Fontana dei Quattro Fiumi (Fountain of the Four Rivers)

The two other fountains on the piazza are the Fontana del Nettuno (Neptune fountain) and the Fontana del Moro (Moor fountain) on either ends of the square. The Fontana del Nettuno, also known as the Calderari, was built in 1576 by Giacomo della Porta. The statues of Neptune surrounded by sea nymphs were added in the nineteenth century. The Fontana del Moro was also built by Giacomo della Porta. The central statue of a Moor holding a dolphin, a design by Bernini, was added in the seventeenth century. The tritons are nineteenth-century additions.

Sant’Agnese in Agone’s church

Another highlight of Navona square is Sant’Agnese in Agone’s church. It was commissioned by Pope Innocent X in 1652 and built on the site where according to legend St. Agnes was stripped naked but miraculously saved from disgrace by extraordinary growth of hair.

Street artists on Piazza Navona

Also known as the artists’ square, Piazza Navona today is a popular meeting point and a perfect place to take strolls though Rome’s center while admiring several artists’ work.

Inspiring and overwhelming, for any Roman the Vittoriano is both a symbol of the nation’s pride yet controversially also an “out-of-place” and invasive monument on piazza Venezia, and for good reason. It was built between 1885 and 1911 to celebrate the unification of Italy as a nation and dedicated to the first King of the nation, Vittorio Emanuele II. While in itself the building is a massive statesmanlike construction surrounded and furnished with statues and fountains from all over the country, its sheer size and grandeur actually overshadow some of the more ancient wonders nearby such as the Roman and Imperial Forums.

The “Vittoriano” and the neighbouring Forum

Its taint on the ancient city doesn’t end there, especially when considering the ruins and medieval churches that had been destroyed to grant its construction. Not to mention it’s bright and unspoiled color, which clashes with those of older buildings one is used to seeing in Rome. So much in fact, that the impeccably polished white marble used to build it has earned it the nickname “Wedding Cake”. But there is a lot more to the “Vittoriano” than meets the eye.

The building from afar. Impressive, yet out of context. As the Romans called it a “Wedding Cake” protruding into the skyline.

Even though the Vittoriano’s imperial twentieth-century style may seem intrusive on Rome’s ancient flair, its tall terraces actually add a whole new experience for visitors. Even if you feel no such patriotic awe or affection, the Vittoriano’s terraces offer a look into the nearby Roman and Imperial Forums it overshadows, allowing us to admire their constructions in totality. The up-most level, reachable thanks to an elevator, provides the best view over Rome from between two crowning statuary groups.

Needless to say the features of this monument contribute to its patriotic image. Guarded by soldiers, a flame burns on the front terrace of the monument to mark the grave of an unknown soldier; this is the Altar of the Fatherland, the Altare della Patria. The massive gilt bronze equestrian statue is of Vittorio Emanuele II, king of Sardinia anf first king of Italy. The other statues and decorations ornamenting the monument all have allegorical significance: the statues around the base of the equestrian statue represent fourteen historically-important Italian cities; The two quadrigae on top  symbolise Liberty and Unity.

The “Altare della Patria from up close

Aside from its impressive exterior, the building also graces us with its lavish halls on the inside, hosting a series of exhibition rooms and most importantly, the “Museo del Risorgimento”, dedicated to the unification of Italy.

The impressive monument by night

Majestic or pretentious? Breathtaking or overwhelming? That is for viewers of the monument to decide. One thing is for sure: The Vittoriano makes up for its nosy  imposition on Rome with an endless series of majestic features, making it well worth a visit to decide for oneself.

The Aventine Keyhole

The Aventine Keyhole peeking directly onto the dome of St.Peter’s Basilica

What you are peering though are the gardens of the Villa del Priorato di Malta, one of the Roman properties belonging to the famous Knights of Malta. This is one of the last surviving orders of knights left over from the Crusades. The knights left their late medieval home on the island of Malta long ago and their headquarters are now here in Rome. This Aventine villa is actually home to the Order’s ambassadors to Italy and the Holy See. The Italian state recognizes the sovereignty of this ancient Military Order, which means there are actually three nations and three national capitals contained within Rome: Italy, the Vatican, and the Knights of Malta.

Campo de’ Fiori Square

The square’s name can be directly translated as “field of flowers”, as it once was in fact nothing but an unused meadow between Pompei’s theatre and the Tiber River. The area remained undeveloped for many centuries as the neighbouring river was prone to flooding Santa Brigada Church was constructed there in the 15th century, marking the beggining of the square’s development. After the Orsini palace and the “Palazzo della Cancelleria” were erected there as well, the city finally had reason to pave the area and officially call it a square.

For centuries, criminals and so-called heretics were publicly tortured and executed at Campo de’ Fiori. Giordano Bruno was one of the more well-known figures executed on this square. He was executed by the Roman Inquisition because the ideas he spoke of were “dangerous”. The Dominican friar was one of the first to realize that stars are actually suns in the universe. In 1887, sculptor and freemason Ettore Ferrari designed a statue of Bruno. It was placed in the piazza, facing the Vatican as if to defy all it stands for. Bruno is now considered an advocate of the right to free speech.

Like for many other public areas in Rome, the architecture at Campo de’ Fiori was never validated and therefore explains for the discontinuity in the style of buildings surrounding the square. However, the square’s many colors and facets contribute to its liveliness, making it an intriguing experience by day and night.

Some of the market’s fresh products

In the mornings, it hosts a daily vegetable and fruit market. By night, the orange-lit square comes to life again as its many surrounding restaurants and bars make it an appealing location for dinner and drinks.

Ara Pacis

The altar was originally named Ara Pacis Augustae after Emperor Augustus but is often just referred to as “Ara Pacis“. The altar was commissioned by Augustus in 9 BC as the Altar of Majestic Peace to celebrate his victories in Gaul and Hispania (now France and Spain). More importantly, it is a celebration of the establishment of peace in the Roman Empire, achieved as a result of the “Pax Romana” (Roman Peace) period from 27 BC to 180 AD. In its time, it was considered one of the most important monuments in Rome.

The Ara Pacis is now held within the Ara Pacis Museum

The altar is located in what was once known as Campus Martius, an area in the flood plain of the Tiber river. It was strategically placed so that the shadow of the obelisk on Campus Martius (now Piazza di Montecitorio) would fall on the Ara Pacis on the birthday of Emperor Augustus.

The center female figure meant to be Mother-nature at or even “Peace” surrounded by her benefits, the children and the fruits of the earth.[/caption]

The Ara Pacis was sculpted from white marble. The scenes found on the altar depict traditional Roman piety. The emperor and his family are prominently represented on the altar’s sculptures. There are also several figures of priests and other individuals wearing laurel crowns of victory. The actual altar table, decorated with sculptures of winged lions used to be inside the Ara Pacis.

The most notable fact about the figures is that they are a classic example of Roman sculpture. Unlike Greek sculpture, the figures actually resemble real individuals and are not idealized.