which was widely practiced in that area of the world. The Emperor ordered the construction of a new temple on the Quirinal Hill, which was inaugurated on December 25th, 274 AD, giving officiality to this new kind of worship.
From that year on, Dec. 25th was a sacred day, namely "Dies Natalis Solis Invictus" (Day of Birth of the Invincible Sun). 

This celebration also overlaps with another "Sol Invictus" celebration, that was related to the fact that, despite the Solsitce of Winter in on December 21st, only on the 25th the first visible signs of improvement of the daylight length, and of the height of the sun over the horizon start appearing. 


Only at the end of the 4th century AD, when the celebration of Christmas started officially (the Edict of Theodosius of 380 AD banned all worships other than Christianity), the day of December 25th, after several centuries was turned from a late Pagan festivity into one of the most sacred days for Christianity.


Merry Christmas everybody!
  

Santa Maria Maggiore - 2 - The World's Most Ancient Crib

The ancient Basilica of Santa Maria Maggiore has more to offer beside the wonderful mosaics, the Cosmatesque floors and a legendary history, it also keeps a little hidden treasure. 

In the underground museum, accessible from the first door on the right hand side of the Basilica, beside a small treasure made of precious objects for the celebrations, like chandeliers, books and gold-embroidered clothes, in a niche in the wall stands a group of small statues, made of white marble, about 50-60 cm (2 ft) tall. The little statues, which resulted from examining by the experts to have been detached former high reliefs (two of the Magi Kings are still attached to a special backdrop made of painted marble), while the rear sides of the figures are made of a much coarser craftsmanship compared the the rest of the works. 

It is also interesting to note how St. Mary's Statue has a very different style from the other characters: at a closer glance, it looks like a Renaissance artwork; this is partially true, because the statue has been modified in the 16th Century, possibly to repair some damage suffered by the artwork, as proved by closer examination of the faces of the 2 characters, whose imperfection shows that is not a brand new sculpture, but a modification of a pre-existent one.

This artwork, made by the famous Florentine sculptor Arnolfo di Cambio in 1291 AD, is considered to be the first "non-live" Crib (Nativity Scene), after that the custom of the Crib was ontroduced by San Francesco from Assisi, earlier in the same 13th Century, using real people and live animals to make the Nativity Scene. 


Related Link: http://viewsofrome.blogspot.com/2011/08/miracle-of-snow-birth-of-basilica.html

Campo de' Fiori - A Marketplace & A Nightlife Venue in the Shade of G. Bruno

Campo de' Fiori is a very unique square in Rome: surrounded by the simple elegance of Piazza Farnese, by the discreet Piazza della Cancelleria, near Corso Vittorio Emanuele II, which is like a bead linking many pearls (from Largo di Torre Argentina to the church of Sant'Andrea della Valle, and ending to the Lungotevere) and not far from the majestic Piazza Navona, Campo de' Fiori is a break in the elegance and monumentality of the surroundings, to leave room for a simpler, more lively space for the city, a space made available to the people.  


The square takes its name (which translates as "Field of the Flowers") from the fact that for the whole Middle Age it was an unpaved area, where still grass and flowers grew freely. 

In the 16th-17th Centuries the square, which has the special feature of being the only major square of Rome's center not having any church, was used mainly as a venue for corporal punishments and capital executions. The most famous of these executions took place on February 17th, 1600, when the philosopher and Dominican monk Giordano Bruno, author of many books on philosophy, religion and politics, was burnt at the stake on charge of heresy. The statue, built over 2 centuries later, represents Giordano Bruno, dressed in his monk's robe, holding his most famous works in his hands, and looking with angry eyes in the direction of the Vatican.


Nowadays the square has two different lives: in the morning it's home to one of the liveliest and most traditional Roman markets, which has recently integrated its offer range of traditional local products with spices and other exotic goods, while at night it becomes one of the focal points of Rome's nightlife, given the high concentration of bars, pubs & restaurants, and unfortunately also the stage for some episodes of violence. 


This double nature and the history of this square definitely make it one of the favorites for anyone who loves to have a taste of Rome's everyday (and every night...) life.

The E.U.R. - 1 - The Cubic Coliseum

Rome's "original" Coliseum needs no description nor introduction whatsoever, being one of the most famous things in the world, probably second only to Coca-Cola :)

What not everybody knows is that Rome also has a "cubic" Coliseum as well. It's one of the main buildings of the borough of E.U.R., one of the most special modern areas of Rome. Designed in the 30's  to host the World Exhibit of 1942 (the name E.U.R. itself is an acronym for "Esposizione  Universale Roma" ("Rome's Universal Exhibit") the E.U.R. was built according to the most modern architectural standards for the time, and what makes it different from other areas of Rome is that it's an area built from scratch, without being something based on pre-existing structures and without being just low-class housing. 

This building, initially called "Palazzo della Civiltà Italiana" (Palace of the Italian Civilization) and in post-war times renamed "Palazzo della Civiltà del Lavoro" (Palace of the Labour Civilization) was designed by a team of architects in 1936 whose project was selected among others proposed, was intendedly a "modern version" of Rome's most iconic monument, and it imitated its structure, with the arches, and statues under them, just like the ancient Coliseum used to be. You may now wonder... Where are the statues? This is another sad Italian story: when the construction was interrupted for the war, and the the Fascist Regime eventually fell, everything was left the way it used to be, and all the statues, complete and ready to be shipped to the site, never made it to Rome, and are still awaiting their fate in dusty warehouses. 

The main reason for the construction of the E.U.R. is propaganda: the Fascist Regime wanted to show the world the power and the modernity of the "new" (post World War I) Italy, and thus poured huge resources into this project, which was interrupted by the outbreak of World War II. And maybe this fact, which could be considered as a negative thing, adds to the place's atomsphere, because it gives the whole place an "interrupted dream" nuance, so that who visits can try imagning what the place would look once completed. 

Michelangelo's Moses - Rome's Non-Talking Statue

Those who already read the previous post about Pasquino (you can find it clicking on this link: http://viewsofrome.blogspot.com/2011/08/romes-talking-statues-1-pasquino.html), know that Rome has some "talking statues". The Eternal City, however, also has a very stubborn statue, who refused to speak at his maker's request: Michelangelo's Moses. 

There are many stories related to this masterpiece located in a rather dim corner of the Basilica of San Pietro in Vincoli, on the Colle Oppio, the hill right opposite the Coliseum. The Basilica has this name (translating as "St. Peter in Chains") because it was built to contain a rather special relic: the chains that held St. Peter during his stay at the Mamertine Prison, located in the Forum area. 

The most interesting feature of this Basilica, however, is not the holy relic under the main altar, but a statue placed in a corner...  A masterpiece coming from two different failures, still one of the most stunning artworks available in Rome: Michelangelo's Moses.


The first failure came from the material itself: the marble block used to make this sculpture was discarded by another artists, who made a mistake in the inital phase of the making of his work, and who deemed the block no longer usable. Michalngelo picked up this block and made a real masterpiece out of it, being however forced to give the Moses a slightly unusual stance, turned towards the left, and a masterfully hidden disproportion beween the size of the two knees. 

Another failure that marked the destiny of this wonderful artwork, is that this statue was just a part of a magnificent tomb for the Pope Julius II (depicted in the upper part of the tomb), which was not completed before the Pope's death, as the great artist was deeply absorbed in other great artworks, such as the Sistine Chapel. Being too beautiful to be put is some dusty warehouse, the statue was put in the corner of this ancient Basilica. 

The reason why I called the Moses a "Non-talking statue" as opposed to the "Talking" ones like Pasquino, stems out of a legend: it is said that the great artist, upon completion of his artwork, being himself surprised by the quality and perfection of the statue, hit the Moses' knee with his hammer shouting: "Why don't you talk?!". Some claim that the mark of this hammer hit is still visible... possibly with the eyes of an art lover...


Related topic link: http://viewsofrome.blogspot.com/2011/08/moses-statue-at-largo-santa-susanna.html

Porta San Sebastiano - 1 - The Unnoticed Angel

Porta San Sebastiano is the ancient gate which allowed those travelling on the Appian Way to enter the Eternal City. The gate is still in use, being on a rather busy road intersection. While the surrounding section of Roman walls  is still original, the gate, through the centuries, has undergone several changes, both during the Middle Age, during the Renaissance period, and even in 20th Century, when Ettore Muti, one of the most famous components of the top brass of the Fascist regime, turned the gate into his very own pied-à-terre. 

This gate, which is itself a nice view, and besides being the entrance to visit a section of the walls, featurees a little "hidden treasure": on the left of the gate (for those "entering" the gate) engraved in the stone, there stands an angel with a spear in the mouth of a dragon trapped under his feet, representing evil. on the right side of the standing figure, there is a Latin text written in Oncial characters. Both the style of the depicted Angel and the "font" used for the text tells us that the image dates back to the Middle Age, most probably engraved by pilgrims who came to Rome and who had to wait for the gates to be open. 

Unfortunately this little treasure often goes unnoticed, as cars pass through the gate without having a chance to appreciate it.  Pedestrians willing to enjoy it will have to synchronize with the car traffic, since the engraving is inside the gate, and the passage is barely enough for a car to pass. 
The more curious (and daring) visitor can take a look at more engravings just on the opposite side, which are smaller and have the names and dates of pilgrimage. Rome is not the "City of Angels" but if you happen to pass by Porta San Sebastiano, you will fine one welcoming you in the Eternal City.

Myths about Rome - La Torre delle Milizie - Nero's "Observation Point"

On the hill right behind the Forum of Nerva, a tall tower made of red bricks stands out against the background of the sky. What looks like a quite anonymous building, is the stage for one of the biggest myths about Rome. 

The Tower, built back in 13th Century for the noble Conti family, and one of the few remaning buildings of the Middle Age in Rome, used to be a taller, three-tiered building, but the upper part was knocked down in 14th century owing to the effects of a strong earthquake that hit the City.  The name of "Torre delle Milizie" comes from an alleged presence of a military garrison's barracks, but until now, I could not find any historical evidence about this fact. 

Roman people built a myth about this tower, telling that that was the point from which the Emperor Nero watched Rome birning during the infamous fire that destroyed the city back in 64 A.D. Nothing could be farther from reality, because of 2 main facts:


- Emperor Nero was not in Rome at the outbreak of the fire, but at his seaside villa in Antium (today Anzio), and:
- the Tower was built in Middle Age, so it was not there at the moment of fire, 


but this is just one of the many stories without historical foundations who were made up in centuries of hatred against this unconventional and innovative Roman Emperor. 
Currently integrated in the archaeological complex of Trajan's Markets, the tower can be accessed entering from the same site's entrance, on Via Quattro Novembre.

Il Vittoriano - A Typewriter, a Wedding Cake or Our National Pride?

On Piazza Venezia, you will find one of the most famous - and controversial - monuments of the whole Eternal City: The "Vittoriano", or "Altare della Patria" - "Altar of the Fatherland" - A monument built between 1911 and completed only in 1925  to celebrate the 50th Anniversary of the Unity of the Country (1861-1911), and to commemorate Vittorio Emanuele II, the first King of united Italy (statue in the middle of the monument.) 

The first controversial fact about the monument arose long before its completion, both during the long process of selection of the proposed projects among the ones submitted (315 from 13 countries) and from the supply of stone and marble chosen for the building, coming from the northern province of Brescia (with alleged interferences coming from the most powerful politicians of that time, including the Prime Minister). 

The discussions subsided after the end of World War I, with the enthusiasm following the Victory of 1918. In 1921 at the same monument was buried the Unknown Soldier, a soldier chosen on a battlefield in north-eastern Italy among those who had no identification plate with them,  transported to Rome with great honours, and buried there with great solemnity to symbolize the sacrifice of all the soldiers during all wars, but especially in WW I which for Italy was considered as the last one of the Wars for Independence, having manage to reconquer from the Austian Empire the territories of Trento and Trieste in northern Italy. 

During the following Fascist period, with the ideal of Fatherland becoming of paramount importance for the regime's propaganda, the Vittoriano became the stage for so many ceremonies of all kinds, with the military ones being the most frequently represented on the site. 


After the war, the monument lost part of its importance, and started becoming the target for heavy criticsm by the people: the allegedly not graceful shape of the monument, its being all white, and the face that it doesn't blend too well with the more ancient surroundings, earned the monuments nicknames such as "The Typewriter" (due to its shape) or  "The Wedding Cake" due to the color.

In more recent times, after having suffered a bomb attack back in the late 60s, the monument has been closed to the public only to be reopened in 1997. In 2011 it went back to his splendour and importance thanks a thorough refurbishment and for becoming one of the focal points of the celebrations for the 150th Anniversary of the Unity of Italy.

So, it's up to each one of us to decide if the Vittoriano is just a Typewriter, a Wedding Cake, or the materialization of our National Pride.

"Domine, Quo Vadis?" - A small Church for a Miracle Encounter

On the Appian Way, less than half a kilometer away from Porta San Sebastiano (the main gate in Rome walls on Appian Way) and just metres away from the Catacombs of St. Callisto, there is a small church with a very simple façade, that can easily go unnoticed both by visitors and by Romans, often more concentrated on the nearby road intersection than on what surrounds them.

The little church, as stated also by the sentence written in Latin above the entrance door, was, according to tradition, the stage for a very special encounter: it is believed that St. Peter, fleeing Rome to escape the prosecutions by Emperor Nero, met Christ in this place, and asked him in Latin: "Domine, Quo Vadis?" meaning "Lord, where are you going?" and Christ, who was heading towards Rome, replied: "Eo Romam Iterum Crucifigi", which means "I'm going to Rome to be crucifixed again." From this sentence, Peter understood he should not run away, so he went back to Rome to meet his destiny or martyrdom.

Inside the church, on the floor, we can see a slab of white marble, on which there are engraved 2 footprints, believed to be the footprints of Christ himself (this can be seen from the sentences engraved on the edges of the slab). Historical and archaeological researches showed that the slab is indeed ancient, but in reality it was an "ex voto" made by travellers, probablyleft in the temple as a thanking to the Gods for the successful trip, or maybe as an offer before the trip to invoke their protection.

The little church can be a nice stop for the visitor on the Appian way en route to bigger attractions such as: the Catacombs, the Appian Way, or the ancient city walls, that can be visited in the section around the nearby gate of Porta San Sebastiano.

Bernini vs. Borromini - 1 - The Four Rivers' Fountain

The two Geniuses of the Baroque in Rome, Bernini and Borromini, were divided by an unfriendly rivalry, which had outbursts which remained famous among Roman people. 

The two artist often competed to obtain the assignment of the construction of buildings, fountains and statues, but, more than anything else, they competed to be considered the best artist operating in Rome. 

Bernini was considered by far a better artist, given the marvelous artworks he adorned Rome with during all his life, while Borromini prided himself with his superior technical knowledge. being more of an Architect, and less of a Sculptor. This difference became especially evident when Bernini was appointed the construction of the 3 fountains in Piazza Navona, with the one in the middle of the square being the famous "Four Rivers' Fountain" (depicting the Tiber, The Nile, the Hindus and the Rio de la Plata), right in front of the church of S. Agnese in Agone, built by Borromini. 

Bernini started his work, but got stuck at a given point, because he did not manage to get water flowing from the fountain, and could not figure out why. His rival Borromini, being a great techinician, knew the solution to the problem, but he declared that he would rather be torture than telling his arch rival how to fix it.  Bernini was desperate, but he came up with one of his great ideas: he paid some people to invite him to dinner, and made him drunk. Under the effect of alcohol, the intoxicated artist revealed that the problem was in one of the pipelines bringing water to the fountain. Armed with this insight, Bernini performed the necessary adjustment, and, to his rival's astonishment, made the water spring out of his brand new artwork.

Not satisfied with this victory, Bernini enjoyed also some revenge over his rival: looking at the statue facing Borromini's church's façade, you can notice the man is in an odd position, gesturing as if he is prefenting the church from falling down, or scared by the building's ugliness. 

The Frescoes in Villa Farnesina - A case of "Artistic Espionage"

Villa Farnesina is a wonderful building in Renaissance style, right next to the Lungotevere, on the Trastevere side (Right Bank of the Tiber). It was built by Agostino Chigi, a famous banker from the Tuscan city of Siena, who, in 1472, founded the still open bank of "Monte dei Paschi di Siena". 


This building, configured as a "Suburban Villa" as opposed to the city palace, (Palazzo Chigi) where now is the Office of the Prime Minister, is currently owned by the "Accdemia dei Lincei" Italy's National Scientific Academy, and one of the most ancient (if not the most ancient) of such Institutions in the world. The whole building is decorated with scenes from Greek and Roman Myths, with the most remarkable room being the "Loggia di Psiche".


The story has it that the decoration of such room was appointed to Raffaello Sanzio, and that Michelangelo was terribly curious to see what kind of work his "rival" was carrying out, but Raffaello set up a strong security in order not to let anyone "spy" on his work. Nevertheless, Michelangelo tried really hard, and finally managed to sneak in. 


In order to show Raffaello he managed to outsmart the security he set up, he drew, using a piece of charcoal, a young man's head in one of the blank spaces in the fresco, in the unmistakable Michelangelo's style. The following  morning, Raffaello was enraged to see his arch rival managed to see his artwork before its completion, but his anger lasted for really short time, because the Tuscan great artist's drawing was so beautiful that Raffaello didn't have the heart to have it deleted, and the drawing is still there, and can be admired at the beginning of the visit of Villa Farnesina. 

The Moses' Statue at Largo Santa Susanna - a Failed Imitation

On Largo Santa Susanna, a small square connecting the area of Piazza della Repubblica (known to old Romans with the former name of Piazza Esedra) and the area around Via Veneto, there is a fountain, built at the end of the 16th Century by architect Giovanni Fontana, brother of the more famous Domenico. This fountain was built upon an order of the great Pope Sixtus V as one of the fountains of the aqueduct built by him on the old pattern of the one built but the Emperor Alexander Severus, and which took the name of the Pope: Felice. 


What makes this otherwise ordinary fountain (for Rome's standards) special, even if in a somewhat negative way, is the statue standing in the middle niche, depicting Moses, holding the Tables of the Law, and pointing at the water, in the act of ordering it to spring out of the rock. This is a mistake by the sculptor (Leonardo Sormani, nicknamed "Il Bresciano" since he came from the northen Italian city of Brescia) who did not take into consideration the fact that the episode of Tables of the Law came after the one of the water springing it from the rock. 

This mistake, and the non-elegant, non-graceful appearance of the statue, summed to the alleged claims of the sculptor to produce and artwork superior to Michelangelo's masterpiece Moses, that can be found in the church of S. Pietro in Vincoli, made him the target of the mocking of Roman people, who renamed this artwork "The Ridiculous Moses"; this, according to the legend, pushed the uncautious sculptor to suicide. 


If the sight of this artwork has disturbed and amused you, I suggest to walk just 30 meters more, on the corner to Via XX Settembre where, inside the church of S. Maria della Vittoria, where the sight of the Ecstasy of St. Theresa by G. L. Bernini will delight you. 


Related topic link: http://viewsofrome.blogspot.com/2011/11/michelangelos-moses-romes-non-talking.html

Caesar’s Murder – An Unexpected Crime Scene

The story of the murder of Julius Caesar is one of the most famous moments of the Roman history; everybody knows he was assassinated by fellow Senators on the Ides of March (March 15^th) of the year 44 B.C.  who ambushed him in the Senate Hall, thus putting an end to the life of one of the greatest Romans, and, in turn, to the Roman Republic, and paving the way to the foundation of the Empire.

What is less known is that this crime, considered by some the halting of a rising tyrant, by others just another cruel political murder, did not happen in the Senate building that stands nearly untouched in the middle of the Forum (better known as the “Curia Ostilia”), but in a rather neglected archaeological area in Largo di Torre Argentina, called “Curia Pompeii”,  just a few hundreds of meters away from Piazza Venezia, and less of 1 km from the Forum. In that area, now the territory where many street cats live, there are the ruins of several buildings, where it’s identifying four temples, one of which (the “Aedes Fortunae Huiusce Diei” – Temple of the Present Day’s Luck) has a round shape, and it’s easily found because of the remainders of columns which are still standing. Behind that building, is the place where the infamous, history-changing murder took place. 

La Bocca della Verità – Test your Honesty in the Heart of Rome

In the Velabrum Area, under the portico of the Romanic Basilica of Santa Maria in Cosmedin, on the left wall, stays the famous “Bocca della Verità”, a round of marble, with a diameter of about 1.80m and an estimated weight over 1 ton, sustained by a Corinthian Capital. 

The face depicted on this artwork is said to be the one of Jove, even if other sources hypotize that it could be the face of a Faunus. 

The stone was actually a manhole cover, probably from the Cloaca Maxima, Rome’s biggest sewer system, designed by the Etruscan Kings back in 6th Century B.C. but was so beautiful that they decided to save if from loss or destruction, relocating it in the church’s outer part. Originally it was kept outside the Basilica’s perimeter, but then in 1631 the Pope Urbanus VIII Barberini, taking advantage of some restoration works that were carried out in the Basilica, decided to move this object inside the church’s portico, in order to protect it from weather aggression and from vandalism in night time. 

Many are the stories and legends related to this object which has, over centuries, become one of Rome’s landmarks: in the Ancient times it was believed to have the power to be an oracle, while in the Middle Age people believed this was the creation of a Mage in order to test people’s honesty, especially in matters of matrimonial fidelity. Whoever put his/her hand in the “mouth” and could safely pull it out, would prove his/her honesty.This belief remained till today, and this is why nowadays we can see long queues of tourists waiting in the line to take a souvenir picture with their hand in the mask’s “mouth”. 

Rome's Talking Statues - 1 - Pasquino

On a small square just south of Piazza Navona, in a corner stands the most famous among Rome's "talking statues": Pasquino. A heavily damaged statue, probably depicting a Greek hero (its conditions make the identification difficult, even if many hypothesis have been made) found in 1501 during the excavation works of the nearby Circus of Domitian (which is right beneath Piazza Navona). 

Since 16th Century, the statue was the place where, during the night, hiding from the policemen's sight, the people posted their criticism against the power and the government, often in the form of short sarcastic poems or short sentences, in the typical Roman humor style, which, since the most ancient times, is known to express itself in short but effective sentences. Such sentences have grown to acquire the dignity of a literary form, the so-called "pasquinate". 


Far from being a simple literary exercise, the "pasquinate" deeply irritated many Popes, who several times attempted to have the overly loquacious statue removed, but always wisely abandoned the project, in order to avoid irritating the people by depriving them of a way to vent their anger and dissatisfaction in a form which, after all, was absolutely harmless for the power itself. 


Even today, Pasquino's statue is still "talking" and it can be an interesting and funny experience to stop by the statue and read the sheets of paper pasted to the statue (often written in Italian, more often in Roman slang) and enjoy some of the traditional Roman humor :)

Monte Testaccio - An Unusual 8th Hill in the Heart of Rome

The borough stretching from the the Pyramid site to the river, which is one of the most popular venues for nightlife and traditional Roman cuisine, has the odd sounding name of "Testaccio". The name comes from a very unique place in the oldest part of this borough: a huge stack of broken Roman jars, wihch, over the centuries, became a real hill, over 50 m tall. And these jars, which in Latin were called "Testae" gave the name to the unusual hill and to the whole borough. 


Such a place was nothing but a "specialized dump": at the nearby river harbor of the "Emporium," docked the "Naves Oleariae" (Oil carrying ships) carrying thousands of jars made of terra-cotta, mainly from the North African coast, off-loaded the jars. In the past it was believed that the broken jars forming the hill were just the one which accidentally broke during the off-loading process, but more recent discoveries showed that the harbor workers intentionally broke them, since oil jars, unlikely others, were not refillable for hygiene and convenience reasons, and stacked them tidily.



In more recent times this artificial hill has been used as venue for celebrations and for religious rites, in particular the Via Crucis taking place every Friday before Easter. The site now is surrounded by restaurants and clubs, some of which are directly under the hill itself. 


At present, the hill is normally closed to visitors because of some instability problems of the structure, but guided visits can be arranged. 

The Pyramid - 3 - A Cat Sanctuary

On the northern side of the Pyramid, attached to the Acatholic  there is an area where, amid ancient columns and other ruins lives one of Rome's oldest colony of street cats, with its foundation dating back to 1850. Street cats are a common sight in Rome, especially in the center's archaelogical areas (such as around the Coliseum, Largo di Torre Agentina, and so on...) where they can live without the risks of traffic. The are usually fed by another typical Roman character: the so-called "Gattara": usually a woman, often an elderly one, who loves cats and takes charge of feeding the ones of the area where she lives. 


In the Feline Colony a group of volunteers formed an association to take care of the cats, and it can be visited daily from 2 till 4 PM. A nice bonus for cat lovers visiting the Pyramid and the neighbouring Acatholic Cemetery.

The Pyramid - 2 - Acatholic Cemetery - A Small Enclave in the Capital of Catholicism

Right behind the Pyramid, on the side where the ancient monument doesn't suffer the siege of everyday traffic, on the side towards the famous and traditional borough of Testaccio, there is a garden, protected by walls. Those walls, separate the rest of Rome from a very unique part of the city. Once entered the gate, the atmosphere changes:  the mind flies to gardens and cemeteries typical of the Anglo-Saxon world, and for a few minutes we can enjoy a change of style in our walk through Rome. 


This is the Acatholic Cemetery, originally built in the 18th century for all those who were non-Catholic. The majority of those buried there are British, Germans, Dutch Protestants, but there are also Russian Orthodox, a few from the Far East (China and Japan) and also a few Atheists, the most famous of whom is the historical Communist leader Antonio Gramsci. 


Among Roman People this place is simply called "The Englishmen's Cemetery" because of the large number of Anglo-Saxon citizen, and especially for the most famous of them: the British poets and writers John Keats and Percy B. Shelley, both buried here. 


A visit to this place, beside offering an unusual view of the Pyramid, without the disturbance of traffic, would be a trip in a small oasis in the Capital of Catholicism.

The Pyramid - 1 - The Spur of Richness

Rome is the only European city to boast a real ancient pyramid. The monument itself is not comparable at all with the marvelous Egyptian pyramids, much larger and way older, still it has its own special technical aspects and interesting story.

The pyramid was built at the beginning of the 1st Century AD by the heirs of Caius Caestius, a rich and powerful Roman man who was part of the syndicate of the "Septemviri Epulones" (A group of people who were in charge of organizing the main celebrations and banquets that had to take place in Rome.

Caius Caestius in his will specified that the heirs would not get any of his wealth, unless they built for him a tomb, reminiscent of that of a Pharaoh, within one year from his death. So the heirs started working at this project, and with the help of skilled technicians, and using the technique of the Roman Concrete, which is especially light and strong, managed to build a pyramid which, depite being only a mere 30 meters tall, has one of the steepest angles among the ancient buildings of this kind. Ancient reports tell us, that the project was completed in a mere 330 days from the death of Caius Caestius, so the heirs could enjoy the inherited, and now well deserved, wealth. 

Stay tuned for more information about this area!

Emanuele

...

La Barcaccia - Stranded at the Foot of the Spanish Steps

In Piazza di Spagna, right at the foot of the Spanish Steps, lazily lying in the middle of the beautiful square and somewhat separating the flow of people coming from the shopping street Via (dei) Condotti and the ones coming down from the steps, there is an unusual sculpture of a boat: not a special nor especially beautiful boat, just one of those boats used to cruise on the river.


The credit for this artwork, completed in 1610, goes once again to the great sculptor G. L. Bernini, who was hired by the reigning Pope Urbano VIII Barberini (in the picture in the front part of the boat it's visible the Shield of the Barberini family, with the 3 Bees, with the Triregnum (Papal crown) and the crossed keys, symbol of Papal dignity). The Pope wanted to provide the area with a new fountain, after the expansion of the Vergine Aqueduct, and no location could be better than that one, since it was right on the water pipelines. In fact, the nearby street "Via dei Condotti" translates exactly as "Pipeline street".


Bernini once again starts his work wanting to provide the city with another demonstration of his genius and creativity, and, remembering that in the previous disastrous flood of 1598, one of the many that scourged Rome until the construction of the walls along the Tiber in 19th century, a river boat was carried all the way there by the flood, and when the water retreated, the boat remained there. Roman people immediately called the sculpture "La Barcaccia" ("The Bad Boat") and started loving this fountain remembering the times when Rome was often victim of floods.
Bernini (Penguin Art and Architecture)

The Fraschetta - Rise, Fall & Rebirth of a Typical Roman-Style Tavern

The "Fraschetta" (Literally translates from Roman slang as "Little tree branch", and takes its name from the tree branch that shopkeepers used to put outside their shopes and along the roads to signal  the presence of the business), for centuries has been one of the most popular form of tavern, especially for the lower classes. 


Abandoned, and virtually vanished after the end of World War II, because considered part of the "old world," grossly unrefined, provincial, and somewhat recalling the poorer times in the psychology of post-war Italians, it rised once again to great fortune at the end of the 90s, when people rediscovered more traditional ways of eating and being together. 


Situated mainly in the area on the hills south of Rome called "Castelli Romani," (Mainly in Aricca and Frascati) home to famous vineyards producing the finest wines of the region, these businesses, often offering also space to sit outside during the warm season, in the past only served wine and soft drinks, and people could bring their own food. Over time, with improving of the average social conditions, those places turned into small restarants, serving starters consisting of cold cuts (including the wonderful locally-produced "Porchetta", whole roast pork with crispy skin), preserved and fresh vegetables, and a range of the famous Roman first courses. (Carbonara, Amatriciana, Cacio & Pepe and so on).


A visit to a Fraschetta is strongly advised if you are looking for a relaxed and cheerful environment and some traditional dishes at an affordable price.
Ancient Rome: from the earliest times down to 476 A. D.

The Little Elephant in Piazza della Minerva - A Revenge Made of Marble

The great Sculptor Gian Lorenzo Bernini, master of the Baroque in Rome, was hired to build a pedestal for a small Egyptian obelisk that was found during some excavations in Rome (probably as part of an ancient Circus), because the obelisk itself was not tall enough to stand in the middle of Piazza della Minerva. 


The great artist started his work, but he was annoyed by the crowds, who gathered around him, attracted by the great fame of the Maestro. Bernini, who did not love popularity, shouted at people: "What is so interesting to look at? I am not an elephant!" Because elephants were exotic animals who attracted crowds at the time... 


During his work, a bitter discussion arose between the artist and the Abbot of the Dominican Convent, which is right on the square... 


From these 2 events the great artist got the inspiration for his artwork: a white elephant with an angry face, dressed in Egyptian way to blend with the obelisk style, but looking backwards with hatred and pointing his ass right towards the convent, as a sign of despising against the nagging Abbot.


Here is how Bernini made a revenge out of a block of marble...
Bernini

The Miracle of the Snow - Birth of a Basilica

The Basilica of Santa Maria Maggiore is one of the "Seven Churches", i.e. one of the Seven Papal Basilicas that pilgrims coming to Rome must visit to complete their pilgrimage. 


This church is the first one dedicated to the worship of the Virgin Mary, and dates back to the 5th Century A.D.


The legend has it that the site for the construction was chosen by God himself. In the year 431 the Council of Efes decreed the divine maternity of Mary, so the reigning Pope of that time, Liberius, decided to build a Basilica in Her honor, with the financial help of the Roman patrician Johannes, whose daughter, some sources refer, was very ill and healed by a miracle. 


With the Papal Decree, and the financial support, the Basilica was ready to be built, but Pope Liberius still did not know where to start the construction, so God came to his help with a miracle: in the morning of August 5th of the year 432 an absolutely unusual snowfall capped the top of the Exquilinus hill, and this was the signal for Pope Liberius to start the construction of his Basilica, on an area that in the past was a market ("Macellum liviae"). These events gave the Basilica the two other names of "Basilica of St. Mary of the Snow" and "Basilica Liberiana". 


This event is celebrated every August 5th throwing down white flower petals (mainly roses) from the top of the Basilica's façade. In more recent years, the celebration was integrated by laser projections on the Basilica itself, making it a really sparkling and unusual night scenery out of one of Rome's most classic views. 


Related topic link: http://viewsofrome.blogspot.com/2011/12/santa-maria-maggiore-2-worlds-most.html
Santa Maria Maggiore e Roma (Italian Edition)