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Rome Pompeii/Vesuvius

Sagrantino Ballooning Trip 2019 - Rome      6th August:

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Palazzo Del Quirinale
    We took a more leisurely start to the day, taking the Metro across to the Repubblica, where we picked up Via Del Quirinale. We skirted a line of buildings that fronted the Giarini Del Quirinale, heavily guarded by Carabiniere and armed military personnel. I say heavily guarded, every entrance into the buildings had Carabiniere and two military personnel, one of whom would have a baton and the other a machine gun. Cars full of Carabiniere sped up and down the street, and walls bristled with CCTV cameras.
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Piazza Del Quirinale
    Rounding a corner we stumbled across the Palazzo Del Quirinale, also heavily guarded. Perched atop the Quirinale Hill, one of Rome's seven hills, the Palazzo del Quirinale was commissioned by Pope Gregory XIII (r 1572-85), he sought a place to rest that was healthier than the Vatican or the Lateran Hills. The work was entrusted to the architect Ottavio Mascarino. It was added to over 150 years by architects including Domenico Fontana, Francesco Borromini, Gian Lorenzo Bernini and Carlo Maderno. During Napoleon's time, Palazzo del Quirinale was in French hands. Napoleon occupied the palace and sent Pope Pius VII to prison. He brought the Pope to Fontainebleau, a palace that is located near Paris. When Napoleon's reign ended, the Pope then returned to Palazzo del Quirinale. The Palazzo del Quirinale became the royal family residence after the unification of Italy. After Italy had become a republic, the palace became the presidential home in 1947.
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Trevi Fountain
    The Palazzo proudly stood in a commanding position over the Piazza del Quirinale. One of the most striking elements of the square is the obelisk with the imposing Monte Cavallo Fountain located at its feet. On either side of the monument, there are two statues of Castor and Pollux, originally from the Baths of Constantine, each flanked by a horse. These twin brothers from the Roman mythology were considered the patron gods of horses.
    We dropped down from the hill, weaving a way through a maze of streets throbbing with gaudy souvenir shops, takeaway pizzerias, and gelatorini: I could almost feel my arteries clogging up. The hum of a thousand voices guided us. Then we stepped out into the tiny Piazza Trevi, located at what was once the meeting point of three ways (Tre Vie), and dominated by the beautiful oasis of the Trevi Fountain.
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The Column of Marcus Aurelius
    Appearing to almost grow out of the Palazzo Poli, the space seems to open out and you stand before a symbolic representation of this great force of nature, a tumultuous spring that seems to flow out of the ground. The light and shade effects on the marble make the wind seem to bellow through the drapes and locks of the statues, agitating the waves, creating an extraordinarily intense and spectacular scene. In this Baroque creation, the architecture itself seems to come alive with the current of the revitalising waters.
    The origins of the fountain go back to the year 19 BC, in which period the fountain formed the end of the 14 mile long Aqua Virgo aqueduct. The first fountain was built during the Renaissance, under the direction of Pope Nicholas V. The final appearance of the Trevi Fountain dates from 1762, when after many years of work at the hand of Nicola Salvi, it was finalized by Giuseppe Pannini. The central feature of the monument is a chariot in the shape of a shell, drawn by seahorses with conch-blowing Tritons as their guide. Before the enormous central niche stands Neptune. To the side are the statues of Abundance and Salubrity. All around, natural and artificial forms merge together in a representation of rocks and petrified vegetation that run along the foundation of the palace and around the borders of the pool, which represents the sea.
    This jewel was hemmed in by a sea of zaparazzi, a forest of selfie stalks, and gaggles of Japanese girls stood in every conceivable pose for their friends before swapping places. The ubiquitous Carabiniere and military pair kept a cautious eye on the proceedings. We enjoyed an ice-cream, and tossed coins into the fountain. There is a myth associated with the Trevi Fountain, originating in 1954 with the movie "Three Coins in the Fountain." It goes like this:

            If you throw one coin: you will return to Rome.
            If you throw two coins: you will fall in love with an attractive Italian.
            If you throw three coins: you will marry the person that you met.

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Obelisk of Montecitorio
    In order to achieve the desired effect, you should throw the coin with your right hand over your left shoulder. An interesting statistic Dan passed onto me at the moment was that approximately 3000 Euros worth of coins are taken from the fountain each day. Since 2007 this money has been used to support good causes.
    A pigeon landed on the creamy rocks to sip the waters, oblivious to the throng of humanity close by. Then my eyes landed on the carved stone bench by the fountain where I sat 48 years earlier with a guitar I had just acquired. I remembered it as though it were yesterday. My, how time has flown by.
    We agreed to escape the din, and soon found ourselves passing through the Piazza Colonna dominated by the Column of Marcus Aurelius. It is thought to have been erected by Commodus in memory of his father and mother sometime around 180AD. The column was inspired by its more famous predecessor Trajan's Column which was set up, also in Rome, in 113 AD. The column carries representations carved in high relief of the emperor's successful military campaigns against the Quadi across the Danube between 172 and 175AD.
    The column presently stands 39 metres tall but a further 7 metres of the base structure remains underground, the lowest portion never having been excavated. The Doric column is more or less straight (only 14 cm wider at the base) and is covered in relief carvings in 21 spirals - each being some 130 cm in height- which depict the campaigns of Marcus Aurelius in the territories north of the Danube, first against the Marcomanni (172-3AD) and then against the Sarmatians (174-5AD). The narratives of the two campaigns are divided on the column by a figure of Victory who writes on a shield and the first begins from the base with troops crossing the Danube river. The vast majority of episodes are those from the battlefield but there are some interesting background scenes such as the emperor addressing his troops and even glimpses of the logistics and engineering feats performed in Roman warfare such as one depiction of troops crossing a pontoon bridge. The reliefs are typical of the style that would come to dominate Late Antiquity sculpture. There is an emphasis on frontal views with perspective achieved simply by having smaller figures in rows above the foreground and with figures rendered not quite in proportion, heads being too large and bodies being either too short or elongated, and with facial features minimised.
    About 40m away in the Piazza Montecitorio stood a red granite obelisk, higher than 21m. It had once been erected in the Egyptian city of Heliopolis by Pharaoh Psammetichus II, in the 6th century BC. It was the second to be brought to Rome by the Emperor Augustus, after that of the Circus Maximus, and had been placed in the Campus Martius, to serve as the gnomon of a huge sundial - the Solarium Augusti - with the obelisk projecting its shadow on it. It remained intact until the 9th century. Pope Benedict XIV, who managed to unearth it in 1748, ordered the obelisk to be moved together with the base to Piazza Montecitorio in 1792. The bronze perforated globe was placed at its summit with the intention, never satisfied, of returning the monolith to its original function as a sundial.
pantheon
Pantheon
    It was only a hop, skip and a jump away to our next main port of call, the Pantheon. It is the most preserved and influential building of ancient Rome. It is a Roman temple dedicated to all the gods of pagan Rome. Where it stands was not chosen by chance, but is a legendary place in the city's history. According to Roman legend, it is the place where the founder of Rome, Romulus, at his death was seized by an eagle and taken off into the skies with the Gods.
    The name comes from two Greek words pan, "everything" and theon, "divine". Originally, the Pantheon was a small temple dedicated to all Roman gods. Built between 25 and 27BC by the consul Agrippa, Prefect of the Emperor Augustus, the present building is the result of subsequent, heavy restructuring. Domitian, in 80AD, rebuilt it after a fire; thirty years later it was hit by lightning and caught fire again. It was then rebuilt in its present shape by the Emperor Hadrian; under his reign, Rome reached its maximum splendour and the present structure is probably the fruit of his eclectic genius and exotic tastes. In fact, the Pantheon combines a clearly Roman, cylindrical structure with the splendid outer colonnade of Greek inspiration. Although the new structure was very different from the original, Hadrian wanted a Latin inscription on the façade. When we approached the front of the Pantheon we could see the inscription which read the original dedication by Marcus Agrippa in Latin:

            "M. AGRIPPA.L.F.COSTERTIUM.FECIT"
            "Marcus Agrippa son of Lucius, having been consul three times made it".

pantheon_interior
Pantheon Interior
    To enter, we crossed the pronaos with its imposing granite column forest. There are sixteen, monoliths, more than 14 metres high, some grey, others in pink granite from Aswan, the latter brought from ancient Egypt by transport that would be considered exceptional even today. The bronze door at the end of the columns is just as impressive in size, 7m high, a real record for the times, and would have been covered in gold, but it has long since disappeared.
    On entering the door, we were temporarily blinded by a shaft of bright sunlight pouring through the oculus, then once inside out of the direct glare, the spectacle was overwhelming. I suddenly felt insignificant in this huge empty space with a sprawl of humanity at its base. I guess this is how you were supposed to feel in front of the Gods.
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Piazza Navona      (please use scroll bar)

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Piazza Navona - La Fontana dei Quattro Fiumi wit Church of Sant'Agnese in the Background, and Fontana Del Nettuno
    Probably one of the most fascinating features of the Pantheon is the architecture. The structure of the Pantheon is comprised of a series of intersecting arches. The arches rest on eight piers which support eight round-headed arches which run through the drum from its inner to its outer face. The arches correspond to the eight bays on the floor level that house statues. The dome itself is supported by a series of arches that run horizontally round. Romans had perfected the use of arches which helped sustain the weight of their magnanimous buildings.
    The space is a perfect sphere, symbolising the vault of heaven; the height of the dome is the same as its 43.2m diameter creating perfect balance and unique harmony; it is round so as to place all Gods at the same level of importance. Surrounding us, placed in seven splendid niches between two Corinthian columns there used to be the seven Gods linked to the worship of planets, or considered to be such: the Sun, the Moon, Venus, Saturn, Jupiter, Mercury and Mars. And with the advent of Christianity, some of them were used for small altars dedicated to Christian martyrs.
    The Pantheon's greatness mainly comes from its mighty dome, still today the biggest brick dome ever built. Raising it using bricks alone would have been impossible; the ceiling would not have withstood the weight and would have collapsed. As the Romans had no reinforced concrete they found another solution. This dome was built with a single casting of concrete in subsequent layers. The concrete was lightened by mixing it with lighter stones as it neared the highest point. Initially the concrete was mixed with heavy travertine stone, and climbing upwards using progressively lighter materials; like tuffo stone. The top layer was made with pumice, a light-weight stone.
    The oculus, a 9m diameter hole, was an engineering gem of the Roman world. No oculus had even dared come close in size to the one in the Pantheon. It is still lined with the original Roman bronze and is the main source of light for the whole building. As the earth turns the light flows in to circle the interior making the viewer aware of the magnificence of the cosmos. The oculus was never covered and rain falls into the interior and runs off the slightly convex floor to the still functioning Roman drainpipes underneath.
    I lingered for a while by Raphael's Tomb. This famous Renaissance master, died in 1520 at the early age of 37, and was immediately buried at the Pantheon. His marble sarcophagus reads: ILLE HIC EST RAPHAEL TIMUIT QUO SOSPITE VINCI RERUM MAGNA PARENS ET MORIENTE MORI (Here lies Raphael, by whom Nature feared to be outdone while he lived, and when he died, feared that she herself would die).
    Dan and I took time out and rested a while on seats by the alter, just absorbing the beauty of this building, and enjoying the coolness. I was deeply impressed by the architectural achievements attained all those centuries ago.
    Once revived, we headed in a westerly direction, passing through Piazza Navona on the way. Piazza Navona is one of the largest and most beautiful piazza squares in Rome with three impressive fountains, including la Fontana dei Quattro Fiumi with its large obelisk at the centre. The reason for its long oval shape is that it was once the site of the Stadium of Domitian, where festivals and sporting events took place. The Navona Square was paved over in the 15th century to create what we see today.
    La Fontana dei Quattro Fiumi (Fountain of Four Rivers) constructed in 1651 for the pope is the focus for the square. Bernini designed the fountain and it was paid for by taxes on staples such as bread. The centrepiece of the fountain is a tall Roman obelisk, and surrounding it four figures can be seen, each representing the great rivers: Ganges, Nile, Danube and Rio de la Plata. The pope's coat of arms, a dove and olive branch are found on the rock base of the fountain. The baroque church of Sant'Agnese in Agone provides an impressive backdrop to this fountain. The two other fountains, at the north and southern ends are smaller and also have stunning sculptures. The Fontana del Moro at the southern end of the piazza depicts a Moor fighting a dolphin - Bernini's addition in the 17th century. At the northern end is the Fontana di Nettuno, (Neptune) built in 1576 by Giacomo della Porta. The statues of Neptune surrounded by sea nymphs were added in the 19th century.
garibaldi_monument
Garibaldi Monument
    Yes, the square possesses a wealth of history and art, but perhaps it holds yet another quality. Surrounding the square are restaurants and bars, an ideal place for a drink or ice cream through the day, or a meal in the evening. But the sheer entertainment in the evening is not to be missed. Street artists, painters and musicians all add a lively atmosphere to the scene, just perfect for people watching.
    We criss-crossed streets towards the River Tiber, skirting a very heavily guarded building close to the river. Several military vehicles we parked up by its corners, each with a military pair; one with a baton and one with a machine gun. The building sprouted CCTV cameras everywhere, and resembled a prison. A sign on one of the doorways included the word "Mafioso" - perhaps a clue.
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Anita Garibaldi Statue
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Faro Al Gianicolo
    We crossed the river via Ponte Giussepe Mazzini, and headed down Via della Lungara, passing several galleries and sizeable residential properties containing oasis like courtyards bathed in bright sunlight. Striking right up Via Garibaldi, we climbed steadily up, and after a few killer sets of steps, crossed onto Passeggiata del Gianicolo and the summit of Janiculum Hill.
    The Gianicolo or Janiculum Hill is often considered the "Eighth Hill of Rome", referring to the famed seven hills around which Ancient Rome was built. It is a very pleasant, peaceful and refreshing location to stroll around, far removed from the hustle and bustle of the city, affording superb panoramic views across the city.
    The Janiculum was the second highest hill in Ancient Rome. It was believed to be the centre for the cult of the god Janus, hence its name. Because of its stunning location overlooking the city, it is thought that the cult's priests would stand atop the hill and look for auspices - signs from the gods. When the Aurelian Wall was built around Rome in the 3rd century AD it made its way up the Janiculum Hill so that the water mills that were used to grind corn and make bread were inside the city. The ancient water mills were in use until around the end of 9th century. Janiculum became very popular due to the important historical role that it played in the defence of the city. Becoming the setting for the battle in which Garibaldi repelled an attack from French troops, its paths are full of sculptures paying homage to Garibaldi and his comrades, who were instrumental in the creation of a united Italy.
    One inescapable sight on the Janiculum is the Garibaldi Monument, an enormous equestrian statue of Giuseppe Garibaldi that honours the Italian patriot's heroics on this hill in 1849. Giuseppe Garibaldi fought against French troops attacking Rome. Even though the French well outnumbered Garibaldi's troops, they were able to resist the French army for several weeks. The statue, located at the centre of a small piazza, was built in 1895 after a design by Emilio Gallori. Four sculptures on the large pedestal depict both a battle and allegorical scenes. An inscription on the plinth reads "Roma o Morte" (Rome or Death).
    Only a 100m away along the Viale aldo Fabrizi, littered with more busts that honour Italian patriots, stood the Statua e Resti Do Anita Garibaldi. Giuseppe Garibaldi's wife Anita, who fought alongside him, is also honoured with an equestrian statue. Created in 1932 by Mario Rutelli the statue depicts Anita Garibaldi in pure Wild West style. She sits astride on a prancing horse with a pistol in her right hand while holding her new-born child in her other hand.
    Quite surprising to discover on the hill was the Faro Al Gianicolo (Janiculum Lighthouse), a lighthouse that was built in 1911. It was a gift from Italian immigrants in Argentina to Rome. The structure is also known as the Manfredi lighthouse, after its creator Manfredo Manfredi.
    Leaving the monuments for a moment, Dan and I gazed out across the baking city. Stretched out far below us, Rome seemed to sleep. From our perch we heard no street noise, and the endless traffic and hordes of humanity were out of sight in the hidden streets below. The hill afforded several views, but sadly the view across to the Vatican was blocked by tall buildings.
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View From Janiculum Hill      (please use scroll bar)

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Another View From Janiculum Hill      (please use scroll bar)

    The prospect of a beer down below in Trastevere was too tempting - we headed down. A walk through the narrow cobbled streets of the Trastevere revealed hidden treasures such as modest medieval churches, small shops with the most unusual objects, and scenes of everyday life seemingly taken from a forgotten age. With its peaceful and bohemian atmosphere, it seemed a most pleasant neighbourhood in the city.
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Basilica of Santa Maria in Trastevere
    The life of the neighbourhood is especially concentrated around the traffic-free Piazza di Santa Maria in Trastevere, where we found the ancient Basilica of Our Lady in Trastevere or the Basilica of Santa Maria in Trastevere. The great fountain in front of the temple served as a meeting place, and a resting spot to enjoy an ice cream on this extremely hot day. The current version of the attractive octagonal fountain dates from 1692 and was created by Carlo Fontana.
    The basilica is said to be the first church dedicated to Mary, the mother of Jesus. Undisputedly one of the oldest churches in the city, its basic floor plan and wall structure date back to the mid-4th century. The first church on this site was believed to have been built in 220 by Pope Callixtus I. The site was chosen because, according to legend, a stream of pure oil flowed from the earth here in 38BC, an event that was later described as an announcement of the coming of Christ. According to another version of the legend the oil flowed on the day of the birth of Christ. The inscription "fons olei" (Latin for oil well) on the floor near the altar marks this spot.
    The church was restored in both the 4th and 8th centuries and in 1140, under Pope Innocent II, was re-erected on its old foundation and built in a Romanesque style, though its original basilica plan remained. Many of the materials used in the rebuilding of Santa Maria in Trastevere were from the ancient Baths of Caracalla. Some minor remodelling was done in the eighteenth century, including the addition of a portico in 1702. The portico, created by Carlo Fontana, is adorned with statues of four popes.
    The church's exterior is notable for the stunning golden mosaics on its facade and for its bell tower, which dates from the 12th century. The mosaics on the facade depict Mary and ten women. The women with burning lamps were virgins while the others were widows. The two tiny people at the foot of Mary represent the financiers of the church building. Once inside, the building is divided into three naves by a score of columns from the Baths of Caracalla.
    Sadly, photography was not permitted inside. A service was being held, the priest's words being processed into a harsh, tinny sound by the audio system. The small gathering of his flock close to the alter would occasionally stand, kneel, or sit, and periodically mutter responses to the pearls of wisdom.
    We retired from the basilica, seeking respite in a bar opposite the basilica, and sipped cool beer whilst watching people gathered around the fountain, and the ubiquitous military pair seemingly bored out of their minds.
    We scoured the streets in the area and homed in on a restaurant, Nannarella, Osteria in Piazza di San Calisto. "What would you like?" asked the waiter. "The bruschetta please," piped up Dan. "I'll have the bruschetta to start too, please," I followed up. The waiter looked at me as though I was mad. Perhaps ordering different starters was the thing to do in this restaurant. "I'll change my mind, I'll have the prosciutto e melone, please," was my new response. I still received a quizzical look from the waiter, was it my accent? We were given two plates, then a few minutes later, our starters turned up. I instantly understood. Each starter was enough to feed an army, and I gathered the process was to order a single starter and share it using the two plates provided. It took us an age to plough through our starters. The main courses were equally over generous.
    The obligatory accordion and guitar player serenaded the customers, and then attempted rather unsuccessfully to extract monies from customers before shrugging their shoulders and moving on with sullen expressions.
    A Carabiniere car continuously drove around the square all evening, and a platoon of military parked up and ambled around the square. Was the city on a security alert, or was this normal?
    When we left the restaurant to return to our hotel, a long queue had formed outside the restaurant. The food was excellent, not expensive, and generous in portions - understandable.


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Rome Pompeii/Vesuvius
Last updated 30.9.2019