Monument to Gregory XVI

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Monument to Gregory XVI by Luigi Amici, 1857
St. Peter's Basilica
Vatican City
Rome, June 2019

“The monument to Pope Gregory XVI was funded by the cardinals he created and is the work of the sculptor Luigi Amici (1817-97). Gregory XVI, the last monk to be elected pope, was one of the most reactionary figures to hold the office. He was fiercely critical of all modern developments, including the railways, about which he is reputed to have said, ‘chemin de fer, chemin d'enfer’ (road of iron, road of hell). The statues depict Wisdom, her head crowned by a flame, and Prudence with her attributes of a mirror and a snake. The relief illustrates the Propagation of the Faith. ” (Monument to Pope Gregory XVI, Walks in Rome)

Porphyry basin

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Porphyry basin font with gilded bronze cover
Chapel of the Baptistery
St. Peter's Basilica
Vatican City
Rome, June 2019

“Thus we reach the last chapel in the left aisle. It is the Chapel of the Baptistery, one of the basilica's most beautiful chapels and built after a design by Carlo Fontana (1634-1714). In the center is the baptismal font, still used on Sundays to administer the sacrament of baptism. The original 5th century font, which dates back to Pope Damasus, was replaced by a sarcophagus used as a font, and then in the 17th century by the present day font whose red porphyry basin was made from an ornament on an ancient pagan sepulcher, later used to cover the sarcophagus of Otto II who died in 983. The Rococo cover in gilded bronze with volutes and cherubs, dominated by the Lamb of God, is the work of Giovanni Giardoni. In the forepart, two bronze angels bear a relief of the Most Holy Trinity and a geographical representation of Italy.” (Baptistery Chapel, Guide to Saint Peter's Basilica)

Holy Spirit as a dove

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Holy Spirit as a dove
Altar of the Chair of St. Peter
St. Peter's Basilica
Vatican City
Rome, June 2019

“The gospel does not change because the Holy Spirit, portrayed as a dove flies along the span of the centuries, assisting and accompanying its church. The chair or cathedra of Peter symbolizes the perpetual continuity of the doctrine and its promise of infallibility. It triumphed over all heresies throughout the centuries. The fine alabaster window, surrounded by golden clouds and angels flying between rays of light, casts a mystical warmth through the basilica, especially in the afternoon. It is divided into twelve sections, in homage to the twelve Apostles who carried the words of the Gospel throughout the world.” (The Chapel of the Cathedra, Guide to Saint Peter's Basilica)

Monument to Pius VIII

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Monument to Pius VIII by Pietro Tenerani
St. Peter's Basilica
Vatican City
Rome, June 2019

“The Monument to Pius VIII (1829-1830), by Pietro Tenerani (1789-1869), is in the Neoclassical style. The Pontiff is kneeling; above him is the statue of Christ enthroned, and below, are the statues of Sts. Peter and Paul. On the base are the allegorical figures of Prudence and Justice.” (Monument to Pius VIII, St. Peter's - Guide to the Basilica and Square)

Fontana del Mascherone

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Fontana del Mascherone (Fountain of the Mask)
Via Giulia
Rome, June 2019

“The Fontana del Mascherone (fountain of the Mask) is a fountain in Via Giulia created in the seventeenth century for the Farnese family. Water flows from the mouth of a large face, which probably dates from the Roman era. It is said that when the Farnese family held large feasts, wine would pour out of the fountain all day long.” (Fountains in Rome, A View on Cities)

Fontana del Cantaro

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Fontana del Cantaro by Antonio Muñoz, 1929
Santa Cecilia in Trastevere
Piazza di Santa Cecilia
Rome, June 2019

“The Fontana del Cantaro is a fountain built in 1929 by architect Antonio Muñoz. It is located in the courtyard of the Basilica of Santa Cecilia in Trastevere. The fountain consists of a large pond with in the center a kantharos – an ancient vessel that was used to hold wine – set on a pedestal.” (Fountains in Rome, A View on Cities)

Cappella Altemps

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Vault of the Altemps Chapel
Basilica of Santa Maria in Trastevere
Piazza di Santa Maria in Trastevere
Rome, June 2019

“The Altemps Chapel, in the church of Santa Maria in Trastevere, was commissioned by Cardinal Marco Sittich von Altemps and built by Martino Longhi the Elder (1534-91). It was completed in 1587. As well as acting as a burial chapel for himself, the cardinal intended it as a commemoration of the Council of Trent (1545-63), which was formally closed by his uncle Pope Pius IV (r. 1559-65). The coats-of-arms of Cardinal Altemps and of Pope Pius IV are displayed above the entrance, and their portraits feature in a niche high above the altar. The frescoes and the stucco work are the work of Pasquale Cati (c.1550-c.1620). The ornate vault features a fresco of the Assumption of the Virgin Mary in the central tondo, with the other panels depicting scenes from her life, interspersed with four smaller tondi depicting the four Evangelists. The altarpiece takes the form of an ancient icon (6th-9th century), which is known as the Madonna della Clemenza. It may be one of the oldest icons of the Virgin Mary in existence.” (Cappella Altemps, Walks in Rome)

Via della Paglia

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An interesting wall
Via della Paglia, Trastevere
Rome, June 2019

Homeless Jesus

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“Homeless Jesus” by Timothy Schmalz, 2013
Piazza di Sant'Egidio, Trastevere
Rome, June 2019

“‘Homeless Jesus’, also known as ‘Jesus the Homeless’ (French: Jésus le sans-abri), is a bronze sculpture by Timothy Schmalz depicting Jesus as a homeless person, sleeping on a park bench. The original sculpture was installed in 2013 at Regis College, a theological college federated with the University of Toronto. Other copies of the statue were installed in several other locations beginning in 2014. As of 2017, over 50 copies were created and placed around the world.” (Homeless Jesus, Wikipedia)

San Marco Evangelista

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Main altar and apse
San Marco Evangelista al Campidoglio
Piazza di San Marco
Rome, June 2019

“The floor of the church is below the ground level of the Renaissance period, and therefore steps lead down to the interior. The church retains its ancient basilica format, with a raised sanctuary. The inside of the church is clearly Baroque. However, the basilica shows noteworthy elements of all her earlier history: the apse mosaics, dating to Pope Gregory IV (827-844), show the Pope, with the squared halo of a living person, offering a model of the church to Christ, in the presence of Mark the Evangelist, Pope Mark and other saints.” (San Marco Evangelista al Campidoglio, Wikipedia)

Balbiani Vegezzi-Bossi

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Pipe organ by Balbiani Vegezzi-Bossi, 1935
Santa Caterina a Magnanapoli
Salita del Grillo
Rome, June 2019

“When the Via Nazionale was laid out in the 19th century, the street level was lowered. This raised the church entrance to a considerable height above the street. To allow access, a double staircase leading to the portico was built. Under the stairs is the entrance to the Crypt of the Fallen, constructed in 1934 and dedicated to the priests who were killed in the First World War. The crypt contains a bronze crucifix by Romano Romanelli. Most of the convent was demolished in 1924. The Military Ordinariate, whose headquarters are adjacent to the church, took over the church, and it is now served by diocesan clergy. A restoration occurred in 1992.” (Santa Caterina a Magnanapoli, Wikipedia)

Victrix hinc procul evola

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Eagles by Publio Morbiducci, 1925
“Victrix hinc procul evola” (Victorious fly far away)
Piazza del Viminale
Rome, June 2019

Inner court fountain

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Inner court fountain by Francesco Barbieri, 1953
Piazza di Spagna 15
Rome, June 2019

Double holder

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Wrought iron double holder
Via Sistina 87
Rome, June 2019

Michel Harem

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Michel Harem
Via Sistina
Rome, June 2019

Bas-relief and lion

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Right bas-relief and lion by Flaminio Vacca and Pietro Paolo Olivieri, 1587 Fontana dell'Acqua Felice
Piazza di San Bernardo
Rome, June 2019

“Finally, the bas-relief to the right sculpted by Flaminio Vacca and Pietro Paolo Olivieri, has been depicted as Joshua, but others claim the relief references Gideon in Judges 7:5, as evidenced by soldier's gear and animals lapping water. Alternatively, given the Roman attire of the soldiers, it may reflect the founding of the ancient Roman Acqua Alessandrina by emperor Septimus Severus; the imagery would lead to having the feat of the aqueduct being compared to the achievements of ancient Rome, or as an example of the restoration of the former glory of the city. Water flows from the statues into basins, where four lions, originally Ancient Egyptian sculptures, but now copies, once were part of a monumental fountain dedicated to Marcus Agrippa in front of the Roman Pantheon, are spouting water. The columns flanking the arches are also said to have derived from that structure.” (Fontana dell'Acqua Felice, Wikipedia)

Madonna di Porta Pia

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Mosaic by Biagio Biagetti, 1936
Porta Pia
Rome, June 2019

Porta Pia

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Porta Pia
Via Venti Settembre
Rome, June 2019

“Porta Pia is a gate in the Aurelian Walls of Rome, Italy. One of Pope Pius IV's civic improvements to the city, it is named after him. Situated at the end of a new street, the Via Pia, it was designed by Michelangelo in replacement for the Porta Nomentana situated several hundred meters southwards, which was closed up at the same time. Construction began in 1561 and ended in 1565, after the artist's death. A 1561 bronze commemorative medal by Gian Federico Bonzagna shows an early plan by Michelangelo, very different from his final design. The façade on the outside of the city was completed in 1869 under the Neo-Classicist design by Virginio Vespignani.” (Porta Pia, Wikipedia)

Quintino Sella

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Monument to Quintino Sella by Ettore Ferrari, 1893
Via Cernaia
Rome, June 2019

“The monument consists of a cruciform base with steps from which rises a pedestal on which the bronze statue depicting the Law is placed, a female figure with a naked breast wrapped in a wide cloak. Sitting on a granite throne, she has a head crowned with a radial pattern and holds in her right hand a stick on which Minerva's owl is placed, alluding to Sella's scientific commitment. On the left side, the statue is flanked by the bronze figure of a naked boy, symbolizing the Genius of Finance, holding a book with the word ‘Finanze’ on it. At the top of the pedestal is the full-length bronze statue of the statesman while he walks with his right hand on his chest and with some papers in his left.” (Quintino Sella, Waymarking)

Chapel of St. Nicholas of Tolentino

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Chapel of St. Nicholas of Tolentino, 1599
by Vincenzo Conti, Andrea Lilio and Giovan Battista Ricci
Basilica of St. Augustine in Campo Marzio
Piazza di Sant’Agostino
Rome, June 2019

“The ancient chapel, already known to have existed in 1448, was granted in 1582 to the conte Vincenzo Tuttavilla, who entrusted the project for its architectural renovation and stucco decoration to the little-known Giovan Battista Cavagna in the immediately following years. The count, however, was embarrassed by financial difficulties, as attested by some documents. The result was that by 1588 the decoration of the vaulted ceiling still remained incomplete. The parts of its fresco decoration that had already been completed by this time were three figures of ‘Doctors of the Church’ by Andrea Lilio and ‘Stories of St. Nicholas of Tolentino’ (and perhaps the remaining ‘Doctor of the Church’) by Vincenzo Conti. The decoration of the chapel was then interrupted for ten years, and the chapel remained closed. In 1597, the Augustinian Fathers began a court action against the heirs of the conte Tuttavilla, with the result that sums of money were confiscated from them for the completion of the chapel’s decoration. But, despite that, the situation remained substantially unchanged until 1614, when the heir Maria Tuttavilla finally renounced all rights over the chapel. From that time onwards the Augustinian Fathers themselves assumed the cost of the enterprise. In 1615 they commissioned Giovan Battista Ricci from Novara to fresco the large lunettes of the side walls with a further two ‘Stories of St. Nicholas of Tolentino’, flanked by figures of Virtues.” (The Chapel of St. Nicholas of Tolentino in Sant’Agostino in Rome, Bollettino d'Arte)