Rome's Historical Districts - VI

MAIN FEATURES (the black numbers in brackets refer to the map on the right) The most important spot of this small rione is undoubtly piazza Navona [1], one of the largest squares (it covers almost ¼ of the whole district) and most beautiful sites in Rome.

At the back of one of the houses that enclose the square along its northern end, several metres below the modern ground level, the remains of one of the entrances of the old stadium [2] can be seen from the street (picture above left). The other picture shows a pillar belonging to the stadium, discovered in 1933 along the short street that approaches the square on its eastern side.

Santa Maria in Agone's church	The most interesting features of piazza Navona are the three fountains (see Fountains, part III page 3) named Fountain of the Rivers, Fountain of the Moor and Fountain of Neptune, as well as the church of Santa Maria in Agone; their stories entwine with those of Rome's two great Baroque architects, Bernini and Borromini, whose famous rivalry is described in the Legendary Rome section, page 2. By tradition, the church stands on the spot where St.Agnes, a young Christian maiden who lived around AD 300, was persecuted for her religious belief by being taken to a brothel housed in Domitian's stadium, tied and and exposed completely naked. But her long hair prodigiously untied, covering her body and preserving her dignity. Those who dared to touch her were stricken blind. Even the wood of the pire onto which she was tied refused to burn. Then a soldier drew his sword and killed her. A few remains of the ancient circus and fragments of medieval fresco paintings can be seen in the basement of the church.

Santa Maria in Agone's church

The most interesting features of piazza Navona are the three fountains (see Fountains, part III page 3) named Fountain of the Rivers, Fountain of the Moor and Fountain of Neptune, as well as the church of Santa Maria in Agone; their stories entwine with those of Rome's two great Baroque architects, Bernini and Borromini, whose famous rivalry is described in the Legendary Rome section, page 2.
By tradition, the church stands on the spot where St.Agnes, a young Christian maiden who lived around AD 300, was persecuted for her religious belief by being taken to a brothel housed in Domitian's stadium, tied and and exposed completely naked. But her long hair prodigiously untied, covering her body and preserving her dignity. Those who dared to touch her were stricken blind. Even the wood of the pire onto which she was tied refused to burn. Then a soldier drew his sword and killed her.
A few remains of the ancient circus and fragments of medieval fresco paintings can be seen in the basement of the church.

A less glamorous but much older church is the one on the opposite side of the square, almost at its southern end. Its present title is Our Lady of the Sacred Heart, but it was originally named St.James of the Spanish, having been first built in the 12th century at the expenses of the Spanish crown, to commemorate the Christian martyrs killed in Domitian's circus. This was the very first building of the square yet to come; in fact the church was oriented with its front looking outside the square.

Then, on the occasion of Jubilee year 1450, a Spanish bishop had the church rebuilt and enlarged; in those years the relations between Spain and Rome were particularly close, also considering that two popes of that age, i.e. Callist III (1455-58) and Alexander VI (1492-1503) belonged to the Spanish family de Borja (Italianized into Borgia). The latter pope had a further enlargement carried out to the building, and on the same occasion its direction was reversed, so that its new façade was built facing the inside of the square. Shortly later, St.James' was declared the national Spanish church in Rome.	the early look of piazza Navona (Platea Agonis), in a map of 1593: St.James of the Spanish, whose ancient façade is clearly seen, was the only outstanding building turned towards the inside of the square

Then, on the occasion of Jubilee year 1450, a Spanish bishop had the church rebuilt and enlarged; in those years the relations between Spain and Rome were particularly close, also considering that two popes of that age, i.e. Callist III (1455-58) and Alexander VI (1492-1503) belonged to the Spanish family de Borja (Italianized into Borgia). The latter pope had a further enlargement carried out to the building, and on the same occasion its direction was reversed, so that its new façade was built facing the inside of the square. Shortly later, St.James' was declared the national Spanish church in Rome.

the early look of piazza Navona (Platea Agonis), in a map of 1593: St.James of the Spanish, whose
ancient façade is clearly seen, was the only outstanding building turned towards the inside of the square

But during the following centuries, not being duly cared for, the church's condition worsened, up to the point that in the early 1800s, most of its furniture and the tombs were moved into another Spanish church, Santa Maria di Monserrato, located in Regola district. After being temporarily deconsacrated and sold, St.James' was restored and altered in the late 1800s; by that time, both the orientation of the church and its name changed into the present ones.

Among its interesting features, from the pediment above the doorway hang two fine angels carved by two distinguished artists of the late 15th century, Paolo Taccone and Mino del Reame, each of whom signed his own figure, almost as if they were challenging each other in an artistic contest.

the angels, signed OPVS PAVLI (Paolo's work) and OPVS MINI (Mino's work)	The coat of arms they hold was chiselled off, likely by Napoleon's soldiers during Rome's French occupation (1808-1814). Inside the church, a Renaissance organ-loft carved in marble still boasts its original paintings in vivid colours.

the organ loft of the early 1500s

Piazza Navona once had a concave paving; now the slope can be barely told, but once it was deep enough to be flooded and filled with water. As of the 17th century, this was a very popular entertainment that took place over the weekends during the summertime. Waterproof panels were fit to the square's exits, to prevent the water from spilling out. Originally, local noble families held here mock naval battles, using real ships, in the same way roman emperors used to do in the ancient naumachiae (naval stadiums). This custom went on up to the second half of the 1800s, although by that time the naval battles were no longer held, and all the fun consisted in driving through the flooded square with carriages.

	two ways of enjoying piazza Navona (← left) the summer flooding in a 19th century photograph; (right →) the Christmas market, held as of the 20th century

A more recent tradition takes place in this square over the Christmas period, when a very popular fair is held, with stalls selling decorations, toys, sweets, etc. It opens on December 8 and lasts until January 6th, i.e. Epiphany Day (both dates are national holidays).

By the southern end of piazza Navona is a small square where the most famous 'talking statue' of Rome, Pasquino [3] (see Curious and Unusual, page 2), often wears satirical posters left here at night-time, an ancient tradition that seems to have been revived in recent years. On the western side of piazza Navona, instead, by a crossing on the boundary with Ponte district, is a 15th century tower framed with crenellation [4], which belonged to the Mellini family (this name is spelled in large letters on the top part of the structure), whence the slightly corrupted name Tor Millina given to the tower and to the lane below. Slightly further along the district boundary stands another tower, with a completely different shape, in Baroque style (1647): this is Torre dell'Orologio (Clock Tower), in piazza dell'Orologio [5], whose top part is embellished by a small mosaic featuring the Virgin Mary and Child, for which Pietro da Cortona is credited; it crowns a building drawn by the aforesaid Francesco Borromini, called the Oratory of St.Philip Neri, whose façade though looks towards corso Vittorio Emanuele. On the corner at the base of the tower hangs a nice madonnella of similar age. The street that runs below is via del Governo Vecchio: among its many old houses is the rather tall one at number 123, Palazzo Turci [6], dated c.1500, also improperly called 'Bramante's Palace'.	Tor Millina

By the southern end of piazza Navona is a small square where the most famous 'talking statue' of Rome, Pasquino [3] (see Curious and Unusual, page 2), often wears satirical posters left here at night-time, an ancient tradition that seems to have been revived in recent years.

On the western side of piazza Navona, instead, by a crossing on the boundary with Ponte district, is a 15th century tower framed with crenellation [4], which belonged to the Mellini family (this name is spelled in large letters on the top part of the structure), whence the slightly corrupted name Tor Millina given to the tower and to the lane below.

Slightly further along the district boundary stands another tower, with a completely different shape, in Baroque style (1647): this is Torre dell'Orologio (Clock Tower), in piazza dell'Orologio [5], whose top part is embellished by a small mosaic featuring the Virgin Mary and Child, for which Pietro da Cortona is credited; it crowns a building drawn by the aforesaid Francesco Borromini, called the Oratory of St.Philip Neri, whose façade though looks towards corso Vittorio Emanuele.
On the corner at the base of the tower hangs a nice madonnella of similar age. The street that runs below is via del Governo Vecchio: among its many old houses is the rather tall one at number 123, Palazzo Turci [6], dated c.1500, also improperly called 'Bramante's Palace'.

Tor Millina

Palazzo Turci	Torre dell'Orologio	the 'New Church' and, on its left, the Oratory of St.Philip Neri

The large church adjoining the Oratory is called Santa Maria in Vallicella (St.Mary by the Small Valley) as it stands over a natural hollow of the ground, which in ancient Rome was believed to be one of the entrances to hell; but it is better known as the 'New Church'. Despite its name, it was built from 1575 to c.1600, in place of an earlier one of the 1200s. It was looked after by the Congregation founded by St.Philip Neri, who was in fact buried there in a chapel encrusted by precious marbles. The 'New Church' is the only one in Rome that boasts an altarpiece by Peter Paul Rubens (which is also the only work in Rome by the famous Flemish painter not on display in an art gallery). Also an amazing number of other important artists of that age, among whom Pomarancio, Cavalier d'Arpino, Pietro da Cortona, Federico Barocci, Carlo Maratta, Alessandro Algardi, Guercino, and others, embellished this church, yet with minor works, giving it a rather lavish look.

Campo de' Fiori	Another interesting spot in Parione is Campo de' Fiori [7], the site of a very popular market in the morning. Originally this was an open area where, since the early 1400s, herbs and flowers used to be sold (whence its name, meaning "flower field"). In the early 1900s it became a general market, where food and other goods are also sold. Instead, at night-time this large square and its surroundings are always crowded with young people.	the statue of Giordano Bruno

During the age of Counter-Reformation, public executions were held here; the dark hooded statue of Giordano Bruno, the philosopher sentenced by the Inquisition to be burned here for heresy in year 1600, overlooks the place from the ventre of the square, where once was the fountain now standing in front of the aforesaid Oratory of St.Philip Neri. Since the late 19th century, when the statue was made, Campo de' Fiori has always been chosen as a symbolic meeting point by free-thinkers. In ancient times, by the southern end of this square stood the huge Theatre of Pompey (1st century BC), the first of its kind built of stone (earlier theatres were built in wood and, after some time, they were dismantled), richly ornate with statues, paintings and lined with precious marbles. The wall that surrounded its stage ran along the present via di Grotta Pinta [8], where the buildings line up in a crescent, matching the curved shape of the original structure.	detail of Palazzo Pio (17th century)

During the age of Counter-Reformation, public executions were held here; the dark hooded statue of Giordano Bruno, the philosopher sentenced by the Inquisition to be burned here for heresy in year 1600, overlooks the place from the ventre of the square, where once was the fountain now standing in front of the aforesaid Oratory of St.Philip Neri. Since the late 19th century, when the statue was made, Campo de' Fiori has always been chosen as a symbolic meeting point by free-thinkers.

In ancient times, by the southern end of this square stood the huge Theatre of Pompey (1st century BC), the first of its kind built of stone (earlier theatres were built in wood and, after some time, they were dismantled), richly ornate with statues, paintings and lined with precious marbles. The wall that surrounded its stage ran along the present via di Grotta Pinta [8], where the buildings line up in a crescent, matching the curved shape of the original structure.

detail of Palazzo Pio (17th century)

largo dei Librari, with the tiny church of Santa Barbara	A narrow public passage runs below one of these houses, Palazzo Pio (17th century), crossing it from back to front; the façade of the house (picture above) it is still partly decorated with pretty fresco paintings. On the same site of the Theatre of Pompey stands also the small church of St.Barbara, which closes the sharp end of largo dei Librari [9] ("book-dealers place"), a small triangular plaza midway along via dei Giubbonari, located on the southernmost spot of the district, corresponding to the rear side of the aforesaid via di Grotta Pinta. Near the church, on the right, an old establishment that sells fried cod has been there for over half a century, and is still very popular: as dinner time approaches, people of all ages can be seen standing in front of the the small restaurant, nibbling on a crispy cod fillet.

largo dei Librari, with the tiny church of Santa Barbara

A narrow public passage runs below one of these houses, Palazzo Pio (17th century), crossing it from back to front; the façade of the house (picture above) it is still partly decorated with pretty fresco paintings.

On the same site of the Theatre of Pompey stands also the small church of St.Barbara, which closes the sharp end of largo dei Librari [9] ("book-dealers place"), a small triangular plaza midway along via dei Giubbonari, located on the southernmost spot of the district, corresponding to the rear side of the aforesaid via di Grotta Pinta. Near the church, on the right, an old establishment that sells fried cod has been there for over half a century, and is still very popular: as dinner time approaches, people of all ages can be seen standing in front of the the small restaurant, nibbling on a crispy cod fillet.

In a square adjacent to Campo de' Fiori, next to the church of San Lorenzo in Damaso, the white Palazzo della Cancelleria [10] (Chancellery Palace, late 15th century) is considered a masterpiece of early Renaissance architecture, built by Antonio da Montecavallo, but probably with additions by Donato Bramante. The building, ordered by cardinal Raffaele Riario, nephew of the late Sixtus IV, is said to have been partly paid with a large sum of money which he had won playing cards with Franceschetto Cybo, the nephew of the ruling pope in those days (Innocent VIII).

left: the courtyard of Palazzo della Cancelleria;
right: the building whose curved shape is reminiscent of the old theatre's stage

Other buildings of the same age can be seen along the nearby corso Vittorio Emanuele. One of them is the Small Farnesina (by Antonio Sangallo the Young, 1523), so called after the fleur-de-lys carved on the string course between the first and second floor, which though did not really refer to the Farnese family's heraldic device. Another fine building is Palazzo Massimo alle Colonne [11] by Baldassarre Peruzzi (c.1535), built over the remains of an older mansion belonging to the Massimi family, where in 1467 the first printing-house in Rome was opened by two German typographers. When the earlier building was destroyed during the sack of Rome (1527), Palazzo Massimo replaced it. Having been built over the foundations of the Odeon, an ancient Roman theatre whose making had been sponsored by emperor Domitian (late 1st century AD), the shape of the building is curved mimicking the round part of the no longer existing theatre.	Palazzo Massimo alle Colonne

Other buildings of the same age can be seen along the nearby corso Vittorio Emanuele. One of them is the Small Farnesina (by Antonio Sangallo the Young, 1523), so called after the fleur-de-lys carved on the string course between the first and second floor, which though did not really refer to the Farnese family's heraldic device.

Another fine building is Palazzo Massimo alle Colonne [11] by Baldassarre Peruzzi (c.1535), built over the remains of an older mansion belonging to the Massimi family, where in 1467 the first printing-house in Rome was opened by two German typographers. When the earlier building was destroyed during the sack of Rome (1527), Palazzo Massimo replaced it. Having been built over the foundations of the Odeon, an ancient Roman theatre whose making had been sponsored by emperor Domitian (late 1st century AD), the shape of the building is curved mimicking the round part of the no longer existing theatre.

Palazzo Massimo alle Colonne

	Its main entrance is covered by a small but very ornate porch, whose coffered ceiling is decorated with beautifully carved panels. Palazzo Massimo alle Colonne adjoins back to back another house of similar age called Palazzo Massimo di Pirro (right), thus forming a complex. The latter building owes its name to a statue of Mars found during local excavations, and originally mistaken with king Pyrrhus. Its front was once covered with frescoes by Daniele da Volterra, now almost completely lost. It closes one side of a tiny square (piazza Massimi) where the only surviving column coming from the aforesaid Odeon theatre was stood in 1950. ← Palazzo Massimo di Pirro and the only column left from the Odeon

Its main entrance is covered by a small but very ornate porch, whose coffered ceiling is decorated with beautifully carved panels.
Palazzo Massimo alle Colonne adjoins back to back another house of similar age called Palazzo Massimo di Pirro (right), thus forming a complex. The latter building owes its name to a statue of Mars found during local excavations, and originally mistaken with king Pyrrhus. Its front was once covered with frescoes by Daniele da Volterra, now almost completely lost. It closes one side of a tiny square (piazza Massimi) where the only surviving column coming from the aforesaid Odeon theatre was stood in 1950.

← Palazzo Massimo di Pirro and
the only column left from the Odeon