AURELIAN'S WALLS - part 3

Leaving Porta San Sebastiano, the road changes its name into viale di Porta Ardeatina, and heads towards a large crossing with viale Cristoforo Colombo, almost an urban highway.

modern archways opened by the original Porta Ardeatina	A part of this stretch has recently collapsed (April 2001) due to the rain infiltration along the net of tiny channels dug through the bricks by the spontaneous vegetation; however, it has been completely restored. Just before reaching the wide and busy spot, you will notice how the turf by the base of the wall gradually turns into a slope, ascending towards a very simple rectangular passage: this is the original Porta Ardeatina [map ref. 5], a minor gate now no longer used, since by the large crossing several modern archways have been opened through the wall during the 20th century, due to the increasing traffic. This gate, so called from the road's direction towards Ardea, can be more easily reached from the back (inner side), simply turning round the first modern passage.

modern archways opened by the original Porta Ardeatina

A part of this stretch has recently collapsed (April 2001) due to the rain infiltration along the net of tiny channels dug through the bricks by the spontaneous vegetation; however, it has been completely restored.

Just before reaching the wide and busy spot, you will notice how the turf by the base of the wall gradually turns into a slope, ascending towards a very simple rectangular passage: this is the original Porta Ardeatina [map ref. 5], a minor gate now no longer used, since by the large crossing several modern archways have been opened through the wall during the 20th century, due to the increasing traffic. This gate, so called from the road's direction towards Ardea, can be more easily reached from the back (inner side), simply turning round the first modern passage.

On the other side of the road (take care, here cars drive fast!), viale di Porta Ardeatina soon reaches a very long bastion [map ref. 6], measuring over 200 metres or yards, built by Antonio Sangallo the Young in the first half of the 16th century.

	← Sangallo's bastion (highlighted in yellow) in a 17th century map present view of the bastion →

This was one of the many bastions which should have been added to Rome's walls, a lavish project by pope Paul III, only a few years after Rome had been sacked by the mercenary troops of Charles V (1527), which though failed for lack of funds. Another bastion by Sangallo, an architect who was specialized in military structures, is the one located not far from the Vatican, protecting Porta Santo Spirito (see a picture) built by the same architect; the gate is mentioned in The Pope's Walls, part II).
For the making of this bastion, Sangallo had to take down the ruins of the older structure: actually, this is the only part of Aurelian's set of walls that has ever been completely rebuilt.

by a Roman tower, the 16th century wall (on the right) links to the older one (left): note their different structures	Unlike the the Roman wall, this structure is shaped as a steep slope, similar to that of the walls of the popes, on the western side of the river Tiber (see also the INTRODUCTION page). Other typical features differing from Aurelian's wall are the white kerbstone running along the upper part, and a number of wide windows from which guns could be fired.	scheme of the two types of wall shown in cross section

By the sharp corner of the bastion hangs a large and beautiful coat of arms of pope Paul III, bearing the six fleur-de-lys of the Farnese family. Where the 16th century wall comes to an end, leaving place once again to the Roman one, a sharp contrast between the two types of structure can be clearly seen.

(↑ above) samples of the irregular wall texture;

(↓ below) a part of wall built as opus vittatum;
the upper half was rebuilt at a later stage

Then, for a rather lengthy stretch, the ancient wall shows a particularly uneven brick texture, with irregular patches alternating with parts built in concrete (i.e. stones and mortar), or even with large rectangular blocks: such diversity is the evidence that over the past centuries the wall crumbled several times, and/or was damaged by enemies that set siege to the city, thus requiring restoration works, carried out according to the different techniques used in each period; in most cases, the roughest textures are the ones that date back to the Middle Ages. Two popes whose sponsorship of the aforesaid works is testified by their coat of arms, hanging from the top part of the wall, are Nicholas V (1447-55) and Clement VII (1523-34); the latter was a member of the Medici family from Florence.

coat of arms of Paul III

	By the crossing with via Guerrieri, two modern archways opened sometime during the 20th century allow the traffic to cross the wall on either side. From this spot onwards, the lower half of the structure features a typical Roman building technique called opus vittatum or opus listatum, consisting of horizontal rows of brickwork, four or five bricks thick, with alternate parts built in tufa blocks, sometimes small and regular, arranged in a diagonal texture, some other times (as in this case) more irregular in size, arranged horizontally. Just past the double archway, the wall makes a right angle bend, and then gradually curves towards the right; here a small staircase has been opened, in order to enable the pedestrians to cross the wall and reach its inner side (via Giotto), whose ground level is much higher than that on the outer side. Those who wish to take a view over the huge remains of the nearby Baths of Caracalla, can follow this street backwards, for about 300 metres (or yards).

By the crossing with via Guerrieri, two modern archways opened sometime during the 20th century allow the traffic to cross the wall on either side.
From this spot onwards, the lower half of the structure features a typical Roman building technique called opus vittatum or opus listatum, consisting of horizontal rows of brickwork, four or five bricks thick, with alternate parts built in tufa blocks, sometimes small and regular, arranged in a diagonal texture, some other times (as in this case) more irregular in size, arranged horizontally.

Just past the double archway, the wall makes a right angle bend, and then gradually curves towards the right; here a small staircase has been opened, in order to enable the pedestrians to cross the wall and reach its inner side (via Giotto), whose ground level is much higher than that on the outer side. Those who wish to take a view over the huge remains of the nearby Baths of Caracalla, can follow this street backwards, for about 300 metres (or yards).

Immediately after the curve, the street starts sloping downwards, and very soon the massive shape of a white pyramid appears in the distance. The row of shady trees running by the wall makes this last stretch rather pleasant to follow. At the end of the slope is a very large square, in the middle of which stands the last huge gate, Porta San Paolo [map ref. 7], facing the aforesaid Cestian Pyramid [map ref. 8]. Porta San Paolo, as the previous ones, was alterated by Honorius, who reduced the number of passages from the two original ones to the present single one. The inner side is still in the original roman shape. A small image reading "St.Peter pray for us" was added in medieval times.	the Pyramid of Gaius Cestius and Porta San Paolo: up to the late 19th century they were joint together by the wall, taken down for traffic reasons

Immediately after the curve, the street starts sloping downwards, and very soon the massive shape of a white pyramid appears in the distance. The row of shady trees running by the wall makes this last stretch rather pleasant to follow.

At the end of the slope is a very large square, in the middle of which stands the last huge gate, Porta San Paolo [map ref. 7], facing the aforesaid Cestian Pyramid [map ref. 8].
Porta San Paolo, as the previous ones, was alterated by Honorius, who reduced the number of passages from the two original ones to the present single one. The inner side is still in the original roman shape. A small image reading "St.Peter pray for us" was added in medieval times.

the Pyramid of Gaius Cestius and Porta San Paolo: up to the late 19th century
they were joint together by the wall, taken down for traffic reasons

The gate now stands alone: the wall, taken down on both the right and the left side due to the modern traffic, starts again from the opposite side of the pyramid.
The latter monument, one of the most peculiar highlights in Rome, is the huge tomb of tribune Gaius Cestius Epulo, also a member of the Septemviri Epulones (a committee of seven officers in charge for the organization of holy banquets, whence his last name), who died in 12 BC. The monument was built in 330 days, as reported by the large Latin incription on the southern side.

detail of Aurelian's wall joining the Pyramid	In the small inner chamber, closed to the general public, only a few traces of the original wall paintings have survived. Due to the modern street level, higher than the original roman one, the pyramid now seems less tall and impressive than in its early days. This is not the only pyramid which stood in the city: a similar one was reported to exist between Nero's Circus (presently, the Vatican) and Hadrian's Tomb, now Sant'Angelo Castle, where Borgo district would have later appeared; ancient sources referred to it as Meta Romuli (dealt with in There Once Was In Rome...), but no trace of this monument is still standing.	the Meta Romuli (from a map of ancient Rome, dated 1561)

Just like the Amphiteatrum Castrensis (described in part II), also Gaius Cestius' tomb is one of the buildings which Aurelian's architects found along their way while building the wall: being strong enough, they were incorporated into the defensive structure, as shown above on the left; this probably helped them to survive better than many other nearby monuments, which have completely disappeared (having either collapsed or been taken down).

In the grassy area at the base of the pyramid lives one of Rome's several communities of stray cats.

Instead behind the pyramid, in a most charming setting, stretches Rome's non-Catholic Cemetery, famous for its variety of graves and memorials, some of which are real works of art, where a number of personalities are buried, such as the English poets Percy Bysshe Shelley and John Keats. The place is open to the public from 9 am to 6 pm (5 pm in winter), except on Mondays.

↑ a view of the non-Catholic cemetery and the last stretch of the wall →

The tour could finish in piazzale Ostiense: from the Piramide stop on the opposite side of the square, by Ostiense train station, the subway B line will take you back to the city centre.
But for those who would like to enjoy Aurelian's walls up to the very last segment, there are still some 300 metres or yards to be followed.
The wall beyond the pyramid now looks neat and clean, having recently undergone a careful restoration. The coat of arms of Nicholas V (1447-55), hanging above the towers, reminds us that similar works had also been commissioned by this pope 500 years ago.

the British Military Cemetery	This is one of its best preserved parts, with rectangular towers at regular distances, that make a very typical view. Soon you will come to a crossing where a number of modern archways have been opened. The walkable passage on the inner side becomes once again clearly visible. Here the wall surrounds another small burial ground, the British Military Cemetery, where the soldiers who fell at the end of WW II now rest. Note how also along this stretch of wall some rough square blocks, datable to the late Middle Ages, were used to integrate the ancient brick structure, after the latter had likely collapsed. The texture difference is very evident, and curiously resembles that of the archaic Republican walls.

the British Military Cemetery

This is one of its best preserved parts, with rectangular towers at regular distances, that make a very typical view.
Soon you will come to a crossing where a number of modern archways have been opened. The walkable passage on the inner side becomes once again clearly visible. Here the wall surrounds another small burial ground, the British Military Cemetery, where the soldiers who fell at the end of WW II now rest.

Note how also along this stretch of wall some rough square blocks, datable to the late Middle Ages, were used to integrate the ancient brick structure, after the latter had likely collapsed. The texture difference is very evident, and curiously resembles that of the archaic Republican walls.

Just a few metres or yards further on, the wall enters the premises of the railway line, and can no longer be followed. The very last part has been demolished, so to let the trains pass, but the brick structure once ran up to the very bank of the nearby river. In fact, in roman times, a heavy chain was hung across the Tiber, from this side to the opposite one, where the wall climbed up the Janiculum Hill. The chain acted as a gate: it was lowered during daytime, and lifted after sunset, in order to prevent unwanted ships from sailing into Rome while the passage was unprotected.	the integration of the original brick wall

Just a few metres or yards further on, the wall enters the premises of the railway line, and can no longer be followed. The very last part has been demolished, so to let the trains pass, but the brick structure once ran up to the very bank of the nearby river. In fact, in roman times, a heavy chain was hung across the Tiber, from this side to the opposite one, where the wall climbed up the Janiculum Hill. The chain acted as a gate: it was lowered during daytime, and lifted after sunset, in order to prevent unwanted ships from sailing into Rome while the passage was unprotected.

the integration of the original brick wall

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if you enjoyed the tour of Aurelian's walls, you can't miss the popes' walls!