Rome's Historical Districts - I

Along the district's boundary with Rione II, Trevi, Monti features two small but very beautiful churches drawn by the masters of Rome's Baroque architecture, Gianlorenzo Bernini and Francesco Borromini, whose well-known rivalry is described in Legendary Rome page 2. Sant'Andrea al Quirinale [9], so called because it faces the southern side of the Quirinal Palace, is by Bernini; it is known for its lavish marble works that decorate the inside.

Along the district's boundary with Rione II, Trevi, Monti features two small but very beautiful churches drawn by the masters of Rome's Baroque architecture, Gianlorenzo Bernini and Francesco Borromini, whose well-known rivalry is described in Legendary Rome page 2. Sant'Andrea al Quirinale [9], so called because it faces the southern side of the Quirinal Palace, is by Bernini; it is known for its lavish marble works that decorate the inside.

	The other church, only a few metres or yards off the previous one, is Borromini's San Carlo alle Quattro Fontane [10], standing on one corner of the crossing which features four fountains (see Trevi, Rione II for details). The roman people nicknamed the latter San Carlino, "St.Charly", because the surface of the whole church matches in size and shape the section of one of the pillars that support the vault in St.Peter's basilica. Its curious belltower has a spiral shape, as the one of Sant'Ivo (by the same architect) in Sant'Eustachio district. Borromini wanted to be buried in San Carlo's crypt, but since he died committing suicide, his remains were refused such privilege, and the chapel intended for this purpose was left empty. ← the entrance of Sant'Andrea al Quirinale's church the inside of San Carlino's dome →

Monti is also particularly rich of medieval features of religious inspiration, most of which are located in the southern part of the district.
The most famous one is the Lateran complex [11], by the roman gate Porta Asinaria (see Aurelian's Walls part III). It includes St.John's basilica, cathedral church of Rome, first built in the 4th century and altered on several occasions up to its present shape (17th-18th century). Pope Gregory XI (1370-78) gave it the title of 'mother of all churches in the world'. During the Middle Ages, for almost 1,000 years all the popes have been crowned here.

the front (left) and western side (right) of the basilica of St.John in the Lateran, Rome's cathedral

The building next to the church, the Lateran Palace (1586), was built over the remains of the Patriarchium, a much larger structure where the popes dwelt before their see was moved to Avignon (France) in 1305. Only a few years later, the building was destroyed by a great fire. In fact, when papacy returned back to Rome, the pope's residence was moved to the Vatican. On one side of the present palace stands Rome's tallest Egyptian obelisk (see Obelisks for details), while on the other side of the square a late 16th century building contains the old private chapel of the popes, known as Sancta Sanctorum ("holy among holy places"). It is the only surviving part of the ancient Patriarchium, accessed by a marble staircase called the Holy Steps, wrongly believed to be the original ones from Pontium Pilate's headquarter in Palestine, where Christ faced his trial: for this reason, the faithful climb them on their knees. In the chapel, above the altar, hangs an ancient image which, according to a popular tradition, was painted by a supernatural entity: during the Middle Age, in the case of plagues and other calamities, the popes used to carry it in procession.	the Holy Steps

The building next to the church, the Lateran Palace (1586), was built over the remains of the Patriarchium, a much larger structure where the popes dwelt before their see was moved to Avignon (France) in 1305. Only a few years later, the building was destroyed by a great fire. In fact, when papacy returned back to Rome, the pope's residence was moved to the Vatican.
On one side of the present palace stands Rome's tallest Egyptian obelisk (see Obelisks for details), while on the other side of the square a late 16th century building contains the old private chapel of the popes, known as Sancta Sanctorum ("holy among holy places").
It is the only surviving part of the ancient Patriarchium, accessed by a marble staircase called the Holy Steps, wrongly believed to be the original ones from Pontium Pilate's headquarter in Palestine, where Christ faced his trial: for this reason, the faithful climb them on their knees. In the chapel, above the altar, hangs an ancient image which, according to a popular tradition, was painted by a supernatural entity: during the Middle Age, in the case of plagues and other calamities, the popes used to carry it in procession.

the Holy Steps

Not far, midway between the Lateran and the Colosseum, is another fascinating complex built on three different levels: San Clemente [12], also mentioned in Curious and Unusual, page 3.

San Clemente's porch	It consists of the Upper Basilica (12th century, featuring beautiful mosaics and frescoes), built on top of a much older church called Lower Basilica (4th century), when the latter, completely below the present ground level, was severely damaged during a raid.. Further deep in the ground are the remains of roman buildings of the late Republican age (2nd-1st century BC), and a mithraeum, a place of worship of god Mithra, of a slightly later (early imperial) period.	the apse of Santi Quattro Coronati looks like a military stronghold

Very close to this spot is a further church called Santi Quattro Coronati, built atop a rock: its structure resembles that of a fortress; in fact, its purpose was to act almost as a bulwark for the nearby Patriarchium, i.e. the aforementioned papal palace. It was rebuilt in this shape following the sack of Rome in 1084, by the Norman leader Robert Guiscard, who had razed to the ground this church, as well as the aforesaid San Clemente's church and several other buildings. The Oratory of St.Sylvester, a chamber facing the nunnery annexed to the church, is covered with frescoes of c.1250, featuring the life and feats of Constantine the Great, the first emperor who lifted the ban on Christian religion. Also the church's cloister (13th century) stands among the finest of this age, despite its small size.

Santo Stefano Rotondo	On the side of the Coelian Hill that belongs to Monti district is Santo Stefano Rotondo [13], i.e. 'Round St.Stephen', the first Italian church with this shape, built in the 5th century. The precincts of this church are actually a stretch of an ancient aqueduct, the so-called Rivus Caelimontani branch described in Aqueducts part III. Originally, Santo Stefano Rotondo had two circular galleries, or naves, and four transepts in the shape of a cross. Due to the bad condition of the old church, in the 1450s three transepts and the outer gallery had to be demolished. In the surviving gallery, famous frescoes were painted in the first half of the 16th century, featuring brutal and rather gruesome executions of Christian martyrs by Roman emperors. Below the church, some remains of an ancient roman military camp are being dug.

Santo Stefano Rotondo

On the side of the Coelian Hill that belongs to Monti district is Santo Stefano Rotondo [13], i.e. 'Round St.Stephen', the first Italian church with this shape, built in the 5th century.
The precincts of this church are actually a stretch of an ancient aqueduct, the so-called Rivus Caelimontani branch described in Aqueducts part III. Originally, Santo Stefano Rotondo had two circular galleries, or naves, and four transepts in the shape of a cross. Due to the bad condition of the old church, in the 1450s three transepts and the outer gallery had to be demolished.
In the surviving gallery, famous frescoes were painted in the first half of the 16th century, featuring brutal and rather gruesome executions of Christian martyrs by Roman emperors.
Below the church, some remains of an ancient roman military camp are being dug.

Along the northern side of the district, on top of the Esquiline hill, by the spot where three rioni meet (namely, Monti, Esquilino and Castro Pretorio), stands the basilica of Santa Maria Maggiore [14] (St.Mary the Major), being the main church dedicated to the Virgin Mary among the many extant in Rome. It is also popularly called Santa Maria della Neve ("St.Mary of the Snow") because a legend says that pope Liberius had the church built on the spot where snow unexpectedly fell in August. Every year, on August 5, a popular happening takes place in this square, with an artificial snowfall in memory of the event. Really, it was founded by Sixtus III soon after the Council of Ephesus (431), in which the Virgin Mary's status as 'mother of God' had been decreed.	Santa Maria Maggiore

Along the northern side of the district, on top of the Esquiline hill, by the spot where three rioni meet (namely, Monti, Esquilino and Castro Pretorio), stands the basilica of Santa Maria Maggiore [14] (St.Mary the Major), being the main church dedicated to the Virgin Mary among the many extant in Rome. It is also popularly called Santa Maria della Neve ("St.Mary of the Snow") because a legend says that pope Liberius had the church built on the spot where snow unexpectedly fell in August. Every year, on August 5, a popular happening takes place in this square, with an artificial snowfall in memory of the event.
Really, it was founded by Sixtus III soon after the Council of Ephesus (431), in which the Virgin Mary's status as 'mother of God' had been decreed.

Santa Maria Maggiore

the chapel of Paul V	The basilica is the fourth in size in Rome, and one of the holiest Christian places of worship. Several other popes gave their contribution for enlarging and refurbishing it, from the Middle Ages to the 1800s. Its apse was decorated in the late 1200s with one of the most beautiful and well-preserved mosaics. Also the belltower was built in the same years, and boasts the record of being the tallest in Rome. Alexander VI (c.1500) added the coffer ceiling, said to have been gilded with the first gold brought back from the Americas, discovered only a few years earlier. Sixtus V (late 1500s) and Paul V (early 1600s) built on its sides two enormous and very lavish chapels. Benedict XIV (early 1700s) added the porch and the balcony to the front, so to protect the mosaics of the façade (13th century), yet leaving them partly visible from below.	the chapel of Sixtus V

(above) the mosaics on the façade, best viewed at night; (centre) 5th century panel and a detail of the pattern, also in mosaic, that runs along the main aisle (right) the column from the Basilica of Maxentius			Santa Maria Maggiore is famous for its mosaics. The small panels that run along the main knave date back to the 5th century (the earliest known with religious subjects), although the large compositions on the façade and on the apse are late 13th century works.

The column standing in front of the church is the only one still extant from the Basilica of Maxentius (or Basilica of Constantine), in the Roman Forum. It was moved here in the early 1600s by pope Paul V. At the back of the church, instead, stands one of Rome's ancient obelisks (see Obelisks, part II for details), stood here by Sixtus V around 1585, coming from the great tomb of emperor Octavian Augustus, in Campo Marzio district.

Santa Prassede: the ceiling mosaic in San Zeno's chapel (9th century)		Another very ancient church in the surroundings, smaller that the aforesaid basilica, is Santa Pudenziana [16], which stands considerably below the modern ground level; its entrance is now reached by a double staircase. Its present shape dates to 1590, but it was first built around the 4th century (late imperial age): a mosaic from the original building, one of the earliest examples based on a Christian theme, decorates the apse; interestingly, the personages it features still wear togae, in the fashion of ancient Rome, and the background depicts a lively view of what the city might have looked like sixteen centuries ago.		detail of the late 4th century mosaic in Santa Pudenziana: the senator-like apostles and the Roman buildings in the background

Other fine mosaics of the age of Charlemagne (9th century) can be seen in the nearby church of Santa Prassede [15], now almost hidden in a dark and narrow street: the vault of the small chapel of San Zeno is completely covered with them.

The very heart of the district was once entirely occupied by the fabulous mansion that emperor Nero had built for himself after most parts of Rome had been destroyed by the great fire of year 64. Known as the Domus Aurea [5], or Golden House, its many halls and corridors were beautifully decorated with wall paintings, while its gardens stretched over four different districts, and included an artificial lake and a 30 meter (100 foot) bronze statue featuring the same emperor, portrayed as god Apollo.

	(← left and above ↑) Nero's Golden House: one of the many corridors that once linked the hundreds of chambers and courtyards, and traces of decorations still extant on the wall of a hall	Immediately after Nero's death, due to his ill-fame, all his memories were destroyed: the ruins of his mansion were filled up and covered with earth, and emperor Trajan built public baths on the new grounds; scanty remains of these baths are visible today in the public park that covers the top of the Oppium Hill, although their huge dimensions still give us an idea of how grand the ancient establishment may have been.

Also the lake was drained and filled up, providing a wide flat area where Rome's largest and most famous ancient public building was then raised: the Colosseum. When in the early 16th century the ruins of the Golden House were found, many Renaissance artists, including Raphael, used to reach the underground halls, which they called 'grottoes', lowering themselves with ropes (and often leaving on the ceilings their names and other graffiti). The stunning wall paintings that they witnessed, whose colours had been largely preserved in spite their age thanks to the airproof underground environment, greatly influenced the style of wall and ceiling decoration throughout the Renaissance. Unfortunately, those ancient frescoes are now barely visible; once exposed again to the atmosphere after their discovery, and subject to water infiltrations due to their underground location, they soon started to fade, and today appear rather deteriorated.	the Golden House: graffiti left in the 1500s on a ceiling

Also the lake was drained and filled up, providing a wide flat area where Rome's largest and most famous ancient public building was then raised: the Colosseum.
When in the early 16th century the ruins of the Golden House were found, many Renaissance artists, including Raphael, used to reach the underground halls, which they called 'grottoes', lowering themselves with ropes (and often leaving on the ceilings their names and other graffiti). The stunning wall paintings that they witnessed, whose colours had been largely preserved in spite their age thanks to the airproof underground environment, greatly influenced the style of wall and ceiling decoration throughout the Renaissance.
Unfortunately, those ancient frescoes are now barely visible; once exposed again to the atmosphere after their discovery, and subject to water infiltrations due to their underground location, they soon started to fade, and today appear rather deteriorated.

the Golden House: graffiti left in the 1500s on a ceiling

remains of Trajan's Baths, standing above Nero's Golden House

~ back to part 1 ~