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Campo dei Fiori
No full textGeneral view, with market stalls at right and Palazzo Farnese in distance; Campo dei Fiori is a rectangular piazza near Piazza Navona in Rome, on the border of rione Parione and rione Regola. Campo dei Fiori, translated literally from Italian, means "field of flowers." The name, no longer appropriate, was first given during the Middle Ages when the area was actually a meadow. The demolition of a block of housing in 1858 enlarged Campo dei Fiori, and since 1869 there has been a vegetable and fish market there every morning. Source: Wikipedia; http://en.wikipedia.org/wiki/Main_Page (accessed 12/2/2007
Palazzi in the Via degli Staderari [now part of Palazzo Madama Senate complex]
No full textDetail, broken pediments and keystones with carved faces on the windows above the string course; In 1935, the Corso del Rinascimento was widened and the area around the Palazzo Madama reconstructed. Some smaller private palazzi were demolished then reconstructed (in historic styles) as part of the Palazzo Madama complex; they house Senate offices today. These two buildings stand at the point the narrow Via degli Staderari opens to a tiny square, the Piazza di Sant'Eustachio. In front of them stands an ancient Roman basin, made of Egyptian granite which was probably part of the Baths of Nero; this was rediscovered and restored during construction work in the 1980s; placed in this piazza next to the Senate complex in 1987 to commemorate the anniversary of the Italian Constitution
Fascist Era Housing, Viale Giulio Cesare
No full textTypical light well in a Fascist-era building in Rome; Two competing styles and philosophies marked the period of 1920-1946; Novecento Italiano, which called for a recognizably Italian style with Classical connotations and the practitioners of rationalism or Razionalismo, who aligned themselves with European Modernist trends. These apartment blocks are influenced by the latter style, and by urban planning put in place in 1908 by then mayor Ernesto Nathan. Most of the building of that plan, especially housing, was put in place in the 1920's. A new master plan of 1931, under Mussolini, mapped major new roads and a greatly expanded city. Source: Grove Art Online; http://www.groveart.com/ (accessed 2/3/2008
Roma Ostiense
No full textThe "Pegasus" relief, frontal view, detail of the lower parts; The period from 1922 to 1939 was heavy with important construction and modernisation programmes for the Italian railways, which incorporated also 400 km (249 miles) from the Ferrovie Reali Sarde of Sardinia. The most important programme was that of the direttissime Rome-Naples and Bologna-Florence: the first reduced the travel time from the two cities by an hour and a half; the second, announced proudly as "constructing Fascism", included the longest gallery of the world. Electrification on 3,000 V direct current was introduced, which later supplanted the existing three-phase system. Other improvements included automatic blocks, light signals, construction of numerous main stations (Milano Centrale, Napoli Mergellina, Roma Ostiense and others) and other technical updates. Source: Wikipedia; http://en.wikipedia.org/wiki/Main_Page (accessed 2/3/2008
Sant'Agostino
No full textFront elevation, central portal detail, showing door frame; This church is conducted by the Augustinian Order, and contains the tomb of Saint Monica, Augustine's mother. The original church on the site was built in 1287. It was rebuilt in 1483 by the French Cardinal d'Estouteville: the masons were Jacopo da Pietrasanta and Sebastiano Fiorentino. The church is dedicated to St. Augustine, author of the Confessions. Its severe, unadorned façade is one of the earliest of the Renaissance
San Benedetto Abbey (Sacro Speco)
No full textCapella Della Madonna, detail of the fresco "Madonna and Child"; Located at Subiaco in the Lazio region south of Rome the Abbey of St. Benedict was constructed in the thirteenth century on top of the grotto (Sacro Speco) where St. Benedict (ca. 480-547), the founder of the Western monastic movement, allegedly spent the first three years of his monastic life. Built at 640 metres, the monastery consists of two small churches and a succession of chapels and grottoes that are joined by a series of stairs. With the exception of the grottoes the frescoes were done by a variety of artists over different time periods who, for the most part, are unknown. Saint Francis of Assisi visited the monastery in 1223; there is a portrait of him painted during his lifetime. Sacro Speco is united under a single abbot with the nearby Santa Scholastica monastery. Source: Sacred Destinations Travel Guide [website]; http://www.sacred-destinations.com/ (accessed 7/15/2010
St. Ambrogio
No full textAtrio di Ansperto, with view of the Campanile dei Monaci (9th century); The church is a foremost representative of Lombard Romanesque architecture, with an early example of rib vaulting in Italy. It served as the model for a large number of Italian churches, even in such distant regions as Apulia. The basilica martyrum, the predecessor of the present church, had probably been started when St. Ambrose (ca. 339-397) was appointed bishop in 374. Ambrose was buried in the church alongside the relics of SS Gervase and Protasius. This building had an aisled nave with a columnar arcade and an apse; its dimensions were those of the present church excluding the presbytery and choir. The rivalry between monks and canons led to the construction of the canons’ tower between 1128 and 1144. In 1196 the fourth bay of the nave collapsed beneath the weight of the lantern, and both were rebuilt with reinforcing arches. Lengthy restoration work in the mid-19th century returned the building to its supposed appearance before the collapse of 1196, and further restorations were undertaken in the 20th century, especially after severe damage in World War II required the rebuilding of the apse, lantern and north aisle. Source: Grove Art Online; http://www.oxfordartonline.com/ (accessed 7/14/2010
St. Ambrogio
No full textView of the 12th century ciborium; The church is a foremost representative of Lombard Romanesque architecture, with an early example of rib vaulting in Italy. It served as the model for a large number of Italian churches, even in such distant regions as Apulia. The basilica martyrum, the predecessor of the present church, had probably been started when St. Ambrose (ca. 339-397) was appointed bishop in 374. Ambrose was buried in the church alongside the relics of SS Gervase and Protasius. This building had an aisled nave with a columnar arcade and an apse; its dimensions were those of the present church excluding the presbytery and choir. The rivalry between monks and canons led to the construction of the canons’ tower between 1128 and 1144. In 1196 the fourth bay of the nave collapsed beneath the weight of the lantern, and both were rebuilt with reinforcing arches. Lengthy restoration work in the mid-19th century returned the building to its supposed appearance before the collapse of 1196, and further restorations were undertaken in the 20th century, especially after severe damage in World War II required the rebuilding of the apse, lantern and north aisle. Source: Grove Art Online; http://www.oxfordartonline.com/ (accessed 7/14/2010
St. Ambrogio
No full textView along the right arcade within the Atrio di Ansperto; The church is a foremost representative of Lombard Romanesque architecture, with an early example of rib vaulting in Italy. It served as the model for a large number of Italian churches, even in such distant regions as Apulia. The basilica martyrum, the predecessor of the present church, had probably been started when St. Ambrose (ca. 339-397) was appointed bishop in 374. Ambrose was buried in the church alongside the relics of SS Gervase and Protasius. This building had an aisled nave with a columnar arcade and an apse; its dimensions were those of the present church excluding the presbytery and choir. The rivalry between monks and canons led to the construction of the canons’ tower between 1128 and 1144. In 1196 the fourth bay of the nave collapsed beneath the weight of the lantern, and both were rebuilt with reinforcing arches. Lengthy restoration work in the mid-19th century returned the building to its supposed appearance before the collapse of 1196, and further restorations were undertaken in the 20th century, especially after severe damage in World War II required the rebuilding of the apse, lantern and north aisle. Source: Grove Art Online; http://www.oxfordartonline.com/ (accessed 7/14/2010
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