First day |
Suggestion: The late afternoon could be the right time to go on a panoramic drive on the double-decker buses of the Atac 110 line that makes several stops in the centre. |
Second day |
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The Vatican City, independent sovereign state since 1929 (Lateran Pacts), rises on the site where St. Peter was martyred and buried. The first Christian Emperor Constantine, built a splendid basilica there in the 4th century AC which was in later times demolished and rebuilt over a period of almost 120 years (1506-1614). The greatest architects of the period, including Bramante, Michelangelo and Maderno, collaborated in the project of the new church, the largest in the world with its surface adding up to a total of 22,000 square metres. The Basilica of St. Peter’s offers one of the most impressive experiences of architectural space available anywhere. Photographs cannot convey the impact on the visitor of the vastness of the structure, of the splendid decorations and works of art it contains. The alternation, during the construction phase, between the Greek cross and Latin cross plan, and the definitive choice of the latter, explains why one must proceed significantly along the central nave before coming in full view of Michelangelo’s extraordinary dome (which measures 136 m in height and 42m in diameter) The artistic treasures contained in St. Peter’s include the celebrated Pietà by the same Michelangelo, the only work he ever signed, and which he made when he was only 24, using a single block of marble; the baldacchino above the main altar, the authentic visual focus of the church, created by Bernini with bronze taken from the Pantheon, and the bronze statue of St. Peter by Arnolfo di Cambio.
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In order to avoid long lines, check the opening times that are longer in the summer and, if possible, plan your visit after 12:00am, when the Museums are less crowded. |
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Via della Conciliazione leads to Castel Sant’Angelo, the fortress of the popes built in the Middle Ages above the remains of the tomb of the Emperor Hadrian (2nd century AD). Its structure is an example of the continuity between past and present in the urban fabric of Rome, where ancient buildings were often reused and adapted to serve new purposes, thus maintaining an active role in the history of the city. The location of the emperor’s mausoleum on the right bank of the river Tiber, close to the Vatican, determined its use as a defensive rampart, connected to the papal palaces by a passageway, known as the “Passetto”, and endowed with a moat surrounding it, drawbridges and cannons. In the past the castle was famous for its terrible dungeons, described by Benvenuto Cellini who made an adventurous escape from them. It was also a place of public executions, as recalled by the opera Tosca, that sees its tragic ending here. Walking through the 58 rooms the Museum of the Castel Sant’Angelo today is a journey through its 1800 years of history, and the many terraces offer extraordinary views of the city. |
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The area of Trastevere is ideal for a walk through narrow streets, squares and colours that still maintain an authentically Roman character and offers a pleasant contrast with the solemn splendour seen at the Vatican. In antiquity Trastevere – “beyond the Tiber” – was the first district established on the right bank of the Tiber and was inhabited by artisans, fishermen, merchants and communities of foreigners, connected with the activities of the nearby port. Trastevere was also famous for its magnificent villas and vast gardens, the most important of which belonged to Julius Caesar who may have hosted Cleopatra there and left them in his will to the people of Rome. In the Middle Ages the neighbourhood acquired the aspect it still preserves today in its narrow alleys and small squares that often defy any idea of a rational overall urban design, and give the impression of having adapted to preexisting structures. Sites that should not be missed include the ancient Basilica of Santa Maria in Trastevere, with the 13th century mosaics by Pietro Cavallini, and of Santa Cecilia, with the touching statue of Cecilia herself, patron saint of music, by Stefano Maderno. To find the magnificence of the Renaissance even in Trastevere, the ideal place is the Farnesina, the suburban villa of wealthy banker Agostino Chigi, containing frescoes by Raphael, Baldassarre Peruzzi and Sebastiano del Piombo. Trastevere offers a great variety of restaurants and bars for a fun evening. |
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Third day |
An evening at the theatre in Villa Borghese (when possible). |
The archaeological site of Ostia Antica offers a unique opportunity to complete the image of the ancient city by exploring the aspect of daily life, otherwise difficult to identify among the great public monuments of capital. |
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The Centrale Montemartini represents one of the most original and remarkable outcomes of the coexistence of ancient and modern in Rome. Ancient statues from the collections of the Capitoline Museums are displayed in the rooms of the first public electrical power plant of the city, inaugurated in 1912, and the only one that kept working during the Second World War thanks to the ingenious stratagem of hoisting the Vatican City flag above it. More than 400 statues of gods, heroes and personalities of imperial rank populate the machine rooms amidst transformers and generators that evoke the sound of turbines, creating a highly evocative surreal effect. Walking through the perfectly restored rooms (a successful example of industrial archaeological recovery) we perceive the dynamic relationship between the luminous, timeless marble of the statues and the modern energy suggested by the machines, that seem to contend for the attention of the viewer. Do not miss the celebrated Togato Barberini, the basanite statue of Agrippina, the Victory of the Simmaci, and the statues from the Temple of Apollo Sosianus. |
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A suggestion for a special evening: a performance at the permanent outdoor theatre “Silvano Toti”, in Villa Borghese, in Piazza Aqua Felix. Modelled on the Globe theatre in London, it has a capacity of 3000 seats. |
Fourth day |
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Located amidst the greenery of the favourite public park of the Romans, the Borghese Gallery is an authentic artistic treasure chest, the result of the passion for art of Cardinal Scipione Borghese, who in the early 1600s had the villa built on the suburban property donated to him by his uncle, Pope Paul V, with the specific purpose of housing his art collection. In order to enjoy it fully, it is important to enter the villa with a perception of the surrounding park and open air in a wonderful blend of art and nature, that we now recognize as typical of Rome. Once again, as at the Vatican Museums, we find the correspondence between the “container” and what it “contains”, in which the artistic value of the individual works is enhanced by the decorative splendour of the rooms in which they are displayed. It is important to bear in mind that the Borghese Gallery originated as a private collection and that the works and their display are not the result of didactic criteria (period, subject), but rather reflect the taste and intentions of its former owners. Do not miss the series of sculptures made for the cardinal by young Gian Lorenzo Bernini (Eneas, the Rape of Proserpine, Apollo and Daphne, and David), that seem to invite us to participate in what is happening to them, Titian’s Sacred and Profane Love, Caravaggio’s masterpieces and the lovely Princess Paolina Borghese, Napoleon’s favourite sister, portrayed by Canova as Venus. The Borghese Cardinal was famous above all for his capacity to discover new talents and for his methods in acquiring the works of art he wished to own, which on some occasions were not exactly lawful. He did not hesitate to have the Deposition by Raphael stolen from a church in Perugia and he had painter Domenichino imprisoned because he did not want to give him a painting commissioned to him by another cardinal. |
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A visit to the Catacombs on the Appian Way allows us to trace the origins of the Christian presence in Rome and to explore one of the fundamental aspects of its identity. The Catacombs are in fact the underground cemeteries of the early Christians, located outside the city walls in accordance with the ancient custom that forbade the burying of the dead in the inhabited area. They consist of a series of levels with passageways dug out of the tufa, a soft volcanic rock that hardens when it comes into contact with oxygen contained in the air. The dead used to be wrapped in a shroud and placed in loculi and crypts carved out of the walls of the passageways themselves, and sealed with marble slabs or terracotta slabs, according to financial possibilities. It is interesting to notice how the layering of the levels, determined by the need to exploit the expensive land as much as possible, must be interpreted in the opposite way we do at a proper archaeological site. The most ancient level is in fact the first to be accessed, immediately below the ground level, and others were excavated beneath it as they gradually became filled up. |
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fuente: http://www.romaturismo.it
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