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Home , Babuino, Baths of Agrippa, Campitelli, Campo Marzio, Carceri Nuove, Colonna (rione of Rome)

di Roma Tourism The streets of Walking through the streets of the capital

via sistina

via del

via del portico d’ottavia

via dei giubbonari

via di

via dei cestari

via dei falegnami/via dei delfini

via di monserrato

via del governo vecchio

The streets of Rome 2 VIA DEI CORONARI so knownas“paternostrari”, set upshop. dors ofcrownsandotherreligious items,al- in theHolyYears, duringwhichmanyven- pilgrims passingthroughit,particularlyheavy owes itsownnametothecontinualflowof veloping theequallyfamousPiazza Navona, nari, nestlingintheattractiveareaen- shops dottedalongtheroad.Via deiCoro- serves todaythankstothenumerousantique craft andcommercialarea,apurposeitstill pure thoroughfareitwasalsoagenuinely to befound,sothataswellworkinga where thebest-respectedforeignbankswere ly connectedtothebrandnewBankdistrict, the “historicalcentre”.Theroadwasclose- located halfwaybetweenthe“holycity”and side theveryheartofcity, symbolically fabric ofthedistrict’s roads,amainroadin- role ofthenervecentreinsiderevamped features. Via deiCoronarisoontookonthe look wassupplantedbysplendidRenaissance end ofthefifteenthcentury, whosemedieval istically andarchitecturallyreshapedatthe called district:theareaurban- passing rightthroughthewholeofso- as fartheverycentralPiazza , and siteforpublicexecutions,reached , or three roadsbranchingfromtheoldPiazza di stretch oftheoldviaRecta, wasoneofthe Via deiCornari,whichfollowsthefinal proach totheVatican atthattime. towards Ponte Sant’Angelo,theonlyap- being tochannelthemassiveflowofpilgrims starting withSt.Peter’s ,theidea regions whichhadrisenupontheotherbank, Marzio (CampusMartius),withthenorthern the ’s leftbank,meaningtheoldCamp streets linkingthecentreconcentratedon transform thecitysoastoimprove road fellinwithSixtus’broaderplansto trict andtheVatican. Thebuildingofthe was adirectlinkbetweenthe“Ponte” dis- lee of1475,builtinordertoensurethere as partofpreparationsfortheGreatJubi- W in themedievalcitybyPope SixtusIV as thefirstthoroughfaretobeopened Trivium Mensarioru VIA DEICORONARI , marketplace of thefifteenthcenturyto “Compagnia in itsfaçadewhichwasdonated attheend thanks toabustof“TheSaviour”embedded city. which ownedagreatdealofpropertyinthe on theordersofrichTrastevere society dell’Orto yard. refined stuccoworkaddedtotheinnercourt- ternity ofSantaMariainPortico whichhad was afterwardspassedontotheArchconfra- the nobleRoman familyofthesamename, ci-Mancini tions inspiredbythefamilystem. plays windowsonitsfaçadeswithdecora- Gondi, whoarestillitsownerstoday, itdis- tury ontheordersofFiorentineFamily Sanguigna end.Builtintheeighteenthcen- ginning ofviadeiCoronariatthepiazzaTor Palazzo Grossi-Gondi uettes oftheMadonna). in frontofthesefamous“Madonnelle”(stat- grims whowouldstoptosayaquickprayer ful reminderofthenever-endingfluxpil- man alcoves.Thelatterareafurthercolour- and ahighconcentrationoftypicalholyRo- um, decoratedwithrenownedreligiousshops tory, takesusthroughatrueopen-airmuse- cy oftheroad’s socialandarchitecturalhis- details ofcityfittingsareanimportantlega- even thelesssignificantbuildingsandtiny shady buildingsofviadeiCoronari,where The pathsnakingbetweenthecharmingand pecially designedfacadeslookontotheroad. of whosebuildingswiththeirpaintedandes- some ofitsmoreprominentresidents,many tablished linktothecitycentreashomefor teenth centuries,anditsbynowwell-es- completed betweenthefifteenthandsix- known sacredbuilding.Thearea’s layout, Imago pontis tanners’ premisesweretobefound,andthe bourhood: the“Scortecchiara”,where passed throughtwoareasadjoiningtheneigh- teristics havemoreorlessbeenpreserved, The road,whosefifteenthcenturycharac- Casa delSalvatore Casa dellaConfraternita diSantaMaria , builtintheseventeenthcentury , builtinthesixteenthcenturyby , socalledasitincludedawell- , locatedatthebe- , iseasilyspotted Casa Luc- struction, incorporatingpartofthepre-ex- azza diSanSalvatoreinLauro.Thehugecon- block betweenPiazza diSanSimeoneandPi- figures. by anumberoftrophiesandmythological composed seriesofpaintingsinter-dispersed demand inRome, ismadeupofacarefully gio, whosespecialskillswereverymuchin turino daFirenzeandPolidoro daCaravag- ed), attributetoartistsofthelikeMa- grandeur. Thedecoration(todayratherfad- with chiaroscuroeffects,addingtothecity’s tury ofdecoratinghouseandpalazzofacades popularity attheendoffifteenthcen- fine exampleofthattechniquegained corner withviadellaMascherad’Oro.Itisa tini family. the LatiniandthenbyDiamanti-Valen- taken overintheeighteenthcenturyfirstby furbished intheseventeenthcentury. Itwas tures arefinedinnercourtyardthatwasre- with Corinthiancapitalpilasters,andfea- monious façadeinfire-brick,inter-dispersed dinals andsenators,isdistinguishedbyahar- the samenamewhosemembersincludedcar- teenth centuryforthepowerfulfamilyof Bonaventura dei RaccomandatidelSignore”. Palazzo Lancellotti Casa dipinta , builtattheendoffif- , postionedonthe is locatedonthe Palazzetto lived. tradition hasitthatthefamousartistonce House, isasoberRenaissance building,where ing buildings. fications, isoneoftheroad’s mostcharm- the GeneralCommissionerforRome’s Forti- Mochi well-known mistress. derives fromthenameofCesareBorgia’s of medievalarchitecturalfeatures.Itsfame century homestillbearingtodayanumber of therareexamplesanearlyfifteenth better knownasFiammetta’s house,isone Casa dell’Arciconfraternita delGonfalone aristocratic FioravantiFamilyfromPistoia. belonged totheSalaFamilyandthen ravanti crowned byanartisticcornice. the secondrowbyarchedwindowsand out foritsbeautifulfacadepunctuatedalong ofSanSalvatoredeInversis.Itstands houses, soastoincorporatethemedieval ampietro onanalready-existinggroupof by theDragobrothers,Paolo, Giorgio andGi- Drago the plaqueonfrontwall. glory fromscratchin1572,asisrecordedby century, wastotallyrestoredtoitsformer by SixtusVattheendofsixteenth Former Pawnshop) usedforthisverypurpose Palazzetto dell’exMontediPietà artists suchasGuercinoandAgostinoTassi. rooms inside,whosevaultswerefrescoedby magnificence andrefinementdecoratethe of antiquestucco-framedreliefs.Thesame nade, itswallsareembellishedbyaseries broidered ononesidebyatwo-rowedcolon- yard, thePalazzo’s truestrongpoint:em- , ontothesplendidinnercourt- its centralsumptuousarchwaydesignedby tere andfinestructureopensout,through later completedbyCarloMaderno.Theaus- Lancellotti, keepingfaithtoagrandproject Francesco daVolterra forCardinalScipione at theendofsixteenthcenturyby important inviadeiCoronari.Itwasputup isting building,standsoutasoneofthemore mounted byacoveredroof-terrace attrib- ond halfofthesixteenthcentury, issur- , wascommissionedtobebuiltin1557 , putupin1516byPietro Rosselli for Palazzo Vecchiarelli , builtinthesixteenthcentury, first Casa Lezzani Casa diProspero , builtinthesec- , orRaphael’s Palazzo Fio- Palazzo del (of the 3 The streets of Rome VIA DEI CORONARI , The streets of Rome 4 VIA DEI CORONARI clouds, surmountedbyacanopy festooned so astodepictrejoicingangels amongsoft It issetinapompousstuccoframe,shaped zo Grossi-Gondi’s wallontoTor Sanguigna. majestic appearancelookingoutfromPalaz- known eighteenthcenturyartist,makesa L’ minicis. up againin1735ondesignofCarloDeDo- century tobeonceagaindestroyedandput it wasrebuiltatthemiddleofverysame dates backto1008,wasdemolishedin1509; Ponte. Thechurch,thefirstrecordofwhich dei CoronaritakingustotheoldPiazza di ito, windsupourreligiousvisitthroughvia running alongtheviadelBancodiSantoSpir- in MonteGiordano. ily wholivedintheneighbouringbuildings nis lo Santa Maria crated. Known sincethetwelfthcenturyas number ofdifferentuses,istodaydeconse- small temple,afterhavingbeenputtoa steps locatedinvicolodiSanSimeone;this found atthetopofaspectacularflight lo Guglielmetti. of thenineteenthcenturytalentsCamil- design. Itsharmoniousfaçadeistheresult straight afterwardsonOttavioMascherino’s stroyed byafirein1591,toberebuilt to thelatesixteenthcentury. Itwasde- it continuinginvariousstagesrightthrough of thechurchdatesbackto1177,workon adjoins Palazzo Lancelotti.Thefirst record looking ontothepiazzaofsamename, via deiCoronari.SanSalvatoreinLauro, corporated inaconstructionrunningalong Regulars. Thisinturnwasitselfin- and ispartoftheconventLateran built byBramantebetween1500and1504 centuries, isthefamouscloisterwhichwas of thetwelfthtoendseventeenth church, workonwhichstretchedfromend ings invicolodellaVolpe. Attachingthe maybeenjoyedfrombehindthebuild- A beautifulviewof uted toBartolomeoAmmannati. Assunta , andlater , thechurchbelongedtoOrsiniFam- (Assumption), theworkofanun- de Monticellis as deMonteJhoannisRonzo- Santi SimeoneeGiuda Santa MariadellaPace’s Santi CelsoeGiuliano , or in Monticel- is , the building. teenth centurycanvasustodaykeptinside a stuccoframeofrays.Theoriginaleigh- azza infrontofthebuilding,surroundedby ner ofPalazzo Lancellotti,overlooksthepi- rows), positionedontheashlar-workedcor- MadonnaAddolorata La posed ofbothstuccoandtravertinestone. century frescoissetinasoberframecom- to viadegliAmatriciani.Theseventeenth out fromthesideofPalazzo Lancellottion- cezione in theformofatemple.L’ picting the Sangallo TheYounger aroundthefrescode- nacle reassembledin1523byAntonioda street andthedistrictitself.Itisataber- nari: itlendsitsnametothispartofthe between vicoloDomizioandviadeiCoro- It isembeddedintheashlar-workedcorner cred imagesdecoratingtheneighbourhood. of theBridge),ismostfamoussa- housed thePawn Shop. on thefaçadeofbuildingwhichonce end ofthenineteenthcentury, standsout Pietà, thebeautifulovalimage,madeat ternity oftheGonfalone.Madonnadella above aplaquerecallingtheArchconfra- The eighteenthcenturyimageispositioned bellishes thefacadeofFiammetta’s house. ing onpaper. age hasbeenreplacedbyamodernpaint- cellotti. Theoriginaleighteenthcenturyim- dei CoronarifromthefaçadeofPalazzo Lan- teenth centurywoodenframe,overlooksvia bino ing byRaffaelloMengs. which actsasaframeforthecopyofpaint- over aneighteenthcenturylamp.Allof surmounted byanangelinflight,positioned a numberofraysmingledwithangelheads the previously-mentionedaedicule,thatis Its eighteenthcenturyframeissimilarto cellotti, lookingtowardsviadeiCoronari. is tobefoundonthecornerofPalazzo Lan- Farnese Palace. by Sangallohimselfforthewindows ofthe sign foranaedicolalaterusedonceagain a workbyPerin delVaga, accordingtoade- (Madonna withChild),setinanine- (The ImmaculateConception),looks Incoronation oftheVirgin Mary Il Redentore Madonna dellaPietà Imago pontis Madonna colBam- (Our LadyofSor- Immacolata Con- (The Redeemer), (Image , em- , the city, importantmeetingplacesteeming link betweentheVatican andthecentreof street guaranteedahighlyimportanttwofold mains ofanolderRoman bridge)andthenew sired byJuliusII:thebridge(builtonre- as thepivotofurbanreorganizationde- these theVia Giuliaplayedaforemostrole centres werecreatedorrebuilt,andamong linking themajoradministrativeandreligious (in theCampoMarziosector)mainroads developed intheleft-handloopofTiber turn ofthatcentury. Intheurbanfabric that ment thatthecitywasgoingthroughat witness totheextremelylivelyculturalmo- casion ofthe1475Jubilee(HolyYear), bears bridge, decidedbyPope SixtusIVontheoc- the districtofRegola. Therebuildingofthe other part,i.e.thatneartoPonte Sisto,isin in thedistrict(“rione”)ofPonte, whilethe med afterthepopewhocommissionedit)is miana). ThefirstpartoftheVia Giulia(na- ned byJuliusIIwiththenameofVia Setti- ternative routetotheVia dellaLungara(ope- andtheVatican, creatinganal- by meansofthebridge,citycentrewith ni deiFiorentiniwithPonte Sistoandthus, 1508, toconnectthechurchofSanGiovan- T moted byPope JuliusIIDellaRovere in his isthelong,straightthoroughfarepro- VIA GIULIA tled to of theFlorentinesresidentin Rome it bythesmallPiazza dell’Oro,isthe ginning oftheVia Giuliaand connected with The firstimportantbuildingrightatthebe- with thesquareinPonte. the Via Paola, therebycreatingthefinallink and afewyearslaterPope Paul IIIopened was startedontheeminentFlorentinechurch, tiatives: duringthepontificateofLeoXwork in theensuingcenturies,thankstopapalini- cording toatrendthatcontinueddevelop had theirmagnificentresidencesbuilt,ac- members ofimportantaristocraticfamilies one ofthecapital‚smostelegantstreets, pitol. IntheVia Giulia,whichtothisday is assume thesymbolicfunctionofanewCa- presentative piazzaintendedbyJuliusIIto Via delGonfalone,overlookinganequally re- building extendingfromVicolo delCefalo to early designwhichforesawamonumental mained unfinished,in1508,accordingtoan missioned tocarryoutthework,whichre- house theCuriaTribunal. Bramantewascom- sing itasthesiteformajesticbuildingto the Via Giuliaasanurbanfulcrumbychoo- pe wantedtoenhanceevenmoretheroleof Banks andtheothersideofriver. Thepo- to createasystemconnectingSt.Peter’s, the ambitious urbanplanningproject,intended Chigi, thatPope JuliusIIwasabletostarthis tion withawealthyTuscan banker, Agostino lony. Itwaspreciselythankstohisassocia- cially aroundthechurchofFlorentineco- sidences ofthenobility, concentratedespe- mated byuppermiddleclasshousesandre- Santo Spirito),thusgivingrisetoanareaani- (corresponding todaytotheVia delBancodi established intheancient“CanalediPonte” banks, especiallythoseofFlorence,were the Vatican. Themostprestigiousforeign pes fromAvignon andtheirinstatementin ni deiFiorentiniafterthereturnofpo- developed aroundthechurchofSanGiovan- connection withthe“BankingDistrict”that with life.TheVia Giuliawasalsothedirect St. JohntheBaptist , thepatronsaint Church , enti- 5 The streets of Rome VIA GIULIA The streets of Rome 6 VIA GIULIA the 1stMunicipalityistodayhoused here): Cinquecento (purchasedbytheCity ofRome, gallo theYounger inthefirsthalfof lato” ofFlorence,erectedbyAntoniodaSan- Clarelli palace ration ofthefaçade. tine andbytracesoftheoldpictorialdeco- characterized byarchedwindowsoftraver- of theRenaissance buildingsalongtheroad, we seeoneofthemostinterestingexamples 82 some groupsof15th-centuryhouses,at would reallydeserveattention.Goingpast er, inwhicheverybuildingandchurch left). We thenstartalongtheVia Giuliaprop- cated byaplaqueonthethirdcolumnto buried heretogetherwithMaderno,asindi- ni, AlgardiandBorromini(thelastonewas the outstandingnamesbeingthoseofBerni- prises averitableanthologyofRoman art, Giovanni inLaterano).Internally, itcom- ing façadeofthepatriarchalbasilicaSan dro Galilei(responsiblealsofortheimpos- façade wasconstructedin1734byAlessan- “sucked sugar-almond”.Thetravertine row dome,whichpeoplereferredtoasthe transept, thebarrelvaultandlong,nar- no tookoverasarchitectanddesignedthe ly partofthefollowingcenturyCarloMader- the aislesdesignedbySangallo.Inear- como DellaPorta, whofinishedthenave and that constructionwascontinuedunderGia- was notuntiltheendof16thcentury an artistofthecalibreMichelangelo.It project -neverhowevercarriedthroughto rentines commissionedtheresumptionof in 1527.InthemiddleofcenturyFlo- stop oncemoreduetothesackingofRome architects resumedtheworkjointly, onlyto Younger. Afterafirstinterruption,thetwo ately afterwardsbyAntoniodaSangallothe assign theworks,butwasreplacedimmedi- copo Sansovinowonthecompetitionheldto new placeofworship.ElevenyearslaterJa- tained fromJuliusIIpermissiontobuilda Compagnia dellaPietà, whichin1508ob- the 15thcenturyitwasbestowedon as thechurchofSt.Pantaleon, attheendof of .Existingsincethe11thcentury (at thecornerwithVia dei Cimatori), , alsoknownasthe“Conso- No. 79 is the Medici no. Armenian HospiceofSanBiagio wastrans- when the1975HolyYear wascomingup,the State andearmarkedforciviluses,whereas complex waspurchasedbytheNewUnitary cally asthe“sofasofVia Giulia”. In1870the to siton,sothattheywerealsoknownlo- and theVia delGonfalone,andbigenough ible fromthecornerbetweenVia Giulia main ofthegrandiosecomplex,andarevis- lar blocksthatformedthepowerfulbasere- Brescians). Today onlythegiganticroughash- ture waslaterboughtbytheCompanyof ruins oftheTribunal (theunfinishedstruc- to aconventbasedontheimposingashlar Navone toconverttheadjacentbuildingin- ans commissionedthearchitectFilippo when theVenerable HospiceoftheArmeni- It wasthenthoroughlyreorganizedin1832, Blaise, wasrebuiltinitspresentform1730. notte” (smallloaves)onthefeastdayofSt. lation tothecustomofdistributing“pag- aeval times,called“dellapagnotta”inre- bunals. Thelittlechurchdatingfrommedi- been builtontheremainsofCuriaTri- at notta street isthe gia givingontotheTiber. Fartherdownthe 17th century, thenaddedthesplendidlog- The Ceulifamily, whopurchaseditinthe salon, praisedbythecriticsofperiod. by Salviatiwhoexecutedthefrescoesin the buildingitsmajesticpresentform,and by NannidiBaccioBigio,whoconferredon tepulciano whohadextensionscarriedout son OraziotoCardinalGiovanniRicciofMon- Sangallo ashisownresidenceandsoldby zo Sacchetti portant buildingsinthestreetis on theoutsidewalls.Oneofmostim- trician buildingswithpaintingsandgraffiti rounding area),ofaddingprestigetothepa- monies alongtheVia Giuliaandinthesur- tury (ofwhichtherearenumeroustesti- spread inRome attheendof15thcen- ed, yetanotherexampleofthefashionwide- in thiscasethefaçadewasrichlydecorat- constructed bytheTuscan community. Again this isoneofthemostinterestingbuildings no. 64 , andalongsideitthe , aconvertedmonasterythathad church ofSanBiagiodellaPag- , at no. 66 , thistoobegunby Hotel Cardinal Palaz- , tury dinal”. Afterpassingtheseventeenth-cen- formed intothehotelgivennameof“Car- Siena façade ofthe ti in1862,comestheharmoniousconcave gio Spagnolo 18th century).Afterthe was thenradicallyrestructuredduringthe the remainsofchurchSant’Aurea(it the Confraternityofthatnamein1584on of SantoSpiritodeiNapoletani ry GhisleriCollege,wecometothe reconstructed fromtheseventeenth-centu- known Filippo Raguzzini.Aftergoingpastthewell- known asSanFilippino,restoredin1728by tury Cristo, whichincludestheseventeenth-cen- House oftheConfraternityPiaghe di Santa Lucia.Thecornerblockcomprisesthe the pastbysewercalledChiavicadi Ponte andofRegola, atthepointcrossedin marks theboundarybetweendistrictsof The crossingwiththeVia deiBanchiVecchi um ofCriminology Giuseppe Valadier), nowhousingthe century façadeof Corte Savella,flankedbythenineteenth- replace theprisonsofTor diNonaandofthe Pope InnocentXtoAntonioDelGrande, halfway throughtheSeventeenthcenturyby (New Prisons) short waybeyondarethe ing anodalpointofMannerisminRome. A ascribable tovariousartists,andrepresent- tle buildingstillcontainsacycleofpaintings church ofSantaLuciainXenodochio,thelit- mid-sixteenth centuryovertheancient aiding thesickandneedy).Builtin ofthatname(dedicatedto is the (Tiber embankment),at ing intotheVia delGonfalonetowardsthe intercession forthesoulsofdead).Turn- name, whichcarriedoutcharitableworkof the siteofArchconfraternitythat the workofCarloRainaldi(itwasoriginally Church ofSantaMariadelSuffragio Church ofSanFilippoNeri , erectedbyPaolo Posi in1762.Oppo- Oratorio delGonfalone Virgilio secondaryschool , no. 151 Church ofSantaCaterinada at the Prigioni . no. 52 , builtbyAntonioSar- Palazzo delColle- , commissioned , linkedtothe (the workof , rebuiltby at , better Church no. 38 no. 29 Muse- , , Nineteenth centurybyAntonio Parisi. the Zoccolette,wasrebuiltat endofthe complex pertainingtotheConservatoireof the Tiber, correspondingtothepartof behest ofPope SixtusV. Theporticotowards teenth centurybyDomenicoFontanaatthe dred Priests), builtattheendofSix- Ospizio deiCentoPreti (HospiceoftheHun- Ospizio deiMendicanti arrange thearea),thisisdominatedby ried outintheNineteenthcenturytore- across theTiber whentheworkswerecar- this wasreassembledinitspresentposition the spectacularbackdropofVia Giulia, umental AcquaPaola (representing tury .Oncecontainingthemon- of theLungoteverefromfifteenth-cen- cenzo Pallotti, whichisontheoppositeside Finally theVia GiuliaendsinPiazza SanVin- fountain tle piazzaafterthiscontainsthe the mid-Seventeenthcentury. Thepretty lit- franco, onlytobedismemberedalreadyin Annibale Carracci,DomenichinoandLan- ed withfrescoesbysucheminentartistsas Odoardo Farnese,theroomsweredecorat- making ofthearch,promotedbyCardinal Quattro Camerini building, oppositethesimplebuildingof the rearboundaryoffamousFarnese souls). At the unknowndeadandprayingfortheir same name(whichundertooktheburialof church belongingtotheConfraternityof in 1737onthesiteofsixteenth-century e Morte side the the HungarianAcademy),whichstandsalong- tensions; since1927ithasbeentheseatof who wasalsoresponsiblefortheinternalex- façade istheworkofFrancescoBorromini, teenth-century it, mentionshouldbemadeoftheseven- the “CameriniFarnesiani”.Beforereaching by thearchthatjoinsPalazzo Farneseand tractive partsofthestreet,characterized ceeding on,wearriveatoneofthemostat- 16 site thisstandsthe , designedbyCarloMadernoin1618.Pro- , at Church ofSantaMariadell’Orazione , placedinitspresentsite1903. no. 186 no. 1 Palazzo Falconieri , builtbyFerdinandoFuga stands thegatemarking nn. 253-260.Afterthe Palazzo Varese , knownalsoasthe Mascherone , at 7 The streets of Rome VIA GIULIA (the no. The streets of Rome 8 VIA CONDOTTI tion ofstraightroadspointed dramatically banistics thatreallystandsout isthecrea- across theTiber. Theaspectoffarnesian ur- to Trinità deiMonti,andprojectedobliquely of del Babuinowascompleted,andbymeans Pope Paolo IIIVia delCorsowasrebuilt,).Thenwiththeinterventionof opening ofVia Clementia(thepresentVia dent”, whichwasestablishedlaterbythe sion ofurbanizationalltime,The“Tri- the beginningofmostimposingexpres- lo Sanzioforthetask.Thiswasnolessthan calibre ofAntoniodaSangalloandRaffael- sed bythesummoningoftwoartists ject ofwhichtheimportancewasemphasi- velopment. Thiswasalsoinlinewithapro- place Via Giuliaasthecentreofurbande- Corso whichitwashisintentionshouldre- future Via diRipetta)alongsidetheVia del dered theopeningupVia Leonina(The polo” andtheVatican. ThesamePope or- tening uptheroutebetween“Porta delPo- Masters oftheroads)withtaskstraigh- elegantly named“MaestridiStrade”(The diferro, responsibleforroadplanningand Bartolomeo DellaValle andRaimondoCapo- with Pope LeoneXdeiMediciwhoentrusted rest inthisparticularareacametoahead tican andtheCentreofCity. Theinte- prove thecommunicationsbetweenVa- tervention ofthePopes whosoughttoim- Augusta Hospital,andsuccessivelybythein- with theconstructionofSt.Giacomoin its urbanizationtowardstheendof1300s stence intheheartofanareawhichbegan Via deiCondotti.Theroadcameintoexi- Clementino, Via diFontanellaBorgheseand Marzio correspondedtowhatarenowVia del lowing aroutewhich,cuttingacrossCampo Trinitatis. ItstartedfromPiazza Nicosia,fol- Pope Paolo IIIFarnese,withthenameofVia road wasfirstopenedin1554atthewishof drop oftheSantissimaTrinità deiMonti.The pointing itselflikeatelescopeattheback- I ween Via delCorsaandPiazza diSpagna, s thestreetthatrunsatright-angles,bet- Via Trinitatis the Trident wasconnected VIA CONDOTTI Goldoni ismarkedbyaperiodof historyim- The wayalongVia CondottistartingatLargo nature oftheareaandstreetitself. which beartestimonytothecosmopolitan fés frquentedbyartistsandintellectuals pital, aswellsomehistoricclubsandca- sence ofthemostelegantshopsTheCa- palaces thatstandalongitandforthepre- today renownedbothfortheprestigeof ne ofthe ti, thesitingofwhichwasdictatedbyli- and theclassicstaircaseofTrinità deiMon- numental displayoftheRipettariverport, was furtherenrichedbythedramaticmo- patrimony oftheCity. Inthe1700sthisarea the mostpartofextraordinaryartistic giving lifetoacitycentrewhichenclosed choose toconstructtheirpalacesthere,thus patrician familiesmoreinthepubliceyeto rounding theTrident encouragedsomeofthe day. Theincreasedprestigeofthearea sur- , whenitwasbuilt,tothepresent which hasremainedactivefromthetimeof ciple acquductswhichusedtosupplyRome la Porta. Itistheonlyoneofelevenprin- grandiose projectentrustedtoGiacomoDel- the city, wererealisedinthecourseof the ned tocarrywaterthelowlyingpartof conduits oftheAcquaVergine which,plan- rectly fromthepassageofmonumental The presentnameoftheroadderivesdi- the pointwherethreeroadaxesconverged. inPiazza delPopolo asasymbolof ture ofthecity, Sistosawtothesitingof came splendidelementsinthestreetfurni- the realizationofpublicfountainswhichbe- of theaqueductAcquaVergine and responsible forpromotingtherestauration materièl fabricwasconcerned.Gregorio developed, especiallyasfaritssocialand gorio X111andSistoV, theareawasfurther cies ofthe“urbanisticPopes” suchasGre- ding periodthankstotheilluminatedpoli- façade ofTrinità deiMonti.Inthesuccee- of Via Condottilaidoutalongtheaxisof at architecturalbackgrounds,asinthecase Via Trinitatis . Via deiCondottiis no. 36diVia Condotti were ErectedtheChurchandConvent, was putinorder, andbetween17411750 the centuriesoldHospice(facingCorso) the Palace whichwouldhousetheseatof During thefirstarchitecturalphaseof1732 because Rome lackedacentreofthisnature. Temple andaConventfortheconfraternity, Calzati whichfinancedtheconstructionofa representative oftheorderTrinitari on theinitiativeofDiegoMorcillofamous erected inthesecondquarterof1700s stands atthebeginningofstreet,was nisable fromthefaçadeofchurchwhich Trinità degliSpagnoli countries:The tionship betweentheHolyCityand portant fromthepointofviewrela- by GiuseppeSardiastheDirectorofWorks, tect EmanuelRodriguez DosSantosassisted project designedbythePortuguese archi- . Thebuilding,recog- , followinganoverall church oftheSS cornice onpairedcolumnsthere isaccessto monumental façadecrownedby anartistic cipal EntranceinVia Condottiinsertedinthe tury styleunderPope Pio IX.FromthePrin- structured ecletticallyinneo–fifteenthcen- the firsthalfof1800scompletelyre- built inthesecondhalfof1600sand stands Leone no.21 quises Arconati block isincludedalsothe Avogadro NegriArnoldi zo Ansellini Via Serena(currentlyVia Belsiana)is tion. At exhausted themotiveforitsinitialfounda- by muslims,hadwiththepassingoftime, with theaimofransomingchristiansenslaved by GiovanniDeMathaandFeliceDiValois Trinità infact,foundedtheXIIthCentury Philippines movedin.TheOrderoftheSS. Domenican MissionstoTheIslandsof College oftheSS.Trinità fortheSpanish considerably, theSpanishDomenicansof tury, thenumberofTrinitari havingshrunk at auction.Thentheendofsamecen- fiscated byFrance,andtheHospicewassold the Hospice.In1841Complexwascon- by SS.Trinità) andbytheangularbalconyof (animated bythemotivesinreliefinspired by thehappysolutionofconcavefaçade to thesurroundingCity, whichisdetermined ever itsperfectarchitecturalintegrationin- outstanding aspectoftheComplexishow- ed byarchesandcoveredacupola.The chapels (threeoneachside)interconnect- an ellipticgroundplanarticulatedbyside conserved withintheConvent),isbasedon priceless canvasesofPreciado andVelasquez of paintings(towhichshouldbeaddedthe the latteranimatedbyinterestingfragments Convent andChurchdoors.Theinteriorof Coat ofArms(stillvisible)fixeduponthe King ofSpain,whohadhisShieldandRoyal passed undertheprotectionofPhilip Vth, best examplesofromanrococòarchitecture, moval. In1734theComplex,oneofvery was inthehandsofJoséHermosillaySa- while theinternaldecorationofchurch Palazzo DellaPorta NegroniCaffarelli nn. 55-57 , no. 21 ). Correspondingto (entrance in at anangletotheformer corresponds to Palazzo oftheMar- , andinthesame Via Boccadi Palazzo no. 61 Palaz- 9 The streets of Rome VIA CONDOTTI 10 The streets of Rome VIA CONDOTTI (the buildingstillhousestheChancellery of tury thebuildingwasradically restructured Via Condotti.Inthesecond half ofthecen- which thenestablisheditselfinthePalace in the SovereignCouncilfromMaltatoRome tion ofstables.In1834TheOrdertransferred addition ofanotherfloorandtheconstruc- posed thedecorationofcourtyard, bassador toTheVatican ofthe Orderpro- ent arrangement.Theninthe1700sAm- tion ofthetwobuildingsresultinginpres- activity oftheOrderproposedunifica- lo Aldobrandinitheagentforreligious in obediencetotheAugustinianRules. Car- of providinghelpwhereitwasneeded,and 1100 byGerarddiGerusalemmewiththeaim which tookplacein1527),werefounded definitive transferoftheOrdertothatisland aliers ofRhodes,laterMalta(followingthe John ofJerusalemorJoannitesevenCav- known astheOrderofHospitallersSt. Military oftheCavaliersJerusalem,also Rome. TheSovereignOrderHospitaleroand that itcouldthererealiseitsownSeatin bequeathed totheOrderofMaltainorder inscriptions whichonhisdeathin1629were lection oftombstones,marble,andantique Leone, gatheredtogetherthereavastcol- ing behindwhichgaveontoVia Boccadi ing enlargedthePalace byannexingthebuild- “ ofundergroundRome”) who,hav- explorer oftheCatacombs,knownas Bosio (animportantarchaeologistandgreat of MaltainRome. ItnextpassedtoAntonio tury byGiacomoBosio,agentoftheOrder zo Provani wasacquiredinthefifteenth cen- of thelate1400s,originallyknownasPalaz- building enclosedinagroupofconstructions ner attheanglewithVia BoccadiLeone.The 68, identifiedbytheinscriptiononcor- ereign MilitaryorderofJerusalem in thewholestreet, comes oneofthemostsignificantbuildings which openoutofthegroundfloor. Thennext yards currentlyoccupiedbyelegantshops of thePalace. Thereareotherinternalcourt- Bocca diLeoneoverlookedbytherearfaçade tain fromthe1700sandawayoutontoVia a beautifulinternalcourtyard,withfoun- Palazzo oftheSov- , atno. cite afewexamples. of EnnioFlaianoandVitaliano Brancatito School ofRome, andwritersofthecalibre thanks tothecustomofartists tained itsfameeveninthepost-warperiod, and patriotssuchasSilvioPellico. Itmain- nothing ofthecrownedheadsAllEurope, and theartistsof Wagner) andfromthatofart(Thorvaldsen dahl, Leopardi),themusicworld(Berlioz, members oftheliteraryworld(Gogol,Sten- fact, itwasfrequentedbythemostrenowned the City. Atthebeginningofcentury, in of themostfashionablemeetingplacesin became, inthebeginningof1800s,one read ontheplaquefixednexttoitssign,it Lepri ra). Thennextcomesthe the siteofexclusiveAlbergod’Inghilter- of thepalaceforguests(latertobeusedas stands infront,aswelltheconstruction the rearrangementofsmallsquarethat Sartiwiththerestructuringofitand Familywhoentrustedthearchitect the 1800scomplexwaspurchasedby on toVia Condottihasbeenglassedin).In Via BoccadiLeone,whilethatwhichgives 1658 and1660(theprincipalentranceisin alised byGiovanniAntonioDeRossi between the the Order).Infrontstandsolderpartof Greco 9) issituatedthehighlycelebrated the MonasteryofSanSilvestroinCapite,no. (abuildingwhichusedtobelong the prestigioustrademarkofJeweller the Palace definedbythewindowdisplayof Beyle, betterknownasStendahl.Infrontof and therelivedtheFrenchauthorHenri ond halfofthe1800sbyVirginio Vespignani, a singleframe.Itwasrestructuredinthesec- ing thewindowsgroupedinthreesunitedby defined byanunusualmotive,thatofhav- plan andbyabeautifulfaçade,alsothisis Specchi), itischaracterisedbyanunusual nected tosomeoftheworksAlessandro certain (itcouldpossiblybeinsomewaycon- century. TheattributionofthePalace isun- Mario de’Fioriinthesecondhalfof17th Palazzo Nunes , at , at no. 11 no. 86 , builtonthecornerofVia . Foundedin1760ascanbe , at The GrandTour no. 20 Palazzo Maruscelli , whichwasre- ) tosay Caffè Via delQuirinale andXXthSettembre)at the Via Pia (whichcorrespondstotheactual name, thePope himself.Theroadcutsacross lo Felicewhichcelebrated,withitsoriginal ,Via DePretis andVia Car- responding tothepresentVia Sistina,Via cleared bySistoVwastheStradaFelice,cor- Popolo andatTheLateran).firstroad V (attheVatican, theEsquilino,inPiazza del that overlookRome wereinstalledbySisto roads. Agoodfourofthethirteencolumns Holy Site,alongthetelescopiclayoutof tion tothemultipledistantviewsofasingle of roads,andaclearmarkertodrawatten- , amagicalcorollarytothenetwork “ lineofsightconnectionsbetweenthe exceptional Jubilees,wasemphasisedbythe carried forwardundertheannouncementof decisive contributionofthe‘sistine’plan fication urbanizationofthenewCapital.The later basedthenineteenthcenturypost-uni- Rome andtheinfrastructureuponwhichwas thus layingthefoundationsofmodern lebratory, themonumentalandcivic, cipal polesofinterest,thereligious,ce- and effectiveconnectionsbetweentheprin- cept oftownplanninghingedonpractical road (rettifilo)andwhocreatedanewcon- in fulltherenaissanceprincipleofstraight ticinese DomenicoFontanawhoexpressed admirable worksofhistrustyarchitectthe systematically onthewholecitythrough terconnecting them.ThePope sethishand roads, evenoutsidetheAurelianWalls, in- Basilica, andaboveallforthesystemof for thereconstructionofgreatRoman Rome. Hewasresponsibleforthegenialplan story ofthetownplanningandbuilding the whomostlefthismarkonthehi- lice Peretti Montalto(1585–1590)isoneof duration ofhisPontificate SistoV, bornFe- Santa CroceinJerusalem.Despitetheshort with thebasilicaofSantaMariaMaggioreand to connectthechurchofTrinità deiMonti road thatwasopenedbyPope SistoVin1593 O lice anditispartofthelongstraight nce itansweredtothenameofVia Fe- VIA SISTINA first enlargedtheestatebybuying landfrom original edificewhichdatesfrom 1540.He Ricci daMontepulcianointervenedonthe of toric-architectonical episode:thepresence imous streetismarkedbyanimportanthis- the heightofTrinità deiMontialongtheepon- The routefollowedbyVia Sistinabeginsfrom exclusive hotelsstilltothepresentday. lowing atraditionofimportantpalazziand ternational tourismasafavouredgoal,fol- na alreadyforsometimesingledoutbyin- of TheTrident andalongthesameVia Sisti- reason theworkswereintensifiedinarea town planning,cametothefore,andforthis The Capitalnewdemands,especiallyfor tis. In1870aftertheDeclarationofRome , erectedin1723byFrancescoDeSanc- struction thatisthestaircaseofTrinità dei the greatornamentalandtheatricalcon- of theCity, particularlyafterthebuilding of reference forthedevelopmentofthispart succeeding centuriesastheobviouspointof this Via Sistinapromoteditselfthenand in mulated bythe“Town-planner Pope“. With point inthestar-shapedstreetsystemfor- Maggiore wasmarkedasacrucialcentre took withthehelpofFontana.SantaMaria the moresignificantworksthatheunder- and aroundwhichThePope concentrated lica, theprincipalMarianchurchinCity area) stoodneartheantiqueLiberianBasi- tion andtheclearingupofsurrounding struction oftheStazioneTermini railwaysta- The wholecomplex,(brokenupforthecon- to locatedinthecentreofVia Felice. sidence, theadmirableVilla Peretti Montal- gious fulcrumswiththemarvellouspapalre- connection betweenthreeprominentreli- functional andsymbolicroletiedinwiththe roads, thuscametoperformbothaprimary the realbackboneofnewnetwork by Pope Pio IV. ThispersonalroadofSistoV, emblematically withtheroadopenedin1561 at QuattroFontanejoiningupinfactand right-angles, crossesthefour-roadjunction . In1572CardinalGiovanni 11 The streets of Rome VIA SISTINA 12 The streets of Rome VIA SISTINA other admirableundertakingofPope SistoV like theroadrecallshisnamewasyetan- ration oftheAcquaFeliceAcqueductthat the waterofAcquaFelice.Therestau- San SalvatoreinLauroandfunctioningwith by FerdinandodeiMedicifromtheMonksof 1587 byAnnibaleLippiwithabasinacquired tive fountainintheformofacupbuilt of thePalazzo isembellishedbyanattrac- ing astayinRome. Thelittlesquareinfront young Frenchartiststoperfecttheirartdur- founded in1666byKing LouisIVtoallow the seatofTheFrenchAcademywhichwas out, wasdesigned.From1884ithasbeen which eventodaymaintainsitsoriginallay er. Inthesameperiod,splendidgarden, ance oftheotherfaçade),andsouthtow- contrasts stronglywiththeaustereappear- facing thegarden(theopulenceofwhich decorated withworkinplasteronthefaçade the centralportion,beautifulportico of enlargingthebuilding,andhecompleted Bartolomeo Ammannatiwasgiventhetask passed toCardinalFerdinandodeiMedici, Then fouryearslater, whentheproperty Nanni diBaccioBigioandAnnibaleLippi. had builtuponitanewPalazzo designedby the FratidiSantaMariadelPopolo, henext co Fontana.Theworkonthefrench edifice ried outbyhisfavouritearchitect Domeni- appears onthepillars)andonceagaincar- commissioned bySistoV(whoseCoatofArms zo SenatorioattheCampidoglio,andwas that designedbyMichelangeloforthePalaz- dates from1588,andtakesasanexample beneath. Thegracefuldoublerampinfront framed bytwolateraltowerswithachapel fifteenth centurythefaçadewasfinished, later. Inthecourseofsecondhalf ters andtheMonasteryfollowedsomeyears vaulting) wascompletedin1550,theClois- the pointedarchesandceilingofogival (witnessthegreatribsoftransept, ceeding century. Thechurch,builtingothic on whichbeganatthebeginningofsuc- Pincio tobuildareligiouscomplex,thework the sonoflatteracquiredlandon imi closelyconnectedtoKing LouisXI.In1494 di Paola, thefounderofOrdinedeiMin- French followersoftheRules SanFrancesco church belongedfromitsbeginningtothe and financedbyTheKing ofFrance,the Piazza diSpagna.Lookedafter, protected way sweepingdowntotheequallywellknown backdrop forthesceneryoffamousstair- ents itselfasanarchitecturalyettheatrical la SantissimaTrinità deiMonti rises themajesticfaçadeof and thatattheEsquilino.BehindPiazza er famoussistinecolumnsthatatFlaminia Pio IVsymbolicallyhalfwaybetween two oth- ti SallustianiandwaserectedtherebyPope from thenearbyarcheologicalsiteHor- the Piazza towerstheobeliskwhichcomes stretch oftheVia Felice.Atthecentre of by CardinalRicciandconnectedtothefinal Trinità deiMonti is thesmallandattractive the QuirinaleandEsquilino.Thenthere extended haphazardlybetweenthePincio, closed intheCity’s greenbeltwhichonce liani, oneoftheancientsuburbanvillasen- Lucullo, betterknownastheHortiLucul- Institute occupytheareaofoldVilla di plesso delSacroCuore cent totheparkofVilla risesthe within hisgrandiosecity-wideplan.Adja- opened andpavedin1586 whose Conventand Piazza della which pres- chiesa del- Com- at Via Gregorianaismarkedby mann; thejunctionbetweenVia Sistinaand his wifethefamousSwissartistAngelicaKauf- the venetianpainterGiuseppeZucchiand house madeoutofthePalazzetto ownedby on thespotwhereoncestoodaboarding 1924 bytheHungarianarchitectJosephVagon The HotelDeLaVille, infact,wasbuilt in lene Dietrichsuffice. here thenamesofCharlieChaplinandMar- and fromtheworldofspectacle, the worldofpoliticsfromTruman toKennedy, Here havefoundhospitalitythefamousfrom this gaveittheelegancehastoday. owner OscarWirth, SwisslikeHassler, and rebuilding in1944atthehandsofitsnew berto Hassler, thehotelunderwentaradical after apartialreconstructionin1892byAl- sixteenth centuryPalazzetto deiSanterelli; Albert Hassleronthesiteofdemolished The firstnamedhotelwasbuiltin1885by mously theprotagonistsof tels andthehousesofforeignartists(fa- politan naturewhichwithitspensions,ho- 69–75 the Piazza, andthe hotels: the of themostwellknownandexclusiveroman Sistina isanimatedbythepresenceoftwo to occupyittoday.The nextstretchofVia the NunsofTheSacredHeartwhocontinue ceiling in1828thechurchwasconcededto 1800s includingyetanotherre-overingofthe ni Pannini). Afternewinterventionsinthe tuted byanewceilingdesignedGiovan- original gothicstylecoveringbeingsubsti- risty andthere-coveringofvaults(the the 1700swithcompletionofSac- continued invariousphasesuntiltheendof ing architecturalfantasyproduced, inthis is atypicalandcharmingexample ofapass- the windowsframedbybizarremasks,and ing ontoVia Gregorianaisrecognisable from artist decoratedtheinterior. Thefaçadegiv- the helpofhisbrotherTaddeo, thesame to bethesiteofanartacademyandwith was elaboratedin1592byFedericoZuccai azza Trinità deiMonti no. 30 in theVia) witnessestothecosmo- di Hassler Villa Medici Via Gregoriana Hotel DelaVille ) theprojectforwhich The GrandTour Palazzo Zuccai , no. 14 , at no. 6 di ( nn. Pi- in ). , The dreds andtodayhousestheHertzianLibrary. century styleattheendofeighteenhun- at na well knownitalianRevue Theatre, laj Gogol.Abitfurtheroncomesthevery ing hostedthefamousRussian AuthorNico- teenth century. Itisworthyofnoteforhav- ti facing ontoVia Sistinais century operaofFilippoJuvara.Adjacent, mannerism. Theporticoistheseventeenth case byoneoftheprotagonistsroman Santa CrocediGerusalemme. Constantine theGreatandnamed afterThe Basilica foundedbySant’Elena,Motherof dent, butnotforthisanylesssignificant, ica ofSantaMariaMaggioreandthelessstri- it isonlysymbolic,thepompofBasil- ever therealconclusion,evenifnowadays fountainbyBerniniin1643.How- in Piazza Barberini,madefamousbythe ney alongtheancientVia Feliceendstoday signed in1725byFrancescoFerrari.Thejour- Giuseppe Paglia, whilethefaçadewasde- ana“ Propaganda Fide)wastheDomenican vault (inspiredbytheadjacent“borromi- body ofthechurch,andcoveredbyaribbed was baseduponChapelsflankingthelong overcome. TheAuthorofthisprojectwhich Francesca Romana (laterdestroyed)hadbeen officiated inthenearbychurchofSanta jections oftheSpanishTrinitari Fatherswho proval ofPope AlessandroVIIonce the ob- church wasenlargedin1666withtheap- small oratoriowithahospiceattached,the Luigi deLéon.Originallyintheformofa t’Agostino. Followersofthesevererule footed FatherscalledTheRecolletti ofSan- built in1619bytheSpanishAugustinianBare- of SS.IdelfonsoandTommaso daVillanova road isreachedanendmarkedbythe ta FrancescaRomana –andsotheendof structed overtheruinsofchurchSan- atre ofthepostwarperiod,andwascon- Governatorato. Itwastheonlygrandthe- a leadingromanarchitectintheyearsof nineteen hundredsbyMarcelloPiacentino, which datesfromtheendofseven- , no. 59 nn. 128–131 nn. 123–125 , whichwasrebuiltinneo-fifteenth , builthalfwaythroughthe correspond to Palazzo Stroganoff Palazzo Dot- The Sisti- church 13 The streets of Rome VIA SISTINA , 14 The streets of Rome VIA DEL BABUINO the 1600s,aftercompletion ofthere- the symbolicjunctionofthree roads.In wish ofPope SistoVinPiazza delPopolo at crowned bytheerectionofobeliskat ci Popes andfinally, attheendof1500s, through thecombinedwilloftwoMedi- was theTrident established.principally ria baptized itwiththename the project,completingitin1543andre- Later Pope Paolo IIIFarnesetookahand in to whichhegavethename ying outofthethirdaxisTrident and project ofhiscousin,settinginhandthela- Pope ClementeVIIdeiMedicitookover the petta. OntheoccasionofJubilee1525 nina; itcorrespondstothepresentVia diRi- ning besidetheCorsoandnamingitVia Leo- putting inorderoneoftheancientpathsrun- to AntonioSangallotheYounger thetaskof dici wastheinitiatorwhoin1517entrusted ment ofthe“Trident”. Pope LeoneXdeiMe- operation thatwouldleadtotheestablish- of the1500sbegangrandioseurbanistic the City(Porta Flaminia),thenatthestart gious elementattheMainNorthernGateto of theGreatJubilee1475andasapresti- Popolo atthebehestofPope SistoIVinview rebuilding ofthechurchSantaMariadel the urbanisationofarea,aswell in Augustawhichprovidedtheincentivefor construction oftheHospitalSt.Giacomo mes, evenifitwasnotregolarised.Afterthe So asortof“Trident” existedinancientti- survived untilhalfwaythroughthe1500s). soleums shapedaspyramids(oneofwhich its beginningby“metae”,twoenormousmau- itineraries ofclassicorigin,eachmarkedat nia (currentlytheCorso)andfromtwoother by thefirststretchofancientVia Flami- planning whichstemsfromtheareacovered po Marzio,inobediencetoaschemeoftown res. TheroadcrossestheextremityofCam- joins twoofthemostcelebratedRoman Squa- re oftheso-calledTrident andisanaxisthat I Piazza delPopolo, aflanking thoroughfa- s oneofthethreeroadsthatfanoutfrom and thisistodayVia delBabuino.Thus Via PaulinaTrifa- I E BABUINO VIA DEL Via Clementia . dei Monti)theviewfromwhich permitsa Via SanSebastianello(theroaduptoTrinità in theCapital,startsatcrossroadswith by someofthemostexclusiveantiqueshops The walkalongVia delBabuinopunctuated time, “babbuinati”. Church andpoliticians,called,onceupona comments, oftenverycutting,aboutthe fact, usedforstickinganonymousmottosand famous , “thebabbuino”was,in the reputationofa“talkingstatue”like t’Atanasio deiGreciin1957,bringingwithit adjacent tothefaçadeofchurchSan- “ape” arrivedatitspresentsite,onthewall Palazzo ofPope Pio IVonVia Flaminia).The was incorporatedaspartofafountainatthe me time,thebasinfrombeneathgroup in thefaçadeofsamePalazzo (atthesa- in 1887intoanichetheformofportal sculpture toitsfaçade.Itwasmovedagain 1576 thesamePontifice attachedtheancient belonging totheBoncompagnifamily, andin then incorporatedintoalargerconstruction cated inVia delBabuino).Thebuildingwas its restauration(oneoftheconduitswaslo- gine, afterPope GregorioXIIIhadinitiated nected tothewatersupplyofAcquaVer- dis, in1571thefirstprivatehousetobecon- century Palazzetto ofAlessandroDeGran- buino”. Alongtheroadrisesfifteenth pulation, thiswaslatercorrectedto“Ba- rence wasbaptized“babbuino”bythepo- of cornucopia of a sent nameofthestreetcomesfromastatue po Marzio,atthecentreofCity. Thepre- representative roadsoftheboroughCam- Via delBabuino,oneofthemoreelegantand the SicilianProvince ofMontesanto,began ches, thatofSantaMariadeiCarmelitani stood therebefore.Fromoneofthesechur- pilei”, recallingtheancient“Metae”which flanking roadsoftheTrident assacred“pro- churches, tostandattheentrance ject ofRainaldiwassetintraintobuildtwin stauration ofthePorta delPopolo, thepro- Satyre withbagpipesrecliningonakind which becauseofitsappea- sight ofthetheatrical“ sar ofRussia. At the CounsellortoVatican StateoftheT- faelli the cornerwithVia Alibert)is named. Backonthemainroadat picture oftheSaintafterwhomstreetis martyr, placedthereoriginallytoframe a and palmleavesthatarethesymbolsofa frame ofstuccosurmountedbythecrown wall ofthenicheisdecoratedbyabeautiful designs ofFilippoRaguzzini),theconcave in 1728,toberebuiltin1733(perhapsthe Piazza diSpagna.Thechapelwasdestroyed the scenographyatnearbystaircaseof cesco DeSanctis,thesamewhoconceived ing of leant asmallchapelthatcontainedpaint- behind awallagainstwhichpreviouslywas tractive constructionwasrealisedinthe1700s at theendofVia dellaCroce.Thisat- built in1826byGiuseppeValadier for St. Sebastian no. 89 . TheauthorwasFran- Nicchione stands Palazzetto Raf- Palazzetto no. 92 ” placed (at area oftheapse,definedby iconostasis, ture, butismuchusedintheeast) is,inthe (which isrelativelyrareinromanarchitec- interior basedonaplanwiththreechoirs, be attributedtoGiacomoDellaPorta. The ect forwhichdatesbackto1588andcould Alexandria ofEgypt,theoriginproj- of thechurchdedicatedtosaint fountain oftheBabuinoisbrickfaçade of Chevatogne.Standingnexttothefamous today belongstotheBlessedConfederation Babuino. OriginallyallottedtotheJesuits,it whom weowethefaçadegivingontoVia del of thearchitectCarloPuriDeMarchis,to at thewishofClementeXIIIandhands maso Manriquez,itwasrestructuredin1769 church wasbuiltonlandbelongingtoTom- minority ofthegreco-albanianrite.The and toguaranteeassistancethereligious coming fromAsiaMinorandlivinginRome, Pope GregorioXIIItowelcomethegreeks walkway. Thechurchwasfoundedin1576 by Sant’Atanasio deiGreci lege Santa Cecilia.Nextcomesthe the NationalAcademyandConservatoryof the convent,whichdatesfrom1870,hosts ico” NationalAcademyofDramaticArt.While rently thetheatre–studioof“SilvioD’Am- girls. Thechurchpartofthecomplexiscur- nozzi d’Esteasaconventschoolforyoung by CamillaOrsiniBorgheseandLauraMani- longing totheUrsolines,wasfoundedin1680 and theadjacentmonastery. Thewhole,be- Giuseppe andOrsola scenary thefaçadeof Via Vittoria opens,amongitsarchitectural hill ofthePincio thatoverlooksit.Infront tury layingoutofPiazza delPopolo andthe responsible forthesplendideighteenthcen- Giuseppe Valadier (whodiedtherein1839) Apostolic andacademicPalaces ofSanLuca) brated romanartist(architectoftheHoly that there,foralongtime,livedthecele- Antonio Sarti,andowesitsfametothefact phases duringthefirsthalfof1800sby Margutta. Theedificewasconstructedintwo tween Via Alibert,Via delBabuinoandVia Valadier , at no. 149 placed byitselfatthecornerbe- , joinedtothe (now deconsecrated) by apicturesque church ofSS. Greek Col- church of 15 The streets of Rome VIA DEL BABUINO 16 The streets of Rome VIA DEL BABUINO neo-fifteenth century tury. Corresponding to an unknownsculptorintheeighteenthcen- relief of canopied nicheholding,inthiscase,ahigh A simpleframeofmarbleintheforma popular devotionverycommoninthe1700s. nelle” whicharepicturesqueexpressionsof stands outoneofthemanyroman“Madon- niche onthecornerwithVia SanGiacomo hand nave).InVia delBabuino Gesù eMariaopensinsteadontotheleft steeple (theportalintheadjacentVia di the entranceatfootofoctagonal an arrangementwhichledtothelocationof is notthefaçadebutapse,accordingto that thepartgivesontoVia delBabuino one ofthemainprotagonists)liesinfact Arts andCraftsMovementofwhichhewas to chromaticvaluestypicalofStreetandthe laterite (anindicationoftheattentionpaid singularity ofthebuildinginredbrickand Gothic revival mund Street,oneoftheprotagonists Flavio OrsiniandtotheplanofGeorgeEd- on thesiteformerlyoccupiedbyvillaof of AllSaints neo-gothic complexofthe ate thefaçade.Alittlebitfurtheronis containing bustsofemperorswhichpunctu- Palazzo Sterbini other floor. Followingonat commissioned Rodolfo Lancianitoaddonan- passed toCountAntonioCerasiin1858who the famous“babbuino”in1576.ThePalace longed Pope GregorioXIII,hewhoinstalled the firstfloor)noblefamilytowhichbe- pagni (whichalsooccuronthewindowsof figure theheraldicdragonofBoncom- cony, theotherbyabrokentympanum;both orated bytwoportals,onecrownedabal- tury structure.Thehandsomefaçadeisdec- incorporating thealreadyexisting15thcen- del Babuinoisinfront.Itwasrebuilt1738 one ofthemoreimportantbuildingsinVia Palazzo BoncompagniCerasi churches ofthecatholicgreekorthodoxrite. the presbiterialenclosuretypicalof The andChild erected attheendof1800s in victorianarchitecture.The recognisable bytheniches Palazzo Emiliani no. 169 Anglican church , at , theworkof nn. 38–41 is thebulkof no. 151 nn. 51–52 . Re- in a is , cause oftheexclusiveclientele. tige. ItwasalsocalledTheHotel ofKings be- cordance withitsfutureasaHotelofpres- la CarnevaliwereaddedtothePalazzo inac- and 1872twofurtherfloorsplannedbyNico- the collaborationofValadier. Between1870 Torlonia family, thisalsowasachievedwith architectural complex,thepropertyof the firsthalfof1800sinamuchlarger the exclusiveHotelDeRussie constructedin tels andservicesfortourists.Infrontstands a notableincreaseintheconstructionofho- time privelegedbyinternationaltourism,saw the Trident inparticular, alreadyforsome “Umbertine” buildingtradeandtheareaof of urbaninterventionssetintrainbythe as Capital,whentheboroughwasobject tion thatfollowedthedeclarationofRome at thesametimeasgrandioserestora- the Piranesi wasincreasedinheight1872 to it.Thebuildingwhichcurrentlyhouses the Piazza andthebuildingsthatlookouton monious andhomogenoustheprospectof accordance withtheideaofrenderinghar- those aroundtheso-calledTwin Churchesin structions thatflankthePorta as well as del Popolo Valadier alsorefacedthecon- of theworkforurbanizationPiazza formed intoprivateresidences.Inthecourse which facesVia delBabuinoweretrans- part whichgivesontotheCorsoandthat then in1811bothsidesofthebuilding–that vent wasfirstoccupiedbyFrenchtroopsand of theeighteenthcenturybuilding.TheCon- di Montesantowhichistheboundarytoday reached asfarthechurchofSantaMaria ani. TheMonasteryhadalargegardenthat took inpartoftheConventAgostini- cording toadesignofGiuseppeValadier that Nainer whichhadbeenbuiltaround1821ac- no. 9,theformerwasinstalledinPalazzo at in frontoftheother. The ifices oftwoprestigiousHotelsstandingone is punctuatedbytheeighteenthcenturyed- Caramini. ThefinalstretchofVia delBabuino plex wasbuiltin1869totheplansofLuca buildings thatwerealreadythere,thecom- sulting fromtheincorporationofvarious nn. 195–197 , andTheHotelDeRussie, at Albergo Piranesi , was builtbyLuciusFabriciusin 62 b.C.,and headed Janusontheparapet). Thisbridge Four Heads”,fromthetwohermsoffour- Ponte deiQuattroCapi,or“Bridgeofthe rum architectural structure,the river, isrepresentedbyanotherimportant ground totheroad,inparttowards the TheatreofMarcellus.Theevocativeback- the )andthemajesticbulkof Flaminius Nepos the CircusFlaminius(builtin221b.C.by Directly connectedwiththeroadwerealso and pointofreferencethewholedistrict. the Portico d’Ottavia,themodelelement this area,andalmostallofthemfocuson tant monumentalitemsareconcentratedin church ofSant’AngeloinPescheria. Impor- Corporation, withitsheadquartersinthe , includingtheFishmongers presence ofsomethebest-knownRoman stic commercialvocation,wasthemassive feature ofthedistrict,withitscharacteri- lies whichhiredthemout.Oneoutstanding on rowsofbricks,belongedtonoblefami- for settingoutthefish:slabs,supported tico D’Ottavia,wheretherewerestoneslabs site andintheactualstructuresofPor- Selling tookplaceinthesmallpiazzaoppo- tant fishmarketeversincetheMiddleAges. pecium re thatitledintowasknownasthe Via diSant’AngeloinPescheria, andthesqua- being changed.Beforethenitwascalledthe ganized, insomecasestheactualnames 1870, whenmanyurbanspaceswerereor- mation ofRome asthecountry’s Capitalin It tookitspresentnameaftertheprocla- population asfromthethirteenthcentury. dering thequarterinhabitedbyJewish cabariis through theancientdistrictcalled of theVia delPianto, theroad running cellus atMonteSavello.Itisacontinuation ta MariadelPianto andtheTheatreofMar- T t’Angelo district,runningbetweenSan- his isthemainthoroughfareinSan- , orPonte Fabricio(alsoknownasthe , asithadbeenRome’s mostimpor- and the , whoalsogavehisnameto Platea Iudea I E PORTICO D’OTTAVIA VIA DEL , theareabor- Pons Judaeo- de cac- C. del Pianto, isthe Portico d’Ottavia,enteringitfromtheVia The firstbuildingwemeetalongtheVia del period asamythtobringbacklife. living inthedistrictidentifiedAugustan symbolic value,asthewealthybourgeoisie combined withthefunctionalaspectadeeply onto theexistingcomplexes.Thiscustom buildings, sometimesbackingtheirhouses open quarriesformaterialstheirnew used thesurroundingancientmonumentsas sioned byimportantpatricianfamilies,who are dottedwitheminentbuildingscommis- del Portico d’Ottavia,andtheroaditself, The urbanfabricextendingaroundtheVia stroyed in1887,aswasalsoPiazza Giudea. finally abolishedin1848andcompletelyde- na, whichmadetwomoreopenings.Itwas der hispersonalarchitect,DomenicoFonta- Pope SixtusV, theworkbeingcarriedoutun- the Ghettowasextendedatbehestof the endofSixteenthcenturyarea point wheretheSynagoguenowstands).At church ofGregoriodellaDivinaPietà (atthe Pescheria, andthelastoneinfront ofthe za Giudea,thesecondoneatSant’Angeloin opening wasadded:themainoneinPiaz- sioned tocarryoutthework.Laterathird the betterknownBaldassarre)wascommis- from theChristians.SilvestroPeruzzi (sonof with twoentrances,toseparatetheJews walls weretobeerectedaroundthearea, 1555 Pope Paul IVdecreedinfactthatlofty tized withtheconstructionofghetto.In Trastevere), andweresubsequentlystigma- ter livingformorethanathousandyearsin moved alreadyintheThirteenthcentury(af- the TheatreofMarcellus,wheretheyhad in theareaaroundPortico d’Ottaviaand ked withthenumerousJewishsettlements name stilltodayqualifyingthebridgeislin- the mainconnectionwithTrastevere. The until thePonte Sixtowasbuiltin1475it mixed withGreekwordsandenriched with along thefrontcontainingaLatin inscription liar featureofthishouseisthelongscroll built fromitsfoundationsin1468.Apecu- house ofLorenzoManili 17 The streets of Rome VIA DEL PORTICO D’OTTAVIA , 18 The streets of Rome VIA DEL PORTICO D’OTTAVIA b.C. byCaeciliusMetellusMacedonicus,who spectively. Thisworkwaspromotedin146 Stator andtoJuno(GiunoneRegina), re- two temples,dedicatedtoJupiter(Giove) de encompassing,intheHellenisticmanner, sisted ofastructurewithdoublecolonna- via portant oneisassuredlythe making thisroadsointeresting,themostim- Theatre ofMarcellus.Amongthemonuments scaria wereforaperiodtheownersof a finearcadedcourtyard.TheFabi’s ofPe- Fabi family 13 volve theJewsinCatholicreligion. sory sermons”,thatis,onesintendedtoin- ming littlechapelwasaplacefor“compul- la withtheimageofMadonna.Thechar- in monumentalformsofthevotiveaedico- la Pace, itrepresentsasignificantevolution the pronaosofchurchSantaMariadel- externally withrobustcolumnsinspiredby te Libano.With itssemi-ellipticalplanlined in honourofSantaMariadelCarmeloMon- a typicalholyRoman aedicola,builtin1759 le structurehalf-waybetweenachapeland Tempietto delCarmelo of accesstotheGhetto)isback za Costaguti,whichwasoriginallytheplace de oftheManilihouse(thesidetowardsPiaz- foundation ofthecity).Againstleftsi- is, thehousewasbuilt2221yearsafter pears thedate2221abUrbecondita(that characters oftheAugusteanperiod;initap- cluded formulae,archaismsandepigraphic elegant compositionoftheinscriptionin- celebrating theerectingofbuilding.The ancient elementsinalto-relievo(highrelief), , whichgivestheroaditsname.Thiscon- is the Sixteenth-century houseofthe , surmountedbyaloggiaandwith , apicturesquelitt- Portico d’Otta- No. Pescheria there until1880.Behindit, columns ofthePortico d’Ottavia,remained for sale,picturesquelyarrangedamongthe ket. Thestandsonwhichtosetoutthefish silver fish,symbolizingtheancientfishmar- tion oftheancientdistrictcoatarms:a to theextentofdeterminingcomposi- was extremelyimportantintheMiddleAges, left ofthePortico isthe cade linedwithCorinthiancolumns.To the the accesspropylaeum,consistingofanar- cated theinscriptionontympanumof Severus andbyCaracalla(towhomisdedi- new workswerelaterorderedbySeptimius it rebuilt,dedicatingtohissisterOttavia; tect. Between27and23b.C.Augustushad chose HermodorosofSalaminaasthearchi- Pescivendoli (Fishmongers’ University),which herman apostle.TheancientUniversità dei to-rilievo onthefaçadedepictingfis- li Oratorium ofSant’AndreadeiPescivendo- Architecturally adjacenttothechurchis le chapelofSant’AndreadeiPescivendoli. ticularly therichornamentationinlitt- the workspreservedininterior, andpar- chi. Considerableinterestalsoattachesto it rebuiltbythearchitectAlessandroBetoc- pears todaydatesfrom1864whenPius had by GiacomoDellaPorta. Thechurchasitap- by thefull-scalereconstructionofchurch Martino LonghitheElder, followedin1599 signed bythe“Fishmongers’University”to end oftheSixteenthcenturywithworksas- stored numeroustimes,startingtowardsthe ca layoutofanaveandtwoaisles,wasre- 1192. Thetemplestructure,withitsbasili- ded tothenewdedicationSant’Angeloin trance. Thewordsin brickwork ofthelefthandwallen- the preciousinscribedplaquesetinto Paul, itwasfoundedin755,asattestedby gelo inPescheria. OriginallyentitledtoSt. in thepropylaeumofPortico: Sant’An- most importantchurchinthedistrict,“set” so intheVia delPortico d’Ottaviastandsthe of theGrassiandParticappa families.Al- ble tothe13thcentury, oncetheproperty , particularlyinterestingbeingthefineal- , rises a medievaltower foro piscium Pescheria no. 25 were ad- ascriba- , , which Via di Temple oftheJewishCommunity tel. Attheendof19thcentury the medievalconstructionofCatenaHo- ples ofApolloSosianoandBellona, maining fragmentsofthecolumnsTem- had ofthearcadestheatreandre- gate besidethecasinaafineviewmaybe cent tothecurveoftheatre).From gle residentialunit(theolderpartisadja- 14th andthe16thcentury, butformingasin- consists oftwobuildings,datingfromthe and Paolo Fidenzoni.This“casina”actually tre, underthearchitectsAlbertoCalzaBini 1926 toclearandrestorethenearbythea- to lightduringtheexcavationscarriedoutin conservation ofitsmedievalwalls;itcame for itsarchitectureandthefairlevelof me’s FineArtsDepartment)isoutstanding the administrativeofficeofCityRo- gelo inPescheria. Thebuilding(nowusedas own noblechapelinthechurchofSant’An- had manypropertiesinthedistrictandits king itsnamefromthatofthefamily monious side thePortico standstheunobtrusive, har- in 1689bythearchitectFilippoTittoni. Along- t’Andrea deiPescivendoli cametobebuilt that existedthere.ThustheOratoryofSan- there, replacingtheshopsandworkshops and wasgivenpermissiontobuildanOratory use ofsomepremisesadjacenttothechurch, sity becameaConfraternity, itwasgiventhe of Sant’Andrea).In1687,whentheUniver- re ithadtheuseofachapelitsown(that quarters inthechurchofSant’Angelo,whe- from theSixteenthcenturyhaditshead- the patronageofSaintsPeter andAndrew, already existedintheTenth centuryunder sar, who wantedtocreateastructuresimi- of the wards theTiber, skirts thegrandioseremains stretch oftheVia delPortico d’Ottavia,to- times oftheGhettoarepreserved.Thefinal garden inwhichvarioustombstonesfromthe sta andOsvaldoArmanniinthecentreofa me, wasbuiltbthearchitectsVincenzo Co- Greek crosslayout,toppedbyapaviliondo- the Ghetto.Thisimposingbuildingwithits gogue , wasbuiltatoneoftheaccessesto Theatre ofMarcellus Casina deiVallati , : begunbyCae- nn. 28-29 , the Syna- Great , ta- of thenearbytheatre. remains ofwhicharepartthe structures vestry itispossibletoreachthecrypt, sco madebyStefanoParrocel. Fromthe taining therefinedEighteenth-centuryfre- ment inthefinechurchfrontisovalcon- tury. In1934theapsewasadded.Anoddele- rably restoredinthemiddleofnextcen- ject ofFilippoBarigioni,andthenconside- of theEighteenthcenturyaccordingtoapro- the churchwasreorganizedinearlypart (perhaps datingfromtheEleventhcentury), gno, from thelargerchurchofSanGregorioMa- known asSanGregorietto,todistinguishit cing thePonte Fabricio(itwasinfactalso Capi PietàaiQuattro gorio MagnodellaDivina the along theVia delPortico d’Ottaviaendsat was takenoverbytheOrsinifamily. Ourwalk in theEighteenthcentury, whenthepalace 1523 and1527.Otherworkswerecarriedout tect BaldassarrePeruzzi workedbetween vello), onwhichtheeminentSienesearchi- tre (hencethepresentnameofMonteSa- the externalarchesofcaveathea- Savelli familybuiltits“palace”,directlyon dieval nucleusofthecomplex,illustrious and from1716totheOrsini’s. Ontheme- to thePierleoni family, thentotheSavelli’s, ged intheMiddleAges,belongedfirstofall The fortifiedresidence,whichineffectemer- of thestageandcaveatheatre. built ontheraisedpartderivedfromruins Orsini came tobegenerallyknownasthe ted intoaneminentnobleresidence,which The structuresoftheTheatrewereconver- the districtofSant’AngeloandCapitol. tural connectionwasestablishedbetween it animportantelementofeconomicandcul- (the Pietas templewasdestroyed),butwith terruption ofthesurroundingurbanfabric series oftravertinearches,actedasanin- The buildingoftheTheatre,formedbytwo nephew Marcellus,hissisterOttavia’s son. pleted byAugustus,whodedicatedittohis lar totheTheatreofPompey, itwascom- church , whichstands,isolatedandelegant,fa- de ponteJudaerom , no. 30 with thelongnameof of theVia diMonteSavello, ). Ofancientorigin San Gre- Palazzo 19 The streets of Rome VIA DEL PORTICO D’OTTAVIA 20 The streets of Rome VIA DEI GIUBBONARI trician familiesbecomingestablished inthis their headquarters,andledtoimportant pa- porations andconfraternitiesoftradesfor cation madeittheplacechosenbymanycor- mercial andhandicraftheart.Thismainvo- indeed beingregardedasthecity’s com- and hasalwaysbeenconnectedwithtrading, the areabetweentwohistoricdistricts, bonari isoneofthebest-knownstreetsin ganize Piazza diCampodeiFiori.Via deiGiub- the popewhohadworkscarriedouttoreor- of thepresentVia delPellegrino bySixtusIV, re isawallinscriptionrecordingtheopening dei GiubbonariandtheVia dei Balestrarithe- blished here.InthecornerbetweenVia hotels andartisans’workshopswereesta- to theVatican, forwhichreasonnumerous rum was otherwiseknownasthe Campo deiFioriandVia deiGiubbonari).This dei BanchiVecchi, Via delPellegrino, Piazza Pianto (correspondingtothepresent-day Via t’Angelo tothechurchofSantaMariadel the thoroughfarerunningfromPonte San- rida orFlorea,thenamegivengenericallyto tion oftheVia delPellegrino, knownasFlo- maxima, wasinfactthenaturalcontinua- an ancientarcadedroadcalledtheporticus as Via Florida.Thestreet,corresponding to onto it,whilesometimesitevenappeared the ConfraternityofBooksellerswhichfaced little churchofthatnameconnectedwith as theVia diSantaBarbara,namedafterthe derwear stores.Itwashoweverknownalso today dottedwithnumerousclothingandun- old tradition,theVia deiGiubbonariisstill ri” (dealersinrawsilk):linewiththisage- ri” (menders)andthatofthe“stramazzato- nected withclothing,thatofthe“repezzo- lamantelli”, alsoderivedfromactivitiescon- times oflongagoitwascalledtheVia “Pe- trict andtheotheroneisinParione, andin One sideofthestreetisinRegola dis- whom livedandhadtheirworkshopshere. the “gipponari”,makersofjerkins,many T , thatis,theroadusedbypilgrimsgoing widely usedintheSixteenthcentury, to his streetowesitspresentname,already VIA DEIGIUBBONARI Via Peregrino- shape oftheVia diGrottapinta. ved outlinecantodayberecognized bythe century), andthenthetheatre,whosecur- ti wasbuiltinthemiddleofFifteenth ruins ofwhichthePalazzo OrsiniPio Righet- erected thetempleofVenus Victrix (onthe builtbetween61and55b.C.Hefirst one inthecity, whichtheRoman General tre ( tre. ThiswasRome’s veryfirstrepertorythea- gent totheancientsiteofPompey’s Thea- be forgottenthatthestreetrunsatatan- be”, i.e.ancientRome. Infactitshouldnot linked withtheearliesthistoryof“Ur- in theirturnstandingurbansurroundings the Palazzo FarneseandthePalazzo Spada, the architecturalandsymbolicfeaturesof selves here.Noblehouseswereattractedby certain prestigiousfamiliesestablishedthem- of anareamadeeminentbythefactthat reality ofawholeera,leadsintotheheart name evokesthepopularandpicturesque execution. Via deiGiubbonari,lastly, whose scia marketwasheldhere)andaplaceof markets (inthedaysofPope Paul IItheGra- once the roli andthefamousPiazza CampodeiFiori, runs betweenthespaciousmodernLargoCai- have notcauseditsancientcharmtofade, scentino). Theroad,whosemodernshopsigns male mendicantsofSaintsClementandCre- servatory ofthe“Zoccolette”(thepoorfe- of theSixteenthcentury)andtoCon- which SixtusVcausedtobebuiltattheend Cento Preti (theformerbeggars’hospital scents, andthoselinkedtotheOspiziodei of theHolyTrinity ofPilgrims andConvale- stance intheoldcity:thatofCompany some ofthemostimportantcentresassi- Campo Marzio.Thestreetalsorunscloseto tres betweentheVatican andtheancient linking theadministrativeandreligiouscen- for the1475Jubilee,andfrommainroads from thebridgethatPope SixtusIVhadbuilt ban fabricofthearea,amerestone’s throw is infactsituatedatafocalpointtheur- complex, highlyvariedurbanarea.Thestreet theatrum marmoreum Platea CampiForum ), andthelargest , thesiteof struction ofthearchbehindroadcalled work ofNicolaGiansimoni,andthecon- entrance hallwiththemainstaircase, works, includingthedefinitionofoval The newownerscontinuedtheenlargement by theMontediPietà (MunicipalPawnshop). of theDiscalcedCarmelites,wastakenover tury, afterhavingservedastheGeneral House family, inthemiddleofEighteenth cen- forming partoftheRegola district,isthe along theVia deiGiubbonari,ontheside The firstbuildingofimportanceencountered Pietà. This trance givingontothePiazza delMontedi Via deiPettinari andreconstructedtheen- pervised theexpansionworkstowards tini, commissionedbyTaddeo Barberini,su- and 1644theRoman architectFrancescoCon- with thenameofUrbanVIII).Between1640 Maffeo(whohadbeenelectedpope been entrustedin1623byhismorefamous behest ofCarloBarberini,towhomithad no. Thebuildingwaslaterenlargedatthe Ponzio, FabrizioBreccioliandCarlo Mader- works, allofthemverywellknown: succeeded eachotherinsupervisionofthe were alsoincludedinit.Various architects while thearchitecturallyadjacenthouses courtyard, stablesandaseriesofworkshops, of arealfortified zo, whichtheownerwantedtobeinform signor FrancescoBarberiniin1581.Thepalaz- ily (alliesoftheOrsini’s), acquiredfromMon- houses belongingtothenobleScapuccifam- ing waserectedintheareaoccupiedby emblem ofthispowerfulfamily. Thebuild- mistakable symbolofthebees,heraldic Domus magna , no. 41 domus , displayingtheun- , includedalarge of theBarberini road, namelythe one ofthemactuallyinthemiddle beautiful andimportantchurchesinthecity, street wecanlingeratsomeofthemost Giubbonari. Inmakingourwayalongthe which canbefullyenjoyedfromtheVia dei Via dell’ArcodelMonte,adelightfulviewof ma), insidewhichwefindone of thefinest (today theheadofficeof Banca diRo- part oftheancientMontediPietà building site theLargodeiLibrari,affordsaviewof the Via dell’ArcodelMonte, exactlyoppo- around frescoedovals.Theentrancefrom elegant displayofstuccoelements,arranged cross andtheroofisenhancedbyan . TheinteriorplanisthatofaGreek on itssummitbythetravertinestatueof the Roman artistGiuseppePasseri, crowned dominated byitswhitefaçade,theworkof little wideningintheroadleadinguptoitis opened asaplaceofworship.Thecharming of SantaBarbarawasdulyrepairedandre- secrated andevenusedasastore,thechurch sombre period,duringwhichitwasdecon- had meanwhilebeendissolved.Afterarather in lieuoftheancientConfraternitywhich (Pia Unioneperilsuffragiodeitrapassati), Charitable UnionofIntercessionfortheDead in 1879thechurchwastakenoverby carried outinthemid-Nineteenthcentury, present Baroqueforms.Afterfurtherworks the Seventeenthcentury, whichgaveitits a firstradicalrestorationintheearlypartof end oftheSixteenthcentury, itunderwent riod inthepossessionofJesuits,at avari andtheVia diGrottapinta.Afterape- prised theareauptopresentVia deiChi- referred toasbeing“inSatro”),whichcom- district (atthetimechurchwasinfact the Teatro diPompeo behindit,intheSatiri of theEleventhcenturyinabarrel-vault ta Barbarawasestablishedintheearlypart shops inthearea.TheoriginalchurchofSan- printers andbookbinders,whohadtheirwork- of theLibrari,whichincludedbooksellers, in 1601itwasgrantedtotheConfraternity tion, itowesthislatternametothefactthat church oftheLibrari Santa Barbara , otherwiseknownasthe small churchentitledto . Ofancientfounda- 21 The streets of Rome VIA DEI GIUBBONARI 22 The streets of Rome VIA DEI GIUBBONARI the familythatpossessedbuilding. Ashort mythology, aimedatexaltingtheprestigeof themes depictedweregenerallytakenfrom palaces withgraffitiandpaintings.The rating thefaçadesofnoblehousesand teenth andtheSixteenthcenturiesofdeco- fashion widespreadinRome betweentheFif- decorations, nowveryfaded,inlinewiththe furthermore enrichedbyextensivepictorial dassarre Peruzzi). Thehandsomefrontwas utes themtonolessanarchitectthanBal- order, archedandarchitraved (Vasari attrib- cially thosedecoratedbyrosettesofthefirst tuated byelegantlyframedwindows,espe- 47 ni’s wasthe berini family. AlsobelongingtotheBarberi- their turnhadbeendonateditbytheBar- house oftheDiscalcedCarmelites,whoin building adjacenttoitsown,formerlythe that is,whentheMontediPietà acquiredthe broad nichescreenedbygates,builtin1759, della MadonnadelSoccorso Via dell’ArcodelMonte,wefindthe end ofthatcentury. Inthissamestreet, the and completedbyCarloBizzaccheriatthe responsible forthestructuralimprovements) by GiovanniAntonioDeRossi (whowasalso the interiorfinalizedbetween1600and1670 ments, afteraprojectforthedecorationof excellent polychromemarblesandgiltele- of veryhighquality, exaltedbyanarray of chapel containsafinesculpturaldecoration di Roma, todaytheBancadiRoma). The it wastakenoverbytheCassadiRisparmio in 1798.Aftervariousupsanddowns,1937 was suppressedbytheFrenchadministration order tocombatthesocialevilofusury, it ing moneyatverylowratesofinterest,in norite MatteoCalviforthepurposeoflend- di Pietà Institute(foundedin1539bytheMi- history andthecharitableaimsofMonte conceived asamonumentcelebratingthe Francesco Paparelli between1639and1642, 1604, containsthechapeldesignedby ry nucleusCarloMadernaworkedasfrom building, onwhoseoriginalSixteenth-centu- cappella dellaSS.Trinità examples oftheLateRoman-Baroque: the , characterizedbyitscharmingfrontpunc- Sixteenth-century house . Themonumental . Inreality, a cappella at no. district isthe side oftheVia deiGiubbonariintheParione Looming largeamidstthebuildingson Theatre, subsequentlyreusedasworkshops. called fromtheambulatoriesofPompey’s Grotte way pastthiswecometothe do Reni portraying tral dooroncecontainedthepaintingbyGui- dates from1638:the“ovatus”abovecen- façade constructedbyGiovanBattistaSoria until themiddleofcentury. Thefine Rosati, and,inalternatingphases,continued century, ontheprojectofarchitect Rosato menced intheearlypartofSeventeenth ancient TheatreofPompey. Work onitcom- Barnabite Order, intheareaadjacent tothe San CarloBorromeo,agreatestimatorofthe lowed tobuildabignewchurchentitled their trade,andtheywereeventuallyal- the “catinari”(bowl-ordish-makers)plied started acquiringthesurroundinglandwhere dei MontidellaFarina.TheClericsverysoon present-day Vicolo deiChiodaroliandthe Via of SanBiagio ccaria) wasestablishedinRome inthechurch founded inMilanbySant’AntonioMariaZa- banites (theCongregationofRegular Clerics century, whentheCommunityofBar- Its origindatesfromtheendofSixteenth to wherethestreetmeetsVia Arenula. masterpiece ofthearea,standingveryclose church ofSanCarloaiCantinari halt alongthisfascinatingpromenadeisthe for itsfineportalwithabalcony. Ourfinal bonari andtheVia deiChiavari,noteworthy 89 executed thebeautifulfrescoesof thedome). Giovanni LanfrancoandDomenichino (who outstanding worksbyartistsofthecalibre Seventeenth totheNineteenthcentury, with as averitableanthologyofpaintingfromthe architecture. Theinterior, too,appearstous structure inthetraditionofRoman church “finestrelle” windows,abold,innovative bour andilluminatedbymeansoftwelve is theribbeddomerestingonaloftytam- church choir. Butthemostadmiredfeature prayer, whichcannowbeseenbehindthe , onthecornerbetweenVia deiGiub- (formerly Vicolo delleCripte),so de Anulo Baroque Palazzo Ghetti St. CharlesBorromeo , situatedbetweenthe Vicolo delle , thereal , no. at drianeum bouring Piazza dellaRotonda) andthe po Marzio,suchasthePantheon (intheneigh- area traversedbythepresent-dayVia diCam- structed, manyofthemstillsurroundingthe numental complexesofantiquitywerecon- ce andtime,someofthemosteminentmo- of war. Within ashortdistance,inbothspa- taining theshrinededicatedtoMars,god flat areausedformilitaryactivitiesandcon- tius (FieldofMars),identifiedasthebroad resque stretchoftheancientCampusMar- street infactrunsthroughashort,pictu- in thenearbyPiazza diCampoMarzio.The plex oftheSyro-Antiocheanritewhichstands in CampoMarzio,afterthemonasticcom- wever alsoknownastheVia diSantaMaria Marzio andofColonna.Thestreetwasho- boundary betweenthedistrictsofCampo very heartofanareathroughwhichrunsthe to thePiazza diSanLorenzoinLucina,the house thenotarialofficesoflawcourt) in theTwelfth centurythere wasafairlyden- complex in1563.Aroundthis area already were incorporatedintothesamemonastery vanni AntonioDeRossi. Thetwochurches between 1668and1685bythehandofGio- Paparelli; finallyittookonitsbaroqueforms me firstCarloMadernoandthenFrancesco sign ofGiacomoDellaPorta, afterwhomca- built onitspresentsitein1563,tothede- Santa MariainCampoMarziowasinstead ded intheTwelfth century. Thechurchof oratory on795andwhosebelltowerwasad- rio Nazanzieno,whichstartedasasimple ties) includesalsothechurchofSanGrego- (today pertainingtotheChamberofDepu- by Pope Zacharias.Theformermonastery Ninth centurytoagroupofBasilianmonks had initsturnbeengrantedaroundthemid- around thechurchofsamename,which ne inCampoMarzio,probablyalready806 the complexofSantaMariadellaConcezio- zation oftheareawasconstruction le Ages,adecisiveepisodefortheurbani- T degli UfficidelVicario (whichusedto his isthestreetthatleadsfromVia (in Piazza diPietra). IntheMidd- I ICMOMARZIO CAMPO VIA DI Ha- in thiscaserepresentedbythe paintedter- turesque expressionofpopular devotionis protect thedistrictandstreet.Thispic- typical Roman “madonnelle”supposedto icula landi ario, atthe goods, startsintheVia degliUfficidelVic- ery storesandemporiumssellingknitted once wellknownforitsfamoushaberdash- Bank ofSantoSpirito. edifices aretheParliament buildingandthe za delParlamento, whosemostimportant tion ofItaly, includingtheopeningofPiaz- the measurescarriedoutafterUnifica- The presentaspectoftheareadatesfrom gle ironoftheformerCaraccioliniconvent). ner withtheVia diCampoMarzio(onthean- family, withthreehillsinrelief,atthe cor- se worksisthecoat-of-armsofpope’s Lucina toCampoMarzio.Areminderofthe- on thestreetrunningfromSanLorenzoin (of theChigifamily)workswerecarriedout century, atthebehestofPope AlexanderVII petta). HalfwaythroughtheSeventeenth Corso, theVia delBabuinaandtheVia Ri- starting fromPiazza delPopolo: theVia del finition ofthe“Tridente” (thethreeroads half oftheSixteenthcenturyledtode- planning operationswhichduringthefirst squares, inthewakeofgrandioseurban carried outonthesurroundingroadsand those names.Atthesametimeworkswere ,inthetwopiazzaswith dings, suchasPalazzo Chigiand,aboveall, with theconstructionofcertaineminentbuil- sequent centuriestheprocessculminated of thedistrict,Conti’s. Duringthesub- ved thethirdbest-knownaristocraticfamily tely houses.IntheVia delCampoMarzioli- re, promotingtheconstructionofnoblesta- patrician familiestookuptheirresidencehe- in theRenaissance period,someimportant tributed overthesurroundingarea.Starting monastery’s numerouspossessionsanddis- se buildingfabric,linkedabovealltothe The itineraryalongtheVia di CampoMarzio, , atno.1,withadelightful ( niche Eighteenth-century Palazzo Or- ) atthecorner, oneofthemany sacred aed- 23 The streets of Rome VIA DI CAMPO MARZIO racotta statue portraying the Virgin with the restoration works carried out by Ferdinando snake underfoot, enclosed in an equally re- Fuga, was finally reassembled in the Corazze fined oval stucco frame, surrounded by a Courtyard in the Vatican. Passing by a Six- flight of angels and surmounted by a canopy. teenth-century house, nn. 72-73, with its Probably from the beginning of the Eigh- front displaying artistic string-courses, we teenth century, the niche is a praiseworthy reach one of the most important buildings example of rococo taste, while the statue is in the whole street: Palazzo Marescotti, no. the work of an unknown Nineteenth-centu- 69, which originally gave its name to one ry sculptor. At no. 74 is the printing works stretch of the present Via di Campo Marzio. of the Chamber of Deputies, on the spot This is most likely the palace of the Por- where the Seventeenth-century Convent of tuguese Ambassador mentioned in the Eigh- the Mission Fathers used to stand. The Con- teenth-century plans of Rome, in which the gregation of the Mission (popularly called the noble family present in Rome ever since the Lazarists), founded in by St. Vincenzo Fifteenth century, and related to the pow- de Paul, in 1659 purchased the building be- erful Orsini, Farnese and Ruspoli families, longing to Cardinal Toschi (alongside Mon- took up residence in the early part of the tecitorio) with the intention of setting up his Eighteenth century. In the centre of the House there. In the vast area between the façade there is a majestic Seventeenth-cen- present-day Via della Missione, Via degli Uf- tury portal in which appears the fici del Vicario and Via di Campo Marzio, of the Marescotti family, representing a ram- thanks to the munificence of the Duchess pant panther above which there is a crowned D’Anguillon Maria Maddalena De Vignarod a eagle. Alongside was the destroyed Palazzo great complex was built, including the little Rondinini, built in the Sixteenth century and church of the SS. Trinità (adjacent to the abandoned when the family moved to the House) and a garden. In the middle of the nearby house on the Corso. At the end of Eighteenth century, both the church and the Largo dell’Impresa (so called because here House were rebuilt (the church, designed by lived the Empress del Lotto) is the House of Bernardo Della Torre, has now been decon- the of Santa Maria del Popo- secrated), and were eventually expropriat- lo, no. 3, rebuilt in 1748. On the wall ex- ed between 1876 and 1914 (the original en- tending towards the Via in Lucina is the trance to the House, framed by a Fifteenth- plaque commemorating the discovery of the century portal with subsequent additions, is Obelisk of Psammeticus II, ordered by Au-

VIA DI CAMPO MARZIO at no. 17, Via degli Uffici del Vicario, while gustus to be brought from Heliopolis and set that to the church is at no. 1, Via della Mis- up as the gnomon of a gigantic sun-dial in 24 sione). During the construction of the Mis- . Dug up in 1587 by Domeni- sion complex, the remains of the Ustrina of co Fontana, it was fully recovered in 1789 the Antonines, that is, the places where the during the pontificate of Pius VI and restored members of the imperial family were cre- with the fragments of the column of - mated, came to light. Long before, in the inus Pius, after which it was finally erected same area stood the red granite monolithic in the Piazza di Montecitorio by the archi- The streets of Rome column, erected in 105-106 AD in honour of tect Giovanni Antinori. Beneath the founda- Pius; extracted in 1705, it was dis- tions of the Eighteenth-century house at mantled at the time of Pius VI and used for no. 48 in the Via di Campo Marzio (with a reassembling obelisks and other ancient arte- fine stucco decoration on the façade), un- facts. The only part of it preserved is the der the courtyard, traces were found of the beautiful base of precious Italic marble, paving bearing inscriptions in Greek, in which, after having been for a certain peri- bronze characters, relating to the Sun Clock od in Piazza Montecitorio, where it was of Augustus, evocatively referred to the signs placed by Pope Benedict XIV after the of the Zodiac and to the constellation of constructed attheendofNineteenth the CamottoHall,whichinitsturnhadbeen looking quadrangularcomplexincorporated of theMontecitoriobuilding.Theimpressive who joinedthenewwingontorearpart Ernesto Basile,anarchitectfromPalermo, ing waserectedbetween1903and1927by Banco diSantoSpirito skirted bythe trapezoidal shapedPiazza delParlamento, tral partoftheVia diCampoMarzioisthe tic corbels.Forminganopeninginthecen- with anarchedcornice,decoratedartis- framed windowsandthecentralentrance made allthemoreimpressivebyitselegantly teenth-century façadewithstuccopanels, In frontofthisthereisaharmoniousEigh- the MarcheseGiulianoCaprinicaDelGrillo. ateur DramaticAcademypresidedoverby nani . Thenextbuildingisthe , no.46,formerlyhousingtheRome Am- Parliament building . TheParliament build- Palazzo Mag- and the cesco CarloBizzaccheri. structed between1690and1700 byFran- overlooking Parliament Square,wascon- Acquaviva family, whilethewingbehindit, cleus ofthepalaceandgarden on thepre-existingSixteenth-centurynu- by thearchitectCarloRainaldi,whoworked verted intoaconventbetween1663and1665 binieri Barracks,wasreconstructedandcon- Paul V. Thepresentbuilding,nowaCara- in Lucina,entrustedtothem1606byPope ating intheadjacentchurchofSanLorenzo order foundedinNaples1588andoffici- (known as“Caracciolini”),belongingtothe nor ClericsofSanFrancesco Caracciolo once housingthe zo inLucina,occupiedbythelargebuilding Campo MarzioandthePiazza diSanLoren- ends atthecornerblockbetweenVia di of theMarquisPalombara. Finallythewalk including thepalacesofChigifamilyand demolition ofthepre-existingbuildingunits period oftheGovernorate),following ing figuresofRoman architectureduringthe 1923 byMarcelloPiacentini (oneofthe lead- in imitationclassicalstylebetween1918and office oftheBankItaly, wasconstructed building opposite(no.18),formerlythehead gories ofItalianCivilizationandHistory thor ofthelongfriezedepicting internally byGiulioAristideSartorio,theau- nitely Art-nouveaufashion,anddecorated covered byradialglasspanelsofverydefi- the classicalmodelsofRoman theatres,was the newparliamentarychamber, based on the ItalianPeople alluding tothe front aresomeallegoricsculpturalgroups Rome asCapitalofItaly).Standingoutinthe fiftieth anniversaryoftheproclamation great Expositionof1911(tocelebratethe years witnessingthepreparationsfor trend thatmarkedRoman architectureinthe aspects, inspiredbythe“monumentalizing” duced alivelyfaçadewithsomeArt-nouveau housed theChamberofDeputies).Basilepro- tecitorio building,whichhassince1871 zo dellaCuriaInnocenziana(thatis,theMon- century inthecourtyardofancientPalaz- Reawakening andTriumph of convent oftheRegularMi- , byDomenicoTrentacoste; 25 . The The streets of Rome VIA DI CAMPO MARZIO Alle- 26 The streets of Rome VIA DEI CESTARI cludes viaandpiazzadellaPigna, viadeiCe- me ofthefamilyowner previously calledvicolodeiPorcari bythena- res here.TheadjacentVicolo delleCeste and sellerswhohadtheirworkshopssto- street owesitsnametothebasketmakers right anglesfromtheVia deiCestari.This up therotundaofBaths),whichrunsat opened in1621byPope GregoryXV, breaking the Via dell’ArcodellaCiambella(thestreet work elementsincorporatedinthewingsof Roman constructionaresomemajesticbrick- gine Aqueduct.Allthatremaintodayofthe Agrippae Alongside theancientBathswas Cestari, Torre ArgentinaandthePantheon. ching overtheareanowincludingVia dei pa, themostancientonesinRome, stret- rotunda orcircularhalloftheBathsAgrip- opened initsturnovertheremainsof ded downtoviadell’ArcodellaCiambella, of CorsoVittorio Emanuele,theVia exten- capital in1870andthesubsequentopening the proclamationofRome asthecountry’s urban planningworkscarriedoutfollowing rounding roadswerestraightened.Beforethe ments oftheVia deiCestariandofmanysur- and Seventeenthcentury, whenthealign- determined duringthecourseofSixteenth the Via deiCestarihasretainedthepattern buildings. Thispartofthedistrictcrossedby blets, plaquesandlintelsonthewallsof ats ofarms,badges,niches,memorialta- and otherelementsofsmallsize,suchasco- the districtisapplicationofancientfinds Marco. Anothersortofornamenttypical the smalldistrictfountaininPiazza San ments; thereisapine-cone,forexample,on copied sincetheninotherdecorativeele- urtyard oftheBelvedereinVatican), and Baths ofAgrippa(thenremovedtotheco- cient timesembellishingafountaininthe from theenormousbronzepine-coneinan- district.Thenameoftheareaderives Argentina, runningthroughtheheartof T za dellaMinervawiththeLargodiTorre his isthestreetthatconnectsPiaz- , alargebasinsuppliedbytheVer- the insula VIA DEICESTARI Stagnum that in- and bytheChurchofSant’Ignazio), andby sponsible forthegrandioseCollegio Romano the Minervaconvent)andofJesuits(re- gious religioushousesoftheDominicans(in milies chosetolive,attractedbythepresti- ban area,wheresomeillustriousRoman fa- city. Itrunsinfactthrough aneminentur- most importantaristocraticpalacesofthe on bothsidesbythewingsofsome which ispicturesqueandshady, isbounded one ofRome’s thirteenobelisks.Thestreet, Ferrata in1667-Ontheelephant’s backstands sco Colonnain1499,andsculptedbyErcole ration was elephant designedbyBernini,whoseinspi- midst ofwhichstandsthewell-knownlittle monious littlePiazza dellaMinerva,inthe terials. TheVia deiCestaristartsatthehar- extracting limefromtheancientmarblema- in relationtothelimekilnsactivearea, the churchof“Calcarari”(limemakers), (SS. QuarantaMartiri)andwasalsoknownas merly dedicatedtotheFortyHolyMartyrs Via deiCestarinearLargoArgentina,wasfor- San Francesco.Thechurch,attheendof far asthechurchofSacreStimmatedi za dell’OlmoandSantaLuciadeiGinnasi,as me includingthewholeareabetweenPiaz- za MatteiwithPiazza dellaMinerva),thena- street ofthe“Calcarari”(whichlinkedPiaz- sarini, theVia deiCestariformedtheancient Together withtheVia diSanNicola de’ Ce- demolished in1577toprovidemoreroom. group ofhousesbelongingtotheLenifamily, Agrippa belowatowerformingpartofthe chitraved passagepertainingtotheBathsof l’Arco deiLeni,duetothepresenceofanar- dei CestariwasalsoknownastheVia del- of abuildingintheroadstillremain.TheVia portal andafewelementsinthecourtyard Palazzo deiPorcari onlyaFifteenth-century after theUnificationofItaly. Oftheancient by thePiemontese PlacenamesCommission scanizing” theRoman vernacular, asdecided sent namein1871duetoaprocessof“Tu- engaged inthesametrade;ittookitspre- stari andvicolodelleCeste,hadworkshops the Poliphilo written byFrance- Seminarium Gallicum ding housingthe side ofthestreetisonelargebuil- one ofthemarvelsRome). Ontheother lazzo SciarraColonnaalCorso,regardedas the “Carbognanoportal”(theaccesstoPa- majestic entrancetothePalazzo Farnese and palaces: themostfamousexamplesare tury formuladerivedfromthenobleRoman in keepingwiththetypicallySixteenth-cen- and bythebalconyaboverestingonpillars, cal compositionformedbytheashlarportal (no. 69),arecharacterizedbytheircanoni- two mainentrances,onPiazza dellaMinerva used asahotel,whichitindeedstillis.The efficient structurewasrightawayexclusively formed intoa“wintergarden”.Themodern, ce andthesplendidinnercourtyardtrans- venteenth-century blockofthenoblepala- into aunitarycomplexcentredontheSe- seppe Valadier), who joinedthevariousparts nicipal architecthighlyesteemedbyGiu- restructured underEnricoCalderari(amu- entrepreneur JosephSauve,itwasradically ri family. Purchasedin1841bytheFrench connected withthepropertiesofPorca- and itincorporatedthepre-existingbuildings ted bythenoblefamilyofPortuguese origin, early partoftheSeventeenthcentury, erec- The monumentalbuildingdatesfromthe it isbridgedbyanelegantseriesofarches. prestigious HotelMinerva),andalongitsway side of The startoftheroadismarkedbyright the lofty, symbolicpresenceofthePantheon. Palazzo Fonseca French Seminary in 1856acquiredthe (occupied bythe : thePont. aedicula towards theVicolo dellaMinervathereisa Virginio Vespignani. Onthesideofchurch just asinglenave,andthenagainin1837by century, theinteriorbeingrearrangedwith was subsequentlyrestoredintheEighteenth struction tothearchitectAngeloTorroni. It gory XIII),whichin1624entrusteditsrecon- ded afewyearsearlierbyedictofPope Gre- confraternity ofthePietà deiCarcerati(foun- Capite. In1584itwasgrantedtotheArch- ordinate totheMonasteryofSanSilvestroin the Tenth centuryasSt.IoannisinPinea, sub- ni dellaPigna colo delleCeste:the churches inthedistrict,atendofVi- complex standsoneofthemostsignificant the famousancestoroffamily. Behindthe tury inplaceofapre-existingbustCato, ri, placedattheendofNineteenthcen- a stoneplaqueinmemoryofStefanoPorca- at nal worksisthefinemarbleportalwalledin building complex.Whatremainsoftheorigi- no. 19 a frescobyananonymousartist between the of thedistrict.Outstandingin interioris in whichweseethepine-cone,symbol Porcari family ning the lo delleCeste,wecometotheblockcontai- nerva, separatedfromtheconventbyVico- a recentaddition.GoingpasttheHotelMi- tic Renaissance forms,withthreestoreysplus whole block.Theconventbuildingisineclec- the designofglobalrestructuring yard andthen,in1885,wasresponsiblefor first settoworkarrangingtheinnercourt- chitect ofthefaçadeSantaChiara),who vent toLucaCarimini(whowasalsothear- minary entrustedtheremakingofcon- ration ofthechurch,in1883FrenchSe- a conventthere.Afterpromotingtheresto- of theancientBathsAgrippa,toestablish scan nunsanumberofbuildingsinthearea les Borromeoin1562assignedtotheFranci- is, entitledtoPope Pius IV),bornafterChar- ra, theancientmonasteryofCasaPia (that convent adjoiningthechurchofSantaChia- no. 25 , containedinaNineteenth-century or Fifteenth-century housesofthe , Vicolo delleCeste,overwhichis niche , recordedfromaslongago , fronting ontoVia dellaPigna in arefinedmarbleframe, church ofSanGiovan- 27 The streets of Rome VIA DEI CESTARI Seventeenth and Eighteenth century, depic- Besso, Largo delle Stimmate no. 26, with ting the Madonna and Child between its principal front over the Largo di Torre Peter and Paul. Another splendid aedicula Argentina no. 11. Its original structure dates (niche), visible from the Via dei Cestari, is from the Sixteenth century, when it was first the one reassembled in monumental form in the residence of the Rustici family and then the Via dell’Arco della Ciambella, nn. 9-10, of the Olgiati’s. It was later restructured by against the pier of a Roman arch in the Baths. , who was responsible for the With its elaborate stucco frame, this contains lovely marble portal facing the church of the the Late Nineteenth-century painting of the Stimmate, a survival from the Late Nine- Madonna del Rosario, by Pietro Campofiori- teenth-century rebuilding works. In the mid- to. We next encounter the majestic Palazzo Seventeenth century it passed into the hands Maffei Marescotti, no. 21, an admirable work of the Strozzi family, who retained owner- by . The grandiose buil- ship of it until 1907, when it was sold to Mar- ding, with its main front facing the Via della co Besso: it still houses the Foundation of Pigna, no. 13 A, was built starting in 1580 at that name, set up to preserve and add to the the commission of Cardinal Marcantonio Maf- family’s well-stocked library. In 1882, in the fei, who had the pre-existing family houses reign of Umberto I, the building was expro- demolished to make room for the palazzo. priated to make room for the opening of the The death of the cardinal led to the sus- broad new street, the Corso Vittorio Ema- pension of the construction works, and then, nuele, which led to the destruction of the at the end of the century, the palazzo passed solemn inner courtyard, at the same time into the ownership of Camilla Peretti (sister compromising most of the building’s original of the then ), who thus moved structure. Our promenade along the Via dei into one of the most representative build- Cestari ends at the church dedicated to the ings of Giacomo Della Porta’s work. The har- Sacre Stimmate di San Francesco, which mony of its composition characterizes both stands facing the side of Palazzo Besso. Built its main façade and its front looking towards over the remains of the earlier church ded- the Via dei Cestari. Each subsequent change icated to the SS. Quaranta Martiri di Senaste, of ownership brought with it architectural it was originally called the church of Cal- changes, and of these particular significance carario and then, from the XVI century on, (especially in the courtyard) attached to of the SS. Quaranta de Lenis. It was given its those made in the mid-Eighteenth century last name in 1597, when it was granted to

VIA DEI CESTARI by , architect of the Apos- the Confraternity of the Holy Stigmata. It tolic Palaces. The portal towards the Via dei was rebuilt in its present form between 1714 28 Cestari is framed by pilasters with compos- and 1721 at the design of Giovanni Battista ite capitals, according to a composition de- Contini, who conferred on the interior its vised in the Nineteenth century, probably by harmonious setting derived from Borromini, Andrea Sarti, who was responsible for com- with its barrel-vaulted roof (the nave was pleting this part of the building. Its owner- decorated in the early Nineteenth century ship passed to the , and today it by Giuseppe Valadier). The façade-portico The streets of Rome houses the offices. Facing it was designed by Antonio Canevari who took is the sober, elegant architecture of the as his model the Cortonesque front of the Palazzo Muti Sacchetti, subsequently Sa- church of , on which was vorelli Papazzurri and Pesci, no. 34, built copied the Syrian arch tympanum contain- in the mid-Nineteenth century by Virginio ing the spectacular scene of the Stigmata of Vespignani on the structures of the Seven- St. Francis. The broken-line cornice is em- teenth-century building that had belonged bellished with the Petrachia Monument, the to Cardinal Ottavio Paravicini. Architecturally Nineteenth-century work of the Bolognese adjacent to this stands the Palazzo Strozzi sculptor Adamo Tadolini. seppe deiFalegnami,latergatheringin pes. StartingfromthenitwasnamedGiu- Peter attheMamertinePrison atCapitolslo- Joseph. LateritsettledinthechurchofS. dependent ArchconfraternityentitledtoS. agreed withothermembers,foundedanin- sity. But,thatyear, thirtycraftsmenwhodis- carpenters belongedtotheMasonsUniver- sent LargoArenulatotheCapitol.Until1539 the cross,ofRepublican age,linkingthepre- own workshopsinthearea,wasoutlinedon dei Falegnami,viaFunariand deiDelfi- since XIIIcentury. Thepathmarkedbyvia ved fromTrastevere, wereobligedtolive IV on1555,whereRoman Jewish,whomo- ded bythewallsmadebuiltPope Paul Jewish ghetto.Infact,thisareawasboun- lo quarterandtheareaonceoccupiedby are animportantpassinginsideSant’Ange- built hernobiliarypalaceonit.Bothstreets of thislastcomesfromanoblefamilywho legnami joinstoviadeiDelfini.Thetoponym re delMerangolo”),theguidingofviadeiFa- known asviaof“Merangolo”orthe“Tor- settlement inviaofTor deSpecchi,previously who movedhereafterleavingtheirprevious via deiFunari(thestreetofropestwisters was crossedbypilgrimstoSt.Peter. Through of theold of Via deiCatinariandwasthecontinuation the ChurchofBarnabites,undertoponym molitions aftertheunificationstartedfrom links viaArenulatoPiazza Mattei,before de- Carlo. Infact,Via deiFalegnami,thatnow due thenameofnearbychurchSan makers andbasin-makers.To theselastis heel-makers, tub-makers,throwers,clog- dealers, box-makers,chair-makers,sawyers, cabinet-makers, moulders,carvers,wood sisted ofcoopers,cymbalists,lute-makers, Via degliArcari.Thearchconfraternitycon- this, forsometime,thestreetwascalled led “arks”thatwerebigwoodchests.From gnariorum versitas carpentariorum,fabrorumetli- T and woodcrockerymakerswhohadtheir he first,thatduesitstoponymtobasins via Peregrinorum . Carpentersalsomadetheso-cal- I E FALEGNAMI VIA DEI , thestreetthat Uni- e I E DELFINI DEI VIA via Arenula)onanemblematicChurch ofthe to stopthebeginningof path(near Falegnami andendsinPiazza Margana,leads Crossing theguidingthatstartsfromviadei urban framework. ter ninetheenth-centuryworksofthearea place ofthePiazza delleCinqueScole,af- so plannedbyDellaPorta, placedinpresent cluded intothesameprogramme.Itwasal- The fountainofPiazza Giudeawasalsoin- sei Capitolini). maybe byBernini,arepreservedintheMu- were replacedwithcopies,theoriginals, of thefountainandsamesquare(they ce thenturtlesarethedistinctiveelement red andotherturtleswereaddedtoit.Sin- of followingcenturythefountainwasresto- bes anddolphinsatthebasis.Inmiddle ni, animatedbythedanceofwonderfulephe- sculptural part,attendedbyTaddeo Landi- sins madebyDellaPorta foraprevailing of Piazza Matteiisdifferentfromotherba- ched bythePope GregorioXIII.Thefountain Acquedotto Vergine (Virgin Aqueduct)laun- Campo Marzio,aftertherestorationof sins plannedin1570toprovidingwater la Porta. Itwasincludedamongthe18ba- on aprojectbythearchitectGiacomodel- as “turtlesfountain”.Itwasmadein1581 of themostbeautifulRoman :know tei noblefamily, thathasinthemiddle one small andelegantsquarededicatedtoMat- di Marcello.Crocialpointofthepathis d’Ottavia ruinsandbythemajesticTeatro logical Circus,CriptadiBalbo,andPortico greatly fascinatedbymonumentalarchaeo- build theirpalacesinthisplace.Theywere most prestigiousRoman familieschooseto cal areassincetheMiddleAge.Manyof terial comingfromsurroundingarchaeologi- characterized bythereusingofancientma- 221 b.C.Itisthepassingofanareathatwas pos minio thatwasbuiltupby se ni isplacedonpartofthegroundwhererou- Castrum Aureum (the samewhoisdueviaFlaminia)on , theancientCircoFla- C. FlaminiusNe- 29 The streets of Rome VIA DEI FALEGNAMI e VIA DEI DELFINI area: Santa Maria in Publicolis (whose main Baccio Pigio in the middle of the century. In façade turn to Piazza Costaguti). It doesn’t the prominent structure was also involved exist anything else of the original temple. In the famous Palace Mattei di Giove, entrance fact, on the original structure it was built at 32 of Via Caetani. Mattei family, who al- the seventheenth-century church by the ar- so were dukes of Giove, made build five chitect Giovan Antonio De Rossi and taskmas- buildings. Among them it rises the one fac- ter builder Alessio De Rossi, on commission ing via Caetani that was restored between of monsignor Marcello Santacroce. Church 1598 and 1618 by Carlo Maderno. The ele- building ended on 1645. It was designed as gant façades of the building are enriched a kind of gentilitial chapel of Santacroce with Mattei and Gonzaga (the family of the family, who had their palace in a facing po- duke of Giove Asdrubale Mattei wife) fami- sition. Besides the railing put in the first of lies crests. Later the prestigious palace the Twentieth century, rises the nice façade passed to Antici Mattei who were relatives decorated by a representing the Vir- of Giacomo Leopardi. The great poet lived gin Assumption, dominated by a curved-gable on the third floor of the palace in 1822. Dif- supported by pelicans (symbol of San- ferent blocks are around the wonderful in- tacroce’s, also represented in interior dec- ner court, whose decorative apparatus was oration). Later there is the sixtheenth-cen- studied by the same Maderno at the begin- tury bulk, even if it was modified on Sette- ning of Seicento. To smooth spaces inter- cento, of Palace Boccapaduli, nn. 10-14. change classical sarcophagus fronts, funer- Over one of the first buildings of the street, ary relieves, architectonic elements took at nn. 17-18, there is a typical roman sa- from surrounding archaeological area, busts cred aedicule, representing in this case the included in shapely niches decorated with Madonna dell’Orto, eightheenth-century baroque stuccoes. Nine statues represent- work of an anonymous painter. At no. 10 of ing men are placed on columns, that were Piazza Mattei there is Palace Costaguti shaped into emperors in Sixtheenth centu- placed in one of the corners of the charac- ry, come from the wonderful villa owned by VIA DEI DELFINI

e teristic “turtles” square. It was built in the Mattei on the Palatino. In the vaults of the middle of Cinquecento by Costanzo Patrizi, palace inner halls there is a real anthology in the next Century it passed to Costaguti, of seventheent-century painting, made by a rich bankers family from Genova who came artists like Lanfranco, Domenichino and to Rome on 1585 and fostered the enlarge- Francesco Albani. It was bought by the State

VIA DEI FALEGNAMI ment by Carlo Lombardi. During the works in 1938, today the palace hosts the seat of the church of San Leonardo de platea judei the Centre of American Studies, the Italian 30 was destroyed. The halls at first floor keep Historical Institute for Modern and Contem- important that were made when the poraneous Age and the State Discoteca. palace belonged to Patrizi. They are attrib- utable to artists like Federico and Taddeo The passing from via dei Funari to via dei Zuccari, Lanfranco, Agostino Tassi and Cav- Delfini is marked by the bulk of palazzo Pa- alier d’Arpino. The same square is urbanis- trizi a Santa Caterina, at no. 12. It was built The streets of Rome tically defined by the facing Sixtheenth- at the end of Cinquecento where it rouse the century palace of Giacomo Mattei, nn. 17- Tower of Merangolo (firstly the same via dei 19, that belonged to the noble family who Funari was called via del Merangolo), that owned the all block between via dei Funari, was in part involved in the new building. It delle Botteghe Oscure, Caetani and Pagan- was bought by the State and today is the seat ica in XVI Century. It is the named insula Mat- of Sovrintendenza for Lazio Environmental tei that is placed where once rouse Teatro and Architectonic Heritages. The facing di Balbo. The palace, involving an internal church of Santa Caterina dei Funari is ded- porticoed court, was restored by Nanni di icated to ropes twisters. In the Middle Age commission ofthecardinalFedericoCesi ed togetherwiththeannexedmonasteryon of Cinquecentoancompletelyreconstruct- nerism, wasdestroyedinthesecondmiddle al neglectedmasterpieceoflateRoman man- or SantaCaterinadeiFunari.Thecurch,re- later simplifiedinSantaCaterinadellaRosa Rosae dria andnamed was dedicatedtoSantaCaterinad’Alessan- was restoredatonenaveonIXcentury, it where nowthereisthepresenttemple.It ta MariadedonnaRosainCastroAureo there wasathreenavesbasilicanamed or Sancta Catharinaincastroaureo Sancta Catharinadonne San- , furniture elements. rial reusinginnewbuildingsand instreet sample oforderlyand“proud”scrapmate- shaping theframingoftwoportals.Itisa ancient architectonicalmarbleelements stone pateras(thesocalled“kite”),andthe er frontofacolumnwithIoniccapitaland 13 gani tower thereisthe by Mellinion1305.Inthesameblockof in theprestigiousbasilicaofAraCoeli)bought of theborderingquarterCampitelli,graved (who belongedtothenoblebaronialfamily complex ofhousesthatGiovanniMargani built onXIVcentury. Itisincludedinthe big building Maccarani Odescalchi dominated bythe ban spacesofthetown,Piazza Margana, opening intooneofthemostsuggestiveur- temporary woodframe.Thestreetends the MadonnadelRosario, inscribedinacon- ninetheenth-century paintingrepresenting :the is anothertypicalRoman aedicola ing theaccesstovicolodeiPolacchi, there liar elements.At tigious collectionofancientart,arepecu- palace, whereDelfinifamilycollectedapres- tury grotesques,andthegardenbehind decorated withwonderfulsixtheenth-cen- and toFrangipane.Theloggiaatfirstfloor, isting buildingsbelongingtohisownfamily ni atthebeginningofXVIcenturyonpre-ex- mous building of period followingRaffaello).Themainfactoy faellino daReggio (whowasinRome inthat by FedericoZuccariandpaintingsRaf- cos byAnnibaleCarracci,pillarsdecorated are theRuiz chapel,plannedbyVignola, fres- shape ofasimpleroombarrelvault,there corner ofPortico d’Ottavia.Inside,thathas ing annexedtothePortico diFilippoandthe ta diBalboonitsmeridionalpart,abuild- gular wideningoncecharacterizedwithCrip- made byGuidettoGuidetti,risesonatrian- erhood). TheuniqueRenaissance façade, (who wasthepatronofSantaCaterinaBroth- the . Itisveryinterestingtheinclusionintow- via deiDelfini via tower ofMargani , entrance in via dell’Aracoelientrance nn.11- invia , no. 16 no. 21 omonimous Palazzo Mar- is placedinthe Seventheeth-century , , builtbyMarioDelfi- no. 40 , nearthewallclos- . Thislastwas , no. 19 omoni- 31

The streets of Rome VIA DEI FALEGNAMI, and e VIA DEI DELFINI 32 The streets of Rome VIA DI MONSERRATO serrato Confraternity. colò settledthenewbornSantaMariadiMon- talan institute,andintheChapelofSanNi- nity, thehospitaljoinedtoanotheraid Ca- ter thefoundationofSpanishConfrater- at theendofsamecentury. On1495,af- tal calledSanNicoladeiCatalani.Itwasbuilt le houseinthedistrictforhostinganhospi- a Catalanwomanwhoon1354boughtlitt- was bornfromanideaofJacobaFernandes, story isrelatedtocomplexfoundationthat one ofthemostimportanteventsstreet church SantaMariadiMonserrato.Infact, it islinkedinitsplaceandtoponymtothe the MadonnaofMonserratCatalansanctuary, ding toadedicationinitsturncomingfrom I street ofthedistrictcalledRegola. Accor- t isoneofthemostelegantandsymbolic VIA DIMONSERRATO of thetown,linkedtopower ofFarnese one ofthemostimportanthistorical squares cient CampoMarzio.Itmainlybeginsfrom centres, betweentheVatican andthean- linked thegreatadministrativeandreligious of thetownandrespectstoaxesthat In factthestreetisplacedinacrucialpoint prestigious residenceinviadiMonserrato. patrician families,manyofthemhadtheir and variegatedstructuresettledimportant seat there.Moreover, withinthiscomplex gilds andconfraternitiesthatsettledtheir made itthefavouriteplaceofmanycraft core ofthetown.Thisprincipalvocation considered therealcommercialandcraft was alwayslinkedtocommerceandthat Marshal. Via diMonserratocrossanareathat Court andthePrisons oftheRoman homonymous familywheretherewerethe Corte Savella”,fromthebuildingof times thestreetsimplyappearedas“viadi districts: Ponte, andRegola. Some- Rome, markedthesymbolicborderwiththree The ancientsewer, themostimportantin Monserrato. legrino, deiBanchiVecchi andthenewviadi ca diPonte). ThereitconvergedviadelPel- with theChiavicaofSantaLucia(orChiavi- della ChiavicaaCorteSavella”,inrelation Before thatperiodthestreetwascalled“Via perfectly integratedinthisfeelofrenewal. borders. ThecomplexofMonserratobecame de thechurchabletoenlargeitsapostolic pe, togetherwiththeAmericadiscovery, ma- lee of1500andtheelectionaforeignPo- who wasborninJativa(Valencia). TheJubi- the SpanishworldofPope AlessandroVI nish andGerman,forthestrongrelationwith rate caretopilgrimsservice,mainlySpa- of theendQuattrocentothattookaccu- was characterizedbythemostcommontrend hospital inVia diMonserrato.Thecomplex church anditfollowedthebuildingofanew it startedthebuildingofhomonymous bouring totheoldhospice,someyearslater II andtothepurchaseofbuildingsitesneigh- Thanks tothelegacyofkingFerdinando On Ottocentotheycommissioned therestora- at theenditpassedtoRiccifamily on1576. was enlargedbyunifyingadjacenthouses, busy inRome inthiskindofworks.Laterit ed byPolidoro andMaturino,whowerevery Calcagni family. On1525its façadewaspaint- Ricci, builtattheendofXVcenturyfor widening isitscurrenttoponymtoPalazzo name ofthearistocraticfamily. Thesmall overlooks thebuildingtookoriginally occupied byOrsinipalace.Thesquarethat second halfofSeicentoontheareafirstly see the aristocraticSpanishfamily. Then,you Planca XVI century, and Pietro Paolo “dellaZecca”house path crossingviadiMonserratoismarkedby At theentrancewithviadelPellegrino, the nesina smalltown”. centre ofthetownthatbecameareal“far- fluence fitinoneofthebiggestcommercial definition ofthearea,as,withit,Pope in- zo Farnese.Thiswasthedecisiveactin like viadeiBaullarriandthefaçadeofPalaz- stretches putonhugearchitectonicgrounds pression wastheopeningofbigstraight founding ofthetown,whosewonderfulex- grading ofpapalpowerthroughthetotalre- tant Pope ofRenaissance, aimedtotheup- The urbanpolicyofPaul III,thelastimpor- beauties. nese”, thatisconsideredoneoftheRome al architectoniclandmark:the“dadoFar- ing amonumentalfactorythatbecamere- delible marktothispartofthetown,erect- dinal AlessandroFarneseimprintedhisin- under thenameofPaolo III(1534-1549),car- family. Whenheascendedthepapalthrone there are open-air .Following, buildings, thusmakingthetownaproper graffiti andpaintingsthefrontofaristocratic Rome widespreadtrendofdecoratingwith were nicesamplesofthelateQuattrocento da CaravaggioandMaturinoFirenze.These Cinquecento paintingsbyartistslikePolidoro visor, onhishousetherearestillsigns of Quattrocento, Palazzo d’Aste , builtattheendofQuattrocentoby Palazzo Bossi no. 2 Palazzo degliIncoronatide , . HewasPaul IIsuper- no. 149 , builtattheendof nn. 154-152 , builtinthe of thelate , 25 by CarloMadernoforthe lish Collegepalace tectonic preciousbuildings,thereisthe piece ofroad,thatitisalsobetweenarchi- worked outbyBerninion1621.Afteranother College the conferenceroomofclose racci inthefirstchapelonrightside.In ings, amongthempaintingsbyAnnibaleCar- is interruptedbyhugeseventheenthpaint- decoration, workedbyGiuseppeCamporese, one naveplant.Theinternalninetheenth t’Andrea, headdedlateralchapelstothe to usetheallspaceofchurchSan- the century, whenGiovanniDosiowasable vatore Rebecchini on1929).Attheendof Francesco daVolterra (itwasfinishedbySal- On 1582wasworkedoutthefaçade,by church worksaccordingtoSangalloproject. no Valperga on1577. Healsocontinued ing ofthenewhospitalwasmadebyBernardi- t’Andrea Nazarethwasdesacrated.Thebuild- er enlargedwhentheclosechurchofSan- the buildingwithsacristyannexed,lat- into aroyalpalace)facedthemainbodyof that wasconceivedlikeafortresschanged planned theclosestatelybuildingforthem was thearchitectofFarnesefamilyandhe by AntonioSangalloilGiovanesince1518(he serrato ish churchdevotedtoSantaMariadiMon- ful andtypicalstepsoftheroad: cento. Fromhereoneofthemostmeaning- reworked byVirginio Vespignani onOtto- that wasbuiltonCinquecentoanddeeply er sideoftheroadthereis desecrate) existingsince1186.Ontheoth- church ofSanGiovanniinAyno Palazzo Riccithereisthesmallandold passed toOrsinifamily. Crossedthrough on XVcenturyforthebishopofNicosiathen there is the lasttwofloors.Infrontofsquare painted decorationoutside,inrelationwith tion toLuigiFontana,whoaddedexnovo fines thepalacewheretherewas theseat terbury block ofthechurch . Then,thereis . Theoriginaryproject,workedout Palazzo Podocotari . Collegeseventheenthfaçade de- there isCardinalMontoyatomb, Palazzo Capponi , San Tommaso diCan- no. 43 cardinal Rocci , at , inthesame no. 20 palace (today itis the Span- , Spanish no. 34 33 , built

The streets of Rome VIA DI MONSERRATO , built Eng- no. , of Corte Savella, the fivetheenth tribunal ternity) at the end of the same century. Here, with prison annex, inside the factory of via where in the meantime arrived Minori Fa- di Monserrato within the competence o Savel- thers, lived San Filippo Neri on 1551. He fos- li family. After the building of the New Pris- tered the building of the oratory inside the ons in via Giulia asked by Innocenzo X, when church. After a disastrous fire, on 1660 the the block was eliminated, the palace was temple was reconstructed, this time by bought by the English College that made it Domenico Castelli, the architect coming from build again according to new needs. On Tre- Ticino, while the façade was made by Carlo cento the adjacent church, known since XII Rainaldi. Many prestigious works are in the century as SS. Trinità degli Scozzesi, had an church. Altamoro chapel is one of them and hospice for English pilgrims. It was annexed it was made by Filippo Juvarra on the sev- to it with a new dedication. During the sev- entheenth century. However, the real mas- entheenth century the temple was deeply terpiece is the noble chapel made by restored to coincide with the works in the on 1657 for Father Vir- College. It was totally rebuilt on the gilio Spada. The small place, placed on the ninetheenth century. On the other side of right side of church entrance portal, was the road there is a small square where have planned like a prismal casing which walls are their seat the last two churches of via di decorated with marble imitating damask Monserrato: Santa Caterina della Rota and weaving. The proper baroque taste for illu- San Girolamo della Carità. The first one, sions and scenic design is animated by dead called Santa Mariae in Catenariis in XI cen- image and creation of angel holding altar tury, was devoted to Santa Caterina d’A- cloth. The path along via di Monserrato ends lessandria, called in Cathenieri, on the six- with the sixtheenth edifice of Fioravanti theenth century, in the same period when de Cadilhac palace, no. 61, that propose Ottavio Mascherino begun restoration. (The majestic lines of the close Farnese palace. new dedication comes from the chains that On its cantonal the building is characterized the slaves, who were treated in the close by a typical Marian aedicule, compounded hospital, once free put on the Virgin altar as with a simple stucco frame representing the ex voto). On 1630 it was restored together seventheenth image of Madonna col Bambi- with the convent that was annex, while the no (mixed technic on sheet of slate). façade was made at the beginning of the fol- lowing century. On 1932 it was given to the

VIA DI MONSERRATO Archconfraternity of Palafrenieri, that moved from the church of Sant’Anna in . The 34 convent that is annex has its entrance on the adjacent via di San Girolamo della Carità, where has also its seat the palace of the homonymous Hospice that was restored by Paparelli on 1632. On the left side of the square, with its façade towards via di Mon- The streets of Rome serrato, rises the very ancient church titled to San Gerolamo. During the first half of Quattrocento, the Pope Martino V made build to the Minori Conventuali Fathers an hospi- tal in via di Monserrato. The block, that al- so involved the convent, was built near the small church that was rebuilt and devoted again to San Girolamo della Carità (accord- ing to the settle in it of Charity Archconfra- resented aframeoftheancient was markedbythesametoponym.Itrep- converged, thecurrentPiazza diPasquino, teenth century, andthesquareinwhich it mous asviadiParione untiltheendof eigh- The sameviadelGovernoVecchio wasfa- nocenzo XPamphili. of baroqueRome intheperiodofPope In- Roman agon.Itbecomethetrue“theatre” iziano emperor(86b.C)forcelebratingthe the guisesofstadiumaskedforDom- in theworld:.Thisroseon around thecapitalmostfamousurbanarea cal quarters.Onitsturn,thiszonedevelops in themiddleofParione andPonte histori- one ofthemostsuggestiveareacity, by Pope SistoIV)through scenicstreets pilgrims, goingtotheVatican, wasadjusted crossed by“romei”whowerepreciselythe same famousviadelPellegrino (thestreet arteries inthequarter, rightlylinkedtothe Via delGovernoVecchio wasoneofthemain Benedetto XIVwill. on 1473,toMadamaPalace forpope Palace, thatwasbuiltonthepontificalroad Roman GovernoratemovedfromNardini erno Vecchio after1741,whentheseatof palace, tookthepresenttoponymofGov- drea dellaValle facingMassimoalleColonne umbertine artery, continueduptoSant’An- fore theopeningofcorsoVittorio Emanuele Campo de’Fiorisquare.Thestreet,thatbe- gust pontificalprocessionpassedthrough basilica.Onitswayback,theau- brating the“take-over”ofpatriarchal Rome leftSt.Peter toSt.John,forcele- After pontificalelection,thenewbishopof by popesduringthesolemnPossession day. Quattrocento formarkingthepathfollowed placed bythePope SistoIVdellaRovere on through theCapitolandColiseum,was Ponte squarearrivedtoLaterano,crossing azza Pasquino. Thestreet,startingfromdi Santo Spirito,viadeiBanchiNuoviandPi- together withthepresentviadelBancodi I l’Orologio andpiazzadiPasquino crossing t isthestreetthatjoinspiazzadel- I E OEN VECCHIO GOVERNO VIA DEL via Papalis , biggest factorymadebyFrancesco Borromi- Piazza dell’Orologio. Itisinvolvedinthe the veryfamousFilippiniConvent,facedon along viadelGovernoVecchio, startingfrom tal. Manybigreligiousblocksmarkthepath on columnstopthatmarkpalacemainpor- of thecrestappearsinsteadcapitalsplaced Gregorio XIIIBoncompagni:heraldicdrakes baptized, tooksurnameandinsigniaofPope after beeneducatedbyFilippiniFathersand Christianity inthepersonofSalomonwho, sixteenth century. Theywereconvertedto built byCorcosJewishfamilyattheendof Boncompagni-Corcos palace soon markedbyagreatfactory, thatoneof (from thesideinvolvedinPonte quarter),is street, startingfrompiazzadell’Orologio The pathintroducingtothefamousRoman chio. Rome, addedprestigetoviadelGovernoVec- the mostfamousamongtalkingstatuesin cal lifescenes,linkedtoPasquino presence, Navona, andthesharp,popularpoliti- fairs andmarketholdinthenearPiazza Popular andstrikingcontributionoftheold Pasquino. ments, whoseoriginalblockwasinPiazza di building familyhousesinshapeofmonu- cenzo XmadetheareaaPamphili insula,re- middle ofseventeenthcentury, whenInno- ban growingprocessreachitssummitinthe tifical streetwasgreatlyinvolved.Thisur- portant projectforthecityinwhichpon- of theJubilee1550.Heplannedanim- be presentedtotheCatholicworldinview working aimingatcreatingan ued thegreatfifteenth-centuryprojects, “renovator”. Pope Paolo IIIFarnesecontin- policy, whowastherealcity“renewer”and tives byPope DellaRovere urbanenlightened starting fromXVcentury, thankstoinitia- lished themselveswithagreatbuildingblock ter andtheancientviadiParione, embel- through Pasquino widening.Boththequar- municating withthecentralpiazzaNavona, squarely openedonitsrightside,andcom- , Alma Roma no. 3 . Itwas 35 The streets of Rome VIA DEL GOVERNO VECCHIO to ni starting from 1637, supported by Marus- bishop and Rome Governor, who was elect- celli. The bulk austerity stop at the corner ed cardinal that year. The most ancient part of via del Governo Vecchio, in the side of the building (on via della Fossa), involv- arranged by the same architect from Ticino ing part of the previous construction, was on 1647 who was really interested in it. On concluded two years later, as one can read, this side there is the clock tower (from here on an architrave of the inner court, while the name of the square) erected on 1648, the main façade was concluded among 1477 crowned by wrought iron airy fastigium and and 1478, as windows inscriptions reveal. decorated on its front by the mosaic image The block was firstly articulated around three of Madonna Vallicelliana. At the same cor- courts and crowned by the same keeps. On ner between the square and via del Gover- 1480 it was donated to the Company of Lat- no Vecchio there is one of the many Maritime eran Hospital of Savior, to whom alluded aedicule in town, made by Tommaso Righi Christ graffito image put on the main façade and Antonio Bicchierai on 1756. The fresco, (that one towards Governo Vecchio), for host- representing Madonna with Child, is em- ing a College for humanistic studies. On the braced in a redundant stucco frame sup- same prospect, rehandled in the following ported by angels. However, crossing via del century, emerges the wonderful marble por- Governo Vecchio lead to stop in front of each tal decorated with classical ornaments in- single building facing on it, as also the “less terlaced to Nardini crest. On 1624 Pope Ur- important” building constituting fascinating bano VII made it the seat of Rome Gover- architectonic background is an important norate until 1741; on 1870 it passed to be witness. At nn. 12-13 there is a fifteenth- Rome Town Hall property and it was the seat century house animated by a suggestive of civil praetorship until 1964. At the end it bricks façade. Then there is a sixteenth-cen- was given to Rome Town Hall. In front of the tury house, nn. 14-17, characterized by an great Nardini block there is Turci Palace, at elegant prospect shaped by an harmonic ash- no. 124, whose simple and delicate six- lar curtain and an arches lodge alternating teenth-century façade goes back to that one to windows that are arched and marked by of the close Chancellery palace, even if in a ionic small pillars. A similar architectonic less range. Corresponding to no. 48 there is composition also marks the last floor, where Sassi fifteenth-century palace, later passed the openings are oblong and supports are to Fornari. It is distinguishable by the crest, crowned by elegant composite capitals. The half banded and half marked by a lion head

VIA DEL GOVERNO VECCHIO nice rooftop loggia decorated with stuccoes dominating the portal. Here Sassi family goes back to seventeenth century. It rises in picked up a precious collection of ancient 36 the corner block between via del Governo statues, later moved to Farnese palace. In Vecchio and dell’Avila alley. Here on 1830 the middle of the street there is via di Pari- was born Pietro Cossa, a famous dramatist one, also called via di San Tommaso in Pari- and left party liberal, who also was the in- one for the homonymous church facing on it. spirer of Giordano Bruno monument placed The small temple, that was consecrated on in the close Campo de’ Fiori square. Abreast 1139, was donated motu proprio to the Com- The streets of Rome of via del Corallo there are eighteenth-cen- pany of Writers and Copists in the half of fif- tury tables marking the border between teenth century, and later was promoted to Ponte and Parione. They were placed by Pope cardinalship. On 1582 it was completely re- Benedetto XIV who, in occasion of Jubilee of built on project by Francesco da Volterra, 1750, made a new borders definition of the asked for two members of Cerrini noble fam- fourteen historical quarters. Number 39 of ily. On 1825, after it was given to SS.Addo- Nardini Palace is one of the most significant lorata Confraternity, it was restored again. building of the street. It was erected start- In front of the nice house, no. 104, dated ing from 1473 by , arch- end of XV century, characterized with paint- in thecloseRiccisquare),thereis in thealleyofGovernoVecchio atno.52and ion spreadedinRome duringtheRenaissance other samplesofthiskindsuggestivefash- ed andgraffitofaçade(itispossibletosee was plannedagainontheseventeenthcen- built byMignanellifamilycomingfromSiena, block offifteenthcenturybuilding,made li-Fonseca palace , at no. 62 . Theoriginal Mignanel- people throughlotsofpeaces paper. ashlor massiveangle,Pasquino “speaks” to nades”. Stilltoday, infront ofBraschipalace and politicalclass,thesocalled“pasqui- ten barbedwitticism,directedtothechurch be usedforaffixinganonymousandveryof- where “Parione bust”wasputonstartedto troclo ture representing is thereproductionofamoreancientsculp- of anoldsculpturalblockthat,initsturn, ing Orsinipalacebuilding,isthefragment his nephewsthere.Thestatue,foundeddur- Pio VIBraschiwholikedtobuildanhousefor gallo ilGiovane.Itwasdestroyedon1791by artists likeBramanteandAntoniodaSan- where thecardinallived,wasrestoredby Orsini palaceon1501.Theoriginalbuilding, that wasputbycardinalOlivieroCarafanear and hasitstoponymoustoPasquino statue, decoration. However, urbanspaceisfamous that time)andthenewdesignofinternal harmonic andelegantfaçade(missinguntil gave thepresentaspecttochurch, one naveplan.On1861AndreaBusiriVici made duringrestorationsof1748)keeping lo Zampawhomadethesacristy(laterre- over workson1708andfewyearslaterPao- of themostfamousGiovanBattista)took the externalaspect.AlessandroGaulli(son ing onapreviousfactoryleavingunaltered Giovan BattistaContini,whoculledthisbuild- sisting thecondemned)andbyprojectof had thedutyofprayingformoribundandas- by orderofthehomonymousassociation(that confraternity. Thislastwaserectedon 1692 ChristNativityoftheAgonizzantiArch- Lancellotti palaceandthechurchofOurLord the backsideofPamphili palace,Bonadies- by importantfactorieslikeBraschipalace, Pasquino squarethatismarkedoneachside through otherhistoricalbuildings,thereis at theendofsixteenthcentury. Passing ily, thatwasrestoredbyDomenicoFontana longed to via deiLeutari,thereisthesmall Orazio Torriani. At pontifical doctor)whoorderedworksto tury bythenewownerGabrieleFonseca(a 2020aC) Theentablement (240-230 a.C.). Peretti family no. 84 Menelao supportingPa- , Pope SistoVfam- , atthecornerwith palace 37 The streets of Rome VIA DEL GOVERNO VECCHIO be- 38 The streets of Rome VIA MARGUTTA problem forpilgrimscomingto the holycity no break.Pope Paolo IIIforsolvinghousing di familieshortiandgardensextendedwith so andviaMargutta,Massimi,NaroGran- stern partofPincio, thatonebetweenCor- ve areatransformation.Firstlyalongthewe- started azoningprocessleadingtodefiniti- communities andnoblefamiliesgardens,it area, thatwasmainlyoccupiedbyreligious expansion. Aftertridentemakingupinthis vation forthequarterfollowingandspeedy Jubilee of1475,thatwasthecrucialmoti- church, askedforSistoIVinviewoftheGreat reconstruction ofSantaMariadelPopolo sed tothispartofthecity, mainlywiththe licy gaveagreatimpulseeversinceaddres- and commercedeveloping.Later, papalpo- from whichitstartedbuildingtrade,shops of SanGiacomoinAugustaHospitalon1399, the ancientCampoMarziowasbuilding banization catalysingelementofthispart ning of varied orderthatwasendedwiththeope- via Paolina path) followedby so (thatinpartrevokestheoldviaFlaminia excellent urbanexpressionbegunwithCor- ked inthefirsthalfofXVIcentury. This zia, accordingtoaroadshapethatwasmar- from Piazza delPopolo reachPiazza Vene- ked bythethreestreetsthatfanningout today. Via Marguttafallsintotheareamar- international characterthatmarkeditstill and houses,givingtoitthe and longstreetasseatfortheirownateliers and sculptorsgenerationchosenthisnarrow ment formanyartists.Since1600painters Margutta representedanewkindofsettle- and itisanimatedbysuggestiveplaces.Via dente arteriesitisplacedinthebackground me andimage.With respecttootherTri- resque pathoftheCapital,linkedtoartchar- of thisstreetrecallsonethemostpictu- central quarterofCampoMarzio.Thename the areaofTridente, thatisinvolvedinthe I the sixtheenthcenturyforcomplementing t isthestreetmarkedoutatendof via Trinitatis (del Babuino),inacontestof via Leonina (dei Condotti).Theur- bohèmien VIA MARGUTTA (Ripetta) and and Giuseppe Valadier house Babuino andviaMargutta,wherethereis corner blockbetweenviaAlibert,del The pathalongviaMarguttabeginsfromthe show places. famous forthegreatnumberofresortand many patronswhoattractedtheartists,was stigious noblefactoriesandthehousingof street, besidesforthepresenceofsomepre- roman theatres,theAlibert.Infact, ded bysettlingofonethemostfamous now thereisDeMerodeblock.Itprece- Margutta, wheretherewasthenausomachia, circular areaplacedattheentranceofvia end ofpath,thegardenCenci.Ingreat fathers ofSantaMariadelPopolo and,tothe old gardensofNarofamily, thevineryof the green, comingfromwhatremainsthe theenth, isstillanimatedbyalargepartof zed byminorsmallbuildingsfromeigh- volved viaMargutta.Thestreet,characteri- of theninetheenthcenturyandthatalsoin- cording toabuildingplanendedattheend nition itfollowedtheareaurbanizationac- gners andartists.Aftertridentetotaldefi- very refinedsocialrangeconsistingofforei- extended fromCollinatoCorsoitsettleda thanks toharbourtrades,inthislargearea While alongtheriverworkingclasslived of itslandplacednearviaMarguttaon1565. zio Naro,whosoldforbuildingmanyparts di, anoblefromFerrara,andthoseofOra- perty therewerethoseofAlessandroGran- ted byCartaroon1576.NeartoMassimipro- sulting forthefirsttimeincitychartedi- linked therecenttoponymofstreetre- part boughtbythebarberMargut.To himis the goodsofSanGiacomohospitalandin menico Massimi,thatwasinpartinvolved theenth centuryzonedthebigvineryofDo- for theGreatJubilees,inhalfofsix- that itwasthefirsthouseof famousro- by AntonioSarti,owesitsfame tothefact during thefirsthalfofninetheenthcentury here. Thesmallbuilding,settledintwotimes del Babuino 89 ofvia , whodiedon1839 , entrance atno. Nona theatre)forthegameofroyaltennis Giacomo (whowasthepromoterofTor di isting smallbuildingmadebuiltbyhisfather of thecenturyongroundpre-ex- tered byAntoniod’Alibertatthebeginning beautiful theatreofeightheenthRome, fos- and viaMargutta.Itwasoneofthemost the cornerbetweenhomonymousstreet one wheretherewasthe 1903 onthebigareathatisadjacentto was builtbyTullio Passarelli among1900and seat partof ashlared substantialbuildingwherehasits which viaMarguttastarts,isdefinedbythe ment. mation, firstlyforpiazzadelPopolo arrange- large partoftheareaninetheenthtransfor- man architect,whoisresponsibleforthe No. 3 De Merodeinstituteblock of thesmallviaAlibert,from Alibert theatre that , at columns. Aplaqueattheentrance celebrate recalls thewomen’s gallerysupportedby medieval architectoniclexis,thesamethat and itendedwithanapsethatisonaneo- three spansthatarecoveredwithcrossvault, church issettledononenave,dividedin the lasttwentyyearsofOttocento.The eclectic architectofsixtheenthline,during Baschieri (whoalsobuilttheCollege),an San Giuseppe,wasmadebyCiriacoSalvadori temple, thatatthebeginningwastitledto on theleftsideofDeMerodeinstitute.The façade (itistherightside)onviaAlibert, vanni BattistadelaSalle,whosepseudo- that isvisiblefromviaMarguttaSanGio- block, byplanofPassarelli. Theonlychurch century, itwasbuiltDeMerodeinstitute columns. Atthebeginningoffollowing a porticoedcourt,markedbypinkgranite lonia, consistedinabigblocksettledaround vadori BaschieriontheareaboughtbyTor- building ofthecollege,madebyCiriacoSal- the recentseaton1885.Theninetheenth origin ofSanGiuseppeCollege,itsettledin French officialslivinginRome, thatisthe was createdtheschoolforchildrenof following centuryarrivedtoRome. On1850 the childrenoflessrichfamilies,during born inFranceon1684foreducatingfree ers orLasalliani.Thecongregation,whowas church stitute lege relli palace).Itconsistsof is at lo andPiazza diSpagna(themainentrance between viaAlibert,diSanSebastianel- building completely destructedon1863. tions byMetastasioonpreviouscentury, was block, madefamousbywrittenrepresenta- masonry rebuildingtoNicolaCarnevali.The bought byTorlonia on1847,whoentrusted ding transfersofproperty, thetheatrewas architect FerdinandoFuga,andcorrespon- among thattherestorationbyfamous hibitions. Aftermanyrestorationworks, the firstromantheatreshostingwomenex- on 1660.BothTor diNonaandAlibertwere , no. 3 San Francesco SaverioDeMerodein- , managedbyChristianSchoolBroth- and consists ofthemainpartblock San GiovanniBattistadelaSalle of thesquare,inexCecca- San GiuseppeCol- De Merode 39 The streets of Rome VIA MARGUTTA the prince Alessandro Torlonia, who offered by sophisticated wrought iron laces, driving the property for settling the church, and his to places planned by Antonio Bonfigli for the daughter Annamaria, who contributed to the marquis Francesco Patrizi, who wanted draw rich decoration put inside. The small build- painting and sculpture studies. Inside, in front ing at no. 60 of via Margutta also belonged of the building that was the seat of English to Alibert family, later it passed to Torlonia Academy, there is a big oval pool laterally (whose crest is on the façade), and it also marked by roman capitals. At last, no. 53a, passed to Lasalle property. Going to piazza preceded by a court adorned with two foun- del Popolo, on via Margutta side to the Pin- tains, there is a four floor building whose cio, that one that is still marked by many peculiar element is the façade enriched by places destined to courts and gardens, there plaster bust made by Italian artists. The small is the quarter small fountain made by the ninetheenth building corresponding to no. architect Pietro Lombardi during the Gover- 51a, also hosted art studies on its ground norate years. The small wall fountain, dat- floor (at present it belongs to Sant’Alessio ed MCMXXVII (1927), is animated by two big Blinds Institute). In the rear part it is marked masks put in a grid assembled with instru- by stairs “climbing” to Pincio slopes. Path on ments that, in a stylized shape, recall life via Margutta, mainly marked by eightheenth typical artistic activity. It was planned for century building on the side to Tridente and the competition that was announced by Rome by charming green areas on the side to the town hall on 1925, won by Lombardi, who hill, is marked by the posterior entrance of was author of other famous roman quarter Boncompagni Cerasi Palace, no. 90, whose fountains. Then, there is the gate of Palaz- wonderful main façade faces the parallel via zo Patrizi, at no. 54. They are many differ- del Babuino. The original sixtheenth build- ent buildings, also for time of settling, placed ing block can be recognized in Alessandro de around the big inner court, whose sugges- Grandis home (that is incorporated in next tive ground is represented by wood wings of factories). It has been the first private home supervisor Pincio hill. On the left side there getting connection to on 1571, is the building hosting the seat of the Artists on its façade was put the famous Babuino Club, memory of via Margutta glorious past, fountain on 1576. Close to Piazza del Popo- while, on the other side there is a big build- lo, a group of houses end the path. It is pos- ing dated first of Novecento. In front of it sible to distinguish buildings of the so called there is a modern building where now there Borghetto (the homonymous alley crosses via

VIA MARGUTTA is the most prestigious Italian auction house Margutta), and that is also called “lousy”. (Finarte-Semenzato), art spreader and linked Once it consisted of poors houses crowded 40 from years to via Margutta. It also belongs to the long wall reaching the church of San- to Patrizi family the following buildings: the ta Maria del Popolo. first, no. 53, marked by very elegant framed windows and focused on the façade by a nice small loggia, is dated 1858. Then, nn. 51- ROBERTO DEL SIGNORE 53, there is a three gates entrance, made Cultural Heritage Office The streets of Rome