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Colosseum - Photo © gizax
Visit Rome in 3 days - Day 3.
The third and last day in Rome is devoted to the Renaissance centre of the
city. We begin with Santa Maria Maggiore, founded in the 5th century and
continually altered throughoutthe succeeding centuries, until Fuga built the
present facade in 1743. The interior keeps the lines of the original
building; the Cosmati floor (12th cent.), the carved ceiling attributed to G.
da Sangallo, statues by Arnolfo da Cambia and beautiful 13th century mosaic
in the apse are noteworthy. Behind Santa Maria Maggiore, cross Via Cavour
into the piazza beyond and take the first turning to the left. Here, on the
right, down a flight of steps, is the 4th century church of Santa Pudenziana
(ancient mosaic).
From here we reach Piazza della Repubblica (or delFEsedra)
thorugh Via Viminale and Piazza Cinquecento (Station); there is a fine
fountain (1901) in Piazza della Repubblica and beyond it are the Baths of
Diocletian (306 AD), the largest of ancient Rome. In 1561 Michaelangeto
transformed part of them into the basilica of Santa Maria degli Angeli. On
the right of the church is the entrance to the National Roman Museum, the
most important archaelogical collection (statues, mosaics, frescoes) in the
city.
Taking Via V. E. Orlando as far as the Baroque Fountain of the Rivers
we arrive in Via Venti Settembre which ends to the N.E. at Michaelengelo's
Porta Pia; turning left we arrive at the Quattro Fontane (Four Fountains)
crossroads and turning right we go down the steep Via Quattro Fontane to the
17th century Palazzo Barberini, with an elegant loggia opening on to the
garden. 11 houses the National Picture Gallery.
Crossing over Piazza
Barberini with the Triton Fountain in the centre, we follow the continuation
of Via Quattro Fontane, the elegant Via Sistina, built in the 16th century to
arrive in the piazza in front of the church of Trimta dei Monti (noteworthy
Mannerist canvases by Daniele da Volterra in the interior), at the head of
the marvellous monumental staircase known to English-speaking visitors as
the "Spanish Steps".
A little farther on is Villa Medici (16th cent.) which Napoleon gave to the
French Academy (fine garden) and then Piazzale del Pincio, masterpiece of
Roman nee-classicism, by Valadier. The terrace overlooks Piazza del Popolo,
which forms part of the same design; and before us is St Peter's in the
distance. In the wooded park of Villa Borghese, the largest in Rome, rises
the Casino Borghese, built by o Vasanzio, which houses an important
collection of sculpture (classical, Bernini, the Pauline Buonaparte by
Canova etc.) and painting- Crossing the length of park we arrive at Villa
Giulia, built by Vignola in the 16th century for Pope Julius III which houses
the Etruscan Museum, the most important in the world. Going back along the
Via Flaminia we now reach Porte del Popolo by Vignola and Bernini (1561 and
1655) through which we enter the superb piazza del Popolo, planned together
with the Pincio above by Valadier, with an Egyptian obelisk in the middle
surrounded by four fountains. In the nearby church of Santa Maria del Popolo
frescoes by Pinturic-chio, two famous Caravaggios (Crucifixion of St Peter
and Conversion of St. Paul), paintings by Sebastiano del Piombo and
sculpture by Sansovino, Bregno, Mino da Fiesole and Bernini.
On the far side of the piazza, where the Corso, Via del Babuino and Via di
Ripetta converge, twin churches with theatrical, domes. From
bereonecanseethewhole length of the Corso to the Capitol in the distance.
Taking Via del Babuino, with its line antique shops, or turning off it left
into Via Margutta, the artists' street, we arrive in Piazza di Spagna, Here
we can lunch before resum-ing our tour again down Via Condotti into the
Corset to the Baroque Church of San Carlo al Corso, with its high dome.
Behind the church, in Piazza Augusta Imperatore, is the Mausoleum of
Augustus (27 BC) Further towards the river, in Via Ripetta, in a modern
concrete building, are the friezes of the Ara Pacts Augusta (13 BC).
From
here make for Piazza Borghese, full of second-hand book stalls and
print-sellers, and the maiestic Palazzo Borghese. Following Via della Scrota
we reach the church of San Luigi dei Francesi, famous for Caravaggio's
Calling of St Matthew. Going back along Via della Scrota and turning right
into Via Sant'Agostino, we reach the church of this name with another canvas
by Caravaggio. Then we go to Via dei Corona, lively and picturesque with its
many antique shops, and follow it as far as Via del Banco ell Santo Spirito,
which brings us into Corso Vittoriu Emanuele, where there are many
monuments; leaving the river, on the left, we find the Chiesa Nueva, with
the Oratory of the Filippint by Borromini; a little farther on, to the
right, is the austere Palazzo della Cancelleria by Andrea Bregno and
Bramante with courtyard by Bramante (1511).
Farther on, to the left, in
Palazzo Massuno delle Colonne by Peruzzi (1536) and on the right, the fine
church of Sant'Andrea della Valle, whose dome is the highest in Rome after
that of St Peter's. Go back along Corso Vittoriu Emanuclc to the Palazzo
della Cancelleria and turn left, to emerge into the picturesque Campo dei
Fiori, centre of city life in the Middle Ages and Renaissance (monument to
Giordano Bruno on the spot where he was burned). From here it is a step to
Piazza Farnese, dominated by the Palazzo Farnese, perhaps the finest piece
of Renaissance civic architecture, by Antonio da Sangallo the Younger and
Michelangelo, and now the French Embassy.
Behind Palazzo Farnesc we are in
the aristocratic Via Giulia, the most elegant street of Papal Rome; it is
worth while walking the whole of its length, to absorb the atmosphereof its
Renaissance architecture- Turning left along Via Giulia brings us to the
Lungotevere, then to Porte Garibaldi, and turning left down Via Arenula, to
Largo Argentina, with Roman Republican temples at its centre. Taking Via de'
Cestari from here brings us to the Pantheon beside which is the Church of
Santa Maria supra Minerva, the only Gothic church in Rome; before it, a
curious obelisk supported on an elephant's back. Going through ViaPie' di
Marino brings us again to the Collegio Romano and the magnificent Palazzo
Doria, the finest Baroque palace in Rome (1734) with its great Picture
Gallery.
To the left, in the Corso we see the elegant facade of the church
of San Marcello: taking the street to the left of the church brings us into
Piazza Saint Apostoli with the basilica of the same name. In the Palazzo
Colonna which rises beside it there is a Picture Gallery. From here we go to
Via Quattro Novembre and turn left into Via della Pilotta for the Salim del
Datari; climbing this we emerge into the Piazza del Compote in front of the
Palazzo del Quirinale, first a Papal Residence, then a royal palace, now the
residence of the President of the Republic; the Palazzo della Consulta,
masterpiece by Fuga (1734) stands opposite: in the piazza are the fountain
with its Hellenistic group of the Dioscuri and an Egyptian obelisk. Going
down the same flight of steps and street and turning to the right, we reach
the Trevi Fountain, a most appropriate place to end our last evening in
Rome.
Rome in three days - first day
Rome in three days - second day
Itinerary partly courtesy of ENIT
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