Introduction A city for the 21st century History Important dates and events Living Culture Italian Cinema

Art in Rome The Eternal city City Beats The many faces of Rome Italian cuisine The roman gay scene

Routes and Walking Tours 1. Ancient and Imperial Rome 2. Via del Corso from Piazza del Campidoglio to Piazza del Popolo 3. From Piazza di Spagna to the Quirinale 4. The Historic City Centre 5. Trastevere 6. Along the Esquilino from Termini Station to San Giovanni in Laterano 7. The Vatican 8. Via Veneto and Villa Borghese 9. Other interesting sites in Rome:
TERMAS CARACALLA VIA APPIA ANTICA TESTACCIO EUR

Practical Guide Book How to get here, How to get around, Useful advice, Where to sleep, Where to eat, Nightlife, Shopping, Activities for children

Textos: Merche Gallego Fotos: Lluis Trillo Traduccin: Aisha Prigann

Rome a city for the 21ST Century

Rome, a lifetime isn't enough. This oft repeated phrase about the Italian capital rings all the more true when you visit the city. Rome, with its long history and unique ambiance, is a profoundly moving place, a source of inspiration to artists and poets throughout time and a destination sought out by more than twenty million tourists every year. What was once the seat of a vast empire is now a city that tries to balance its glorious past with the changes brought on by modernity. The city's incomparable archaeological and architectural wealth, a source of great pride for most Romans, is also a cause for concern. New construction is inevitable and necessary, but a large part of the municipal budget is invested into restoring and maintaining "ruins". It is precisely these ruins, however, which have turned Rome into one of the most visited capital cities in the world. Romans, fully aware of this fact, have a lovehate relationship with tourism. On the one hand, they know that tourism is a vital and highly lucrative source of income. On the other hand, they have never quite accepted that they can't "find peace and quiet" in their city and

that it is always full "of lots and lots of people". Rome seduces its guests at every step of the way, and despite certain elements that are universally criticised (the chaotic traffic, the excessive rudeness towards tourists, etc.), few cities offer as much in terms of history. From the Forums to the Colosseum, from the countless churches to the Vatican and all the museums, squares, fountains and artworks in between, the city captures the visitor's imagination. There might be more elegant cities in Italy, like Florence, or more sophisticated ones, like Milan, but Rome was the centre of European civilisation for almost 2,000 years, and that isn't an easy reputation to shake. Everyone who travels to Rome does so with a preconcieved notion. No one expects to come across anything new, operating under the assumption that the whole world knows all about the treasures of the Italian capital. And yet that isn't entirely true. Despite its historical vestiges, the city is moving into the future and getting caught up in the modern spirit and trends that are sweeping other parts of Europe. You have to approach the city without prejudice in order to explore its many facets. Only in

this way, can you discover the real modern-day Rome and not just the city described in history books. Romans know how to have a good time, and their way of life is catching. It is a city where you can dine well and have your pick of nocturnal fun. If you are overwhelmed by all your museum touring, the city always has a quiet little nook to escape and relax in. Despite the summer heat, Roman life mostly takes place outside, giving visitors a unique opportunity to explore this Italian gem firsthand and see more of the city than described in any guidebook. Luckily, Rome is said to be the Eternal City, allowing you plenty of time to discover it for yourself. What are you waiting for? It's time to pack those bags and head out on a Roman holiday.

History

THE FOUNDING OF ROME When it comes to the origins of Rome, the line between historical fact and mythical tale blurs, leaving a trail of legends that inextricably link the two. Archaeological findings indicate that Etruscan and Latin settlements were amongst the earliest on the Palatine Hill, which would later become the chosen site for the new city of Rome. Because the beginnings of Rome are shrouded in layers of legends, it is difficult to ascertain the true historical events. Nonetheless, historians have come to accept that the city was founded around the year 753 B.C. One legend about the founding of Rome seems to prevail and has garnered immense popularity over the course of history. This is the tale of Romulus and Remus, first featured in Titus Livius' (also known as Livy) monumental History of Rome. Written during the 1st century B.C., Livius' historical account numbers 142 volumes and includes the tale of the twins Romulus and Remus, the mythical founders of the eternal city. The twin boys were the sons of Princess Rhea Silvia and Mars, the god of war. Rhea Silvia was a vestal virgin and thus sworn to chastity. Her uncle Amulius, keen that she should not bear any offspring that might overthrow him, had Rhea Silvia executed for breaking her vestal vows. The children were also sentenced to death, but the servant given the gruesome task couldn't bring himself to do it. Instead, he placed the children in a basket alongside the Tiber River. The river carried them away and washed them ashore on the Palatine Hill, where a she-wolf came across them. She nursed the boys until a shepherd named Faustulo took them into his home and reared them in secret. Years later, after defeating Remus in a struggle, Romulus founded Rome on the Palatine Hill and was crowned king of the newborn city. The historical authenticity of this tale cannot be verified, but Romans have come to embrace this legend as their own. If asked how Rome began, they will tell you the story of Romulus and Remus. Romulus supposedly built the first semblance of a city, including the earliest walls, and invited neighbouring villages to join Rome, thus hoping to increase the city's nascent population. Some stories claim that he even welcomed criminals into the city's fold with the unintended and unfortunate side-effect of creating a disproportionately high male population. In order to restore the gender balance and guarantee the survival and continuation of the young city, Romulus went in search of women. This led to the famous episode known as The Rape of the Sabine Women. The Romans organised a series of games and celebrations to which they invited the neighbouring Sabine village. However, the event was nothing more than a smokescreen to veil their true intentions during the festivities the Romans abducted the Sabine women. The Sabine men were outraged by the Roman treachery and declared war on their neighbour.

unit. The entire unit was led by the head of the patrician family and run according to a set of individually tailored codes or laws. But the social pecking order didn't end there; it extended into a far more detailed and complex hierarchy. A group of gens formed a Curia, a vast extended family that even had its own personal temple and priest. The Curiae would meet in the so-called Assembly of the People, where decisions regarding the development and governing of the city would be made. A voting process determined these decisions, but of course only members of the patrician class were granted this right. There was yet another, parallel governing body - the Senate - which was even more exclusive. It was comprised solely of the heads of the patrician families. Eventually the plebeians achieved a moderate measure of representation through the establishment of the plebeian tribune. This was mostly a symbolic gesture to appease the socially less fortunate since the ruling class had no intention of upsetting its existing social order. Although the Republic was still a far cry from our modern understanding of democracy, the Roman Laws that were ceremoniously inscribed on iron tablets in 450 B.C. did provide for several social advancements. For example, the laws permitted the marriage between members of the patrician and plebeian classes, a babystep towards greater social integration. This was also an era of great urban expansion, witnessing the construction of new buildings, temples and forums (the bustling centres of social and commercial life in Ancient Rome) as well as aqueducts and roads. New social systems developed parallel to this construction boom, including a legal system that bore significant influence on its modern-day counterpart in western society. Despite the social and political advances that began to distance Rome from the Greek influence that had accompanied the city since the beginning, Rome fell short in developing an equally ambitious industrial and economic system. The city grew accustomed to military victories and living off the spoils of war. And since these victories continued over time, they seemed infinite, enough to last the city long

The women, however, had already forgiven their new husbands and put an end to the conflict, thus renewing the peace between the Roman and the Sabine people. The period following the war was of vital importance to the development of Rome as a city and began to set the stage for what was to become one of the world's largest and longest lasting empires.

into the future. Rome's bellicose glory was great indeed and soon began to spread beyond the confines of the Italian peninsula. Carthage was a thorn in Rome's side, hampering its expansionist ambitions. In fact, the Carthaginian general Hannibal served the city a severe blow during the Second Punic War when he crossed Hispania, the Alps and the Apennines and invaded northern Italy with his army of elephants. Despite enduring a series of battles, Hannibal was finally defeated by the Romans, and Carthage fell in 146 B.C. As Roman power extended far beyond its borders, a sense of discontent began to spread in the city, a palpable tension that the republican government couldn't seem to suppress. At this point, the government was organised in a structure known as a triumvirate. This triangle of power was formed by Pompey the Great, Marcus Crassus and Julius Caesar and marked the beginning of the end for the Republic. Crassus died young, leaving Rome in the hands of Pompey and Caesar. While Pompey stayed in Rome, Caesar set out to conquer Gaul. The campaign was a significant success for Rome, but it created an irrevocable sense of distrust between Caesar and Pompey. Pompey was suspicious and jealous of Caesar's military glory, which garnered him public support and admiration. Meanwhile, Caesar worried about the distance that his military campaigns drove between him and Rome. Afraid of losing his power and uneasy about Pompey's manoeuvrings in Rome, Caesar tried to bolster his position by buying political support. Caesar's fears were not unwarranted; Pompey had no intention of sharing his newly amassed power. While Caesar was away, Pompey made every effort to block his return. Caesar, who was in Egypt at the time, had fallen hopelessly in love with the young queen Cleopatra, a romantic entanglement that delayed his trip back to Rome. When he did finally return, it was in the company of Cleopatra and their son - and he was met with an outburst of popular support. War seemed like the only way to resolve the dispute between Caesar and Pompey; a war that the latter lost in 48 B.C. Although Caesar's official title became dictator vitalicio (dictator

ANCIENT ROME - THE REPUBLIC AND THE EMPIRE The city of Rome prospered under monarchic rule until Tarquinius Superbus (Tarquin the Proud) came to power and installed a new form of government: the Republic. Republican rule brought about significant changes in Roman society, which was now divided into two classes, the patricians and the plebeians. The former were the new upper class, made up of privileged professionals such as judges, magistrates and priests. The vast majority of the population, however, fell into the plebeian class; they tended the crops and livestock or worked in commerce. The two classes functioned within a system of vassalage in which each plebeian served a patrician family. The plebeians swore loyalty to the patrician family in exchange for protection. Every noble family, also known as gens, had several plebeians working for them and therefore functioned much like an independent

for life), he now ruled like a king. The Senate did not look kindly upon Caesar's rule, jealous of how he had weakened their power. Caesar was assassinated in 44 B.C. and a new triumvirate came to power. Caesar had left his fortune and title to his grand-nephew Gaius Octavius (Octavian), and the lower and middle classes, angered by the assassination of their popular leader, now shifted their support to his heir. Octavian aligned himself with Lepidus, Caesar's loyal cavalry commander, and Mark Antony. Octavian stayed and over-

CHRISTIANITY AND THE POWER OF THE CHURCH Christianity was regarded with suspicion and outright hostility throughout much of the Roman Empire's reign. But although Christians faced severe persecution, the religion didn't lose strength. In fact, the official repression only fuelled the believers' fervour who continued to gather and practice in secret. Christianity became the Empire's official religion under Constantine the Great in 324 A.D. but this seems to have been an act of convenience rather than true belief on the emperor's part. Constantine was known for having committed a slew of heinous crimes, including the murder of his own mother and only converted to Christianity shortly before his death. Perhaps Christianity was the only religion that offered a way to repent for the grave sins committed during his lifetime or perhaps the pressure of the growing religious movement was simply getting too great. The Empire's full acceptance of Christianity put an end to a gruesome chapter in Roman history. Christians were no longer used as human torches, a common practice during Nero's reign, nor were they (along with many others) subjected to a violent death in the Coliseum's infamous arena. However, the barbarian invasions that were pushing in from the north did not bid well for the religion's future. Pope Gregory I was one of the key players in keeping Christianity alive. He oversaw the construction of several important basilicas, and word began to spread about the crucial role Rome was playing in fostering the religion. The city gradually became an important destination for pilgrims throughout Europe. In the year 774, Pope Leo III ensured that Charlemagne was crowned the next emperor of Rome. The pontiff and the emperor saw the alliance as an opportunity that served both their interests. Charlemagne declared that it was his responsibility to defend the Catholic Church and the Pope's to pray for the empire and its victory in battle. The Papal States grew alongside the city states

ble". Several pieces, such as the Ara Pacis Augustae, are still standing today, testimony to a truly glorious chapter in the history of the Roman Empire. Subsequent chapters in the long life of the Empire wavered between peaceful and prosperous and decadent and destructive. Emperor Nero will be forever linked with the Empire's descent into decadence. After burning the entire city to the ground, he committed suicide in 64 A.D. But the Empire had a seemingly inexhaustible supply of second chances; a scant five years later, the city was back on its feet again, constructing the monumental Flavian Amphitheatre, better known as the Coliseum. Emperor Vespasian was responsible for building the giant arena as well as other landmarks, such as the Arch of Titus in the Forum. The Roman Empire reached the pinnacle of its glory between the years 96 and 211 A.D. under the rule of emperors such as Hadrian, who built the famous city walls, and Marcus Aurelius, who won decisive battles along the Danube. Rome was the shining capital of the world, unmatched in its glory. There were few hints that augured the destruction that was slowly closing in. The Empire's decline began in the year 235 A.D. when both Persian and Germanic invasions shook Rome's foundations. The invasions proved that this seemingly invincible empire was vulnerable and that it was beginning to crumble. The years between 250 and 312 A.D. were marked by the vicious persecution of Christians, a practice that didn't end until 330 A.D. This was the year that Constantine defeated Maxentius and became the empire's first Christian ruler. Constantine brought an end to a long chapter in Roman history and changed the empire forever. He abandoned Rome and moved the empire's nexus to Byzantium. The city was renamed Constantinople and became the capital of a new empire. Rome's power crumbled, defeated as much by internal divisions as it was by the relentless Germanic invasions. The Roman Empire finally collapsed in 476 A.D. and most of its territory came under the rule of the Germanic kings.

saw affairs in Rome whilst Lepidus marched off to Africa and Mark Antony, who had fallen in love with Cleopatra, followed her to Egypt and became king of her country. The triumvirate collapsed when yet another power struggle broke out, resulting in a civil war that dragged on until 27 B.C. when Octavian finally defeated his opponents. Octavian radically changed the political climate in Rome. He changed his name to Caesar Augustus and proclaimed himself emperor of what was now the Roman Empire, an act that ushered in a long and eagerly awaited period of peace. Peacetime brought about a climate of creativity and innovation that resulted in magnificent works of art and architecture. Some of the most important historical buildings stem from this era. Upon looking onto the flourishing city, Augustus supposedly said, "I found Rome a city of brick and left it a city of mar-

for a long time, but it gradually became clear that Rome was no longer a safe place for the pontiffs. Violent confrontations between the armed gangs of several Roman noble families had become daily events, turning Rome into a tumultuous battlefield. Pope Clement V, a French pontiff, used the unstable situation in Rome as an excuse to move his court to Avignon in 1309, a period that came to be known as the Babylonian Captivity. The era came to an end in 1377 when Pope Gregory XI returned to Rome and set up residence in the Vatican, which, at that point, was just another Roman neighbourhood. During the 15th and 16th century, the pontiffs decided that they had to firmly establish their power. They chose a rather unusual course - the complete reconstruction of the city. This brought about a truly magnificent, creative period, resulting in some of the most famous pieces of Roman art known to us today. In order to kindle and maintain this flourishing of the arts, the pontiffs often resorted to less than "proper" means. This era brought the pontiffs much power and knowledge, but the wealth that they were accumulating put them in a dangerous spotlight. Neighbouring nations, especially France and Spain, coveted the immense, papal riches and decided that Italy had to be theirs. The troops of Spanish king Charles V invaded Rome in 1527. Pope Clement VII managed to save his life by hiding out in the Castel Sant'Angelo, but the city had no choice but to surrender to the Spanish Empire. At the same, the Protestant Reformation was gaining strength in European countries like Germany and England, a situation that didn't favour the papacy. Instead, the pontiffs aligned themselves with Rome's most powerful families throughout the 17th century, a move that produced one of the most splendid artistic periods in Roman history. The city once again took centre stage for its magnificent art, a time that embellished Rome with baroque masterpieces by illustrious artists like Bernini and Borromini. Napoleon was also enticed by the treasures of Rome. He invaded the city in 1796 and ruled the papal territories until 1815 when the Papal States were restored to power during the Congress of Vienna. For a long time following the Congress of Vienna, the Papal States grew increasingly powerful until it seemed that their reign was all but invincible. But then, in 1871, they were conquered yet again. Rome was proclaimed the capital of the newly unified state of Italy and the pontiffs were left with no choice but to literally lock themselves into the Vatican like prisoners in a gilded cage. ITALIAN UNIFICATION UNTIL WORLD WAR II The unification of Italy once again turned Rome into the nation's capital, but this did not put an end to many of the problems plaguing the eternal city. The situation in the city in the

year 1871 was nothing short of precarious. The efforts the pontiffs had invested into adorning Rome with beautiful works of art had not extended into a similar dedication to social and urban needs. The advances that Ancient Rome had made in these areas, advances that had contributed greatly to the city's prestigious place in history, seemed lost in oblivion. It was almost as if they had never happened. Rome limped into the 20th century, falling far short of the glory that had once made it the centre of the western world. World War I didn't affect Italy as severely as its neighbours since the country hadn't participated in any significant manner. However, the post-war era witnessed the rise of Benito Mussolini, a man who would forever change the face of the Italian nation. Mussolini was the father of Italian fascism. He baptised his party under its banner, and party members were known and recognised by their now infamous black shirts. Early on, his lack of military experience seemed to endow him with an insatiable ambition, which carried at its core a clear dedication to violence and a totalitarian ideology that didn't tolerate dissent or criticism. In order to garner the support and trust of the people, Mussolini kept the king in power and set out on a carefully thought-out programme of urban improvements. The urban reforms were largely superficial, mostly improving traffic and sprucing up the appearance of the streets. All the while he quietly but firmly strengthened his hold on Italian politics. Mussolini's ideal was a "modern" city - a dynamic Rome that looked towards the future while preserving and celebrating the symbols of its ancient glory. The pontiff at the time, Pius XI, saw a valuable ally in Mussolini, and the dictator also realised that a close relation with the Catholic Church could be of great benefit to him. This mutual interest led to the signing of the famous Lateran Treaties in 1929, an act that officially established the Vatican as an independent state with the Pope as its highest authority. World War II broke out and in 1940 Italy joined the war, siding with Hitler's troops. This would turn out to be one of Mussolini's biggest mistakes, a decision that brought grave consequences with it. Faced with the approaching allied troops, the king arrested Mussolini in an attempt to calm the outraged Italian public. This, however, brought about a change in Hitler's plans, who marched on Rome to free Mussolini and take control of the city. The move didn't go unnoticed by the Allies who returned in kind and began to bomb the city. As luck would have it, the bombings left most of Rome's magnificent art, architecture and antiquities unharmed, thus preserving this historical legacy for many generations to come. The situation would have been far worse had the Germans retaliated, but Hitler desisted and Rome was spared even greater destruction. On June 4th, 1944 allied troops entered

Rome and liberated the city. Mussolini's luck had run out. Less than a year later, the fallen dictator was captured, shot and hung from a streetlamp in the centre of Milan, the very same city where he had formed his party years before. MODERN ROME The end of World War II brought new social, political and urban changes to the Roman cityscape, changes that were not always necessarily positive. Or at the very least, they weren't equally positive for all. The 1950s ushered in an era in which political corruption seemed to be the order of the day. This corruption spread its tentacles throughout Italy and one of its clearest and ugliest expressions came in the form of real estate speculation. This turned out to be a lucrative enterprise for many politicians and bureaucrats, who lined their pockets and had few scruples when it came to governing the city. In 1976 communism had taken hold of the Italian imagination, something that wasn't looked upon kindly by other countries, especially the United States of America. Complicating matters further was the fact that no party could gain a clear majority, leaving the government in the hands of rapidly changing and loosely associated coalitions. This crisis did little to improve the political situation in the country, and the climate of instability even seemed to infiltrate the Vatican. The selection in 1979 of John Paul I as the next pontiff stirred up emotions and was the cause of a polemical debate. It didn't help matters that the newly elected pontiff was found dead a few days after his nomination. The strange circumstances surrounding his death have left behind a host of unanswered questions that continue to cast a shadow on the Vatican's history. The nomination of John Paul II returned a much-needed dose of prestige to the Holy See, allowing the Vatican to recover its name and image both amongst Catholics and different organisations around the world. John Paul II not only promised to bring younger generations back into the fold of the Catholic Church and improve the Vatican's image but also to take a closer look at the sometimes dubious

financial actions taken by the Church's leadership. John Paul II, who died in 2005 after a long and celebrated papacy, was embraced by the public for both his approachability and his earnest dedication to his faith. Images from his funeral were broadcast around the world and the crowds that gathered in Rome, comprised of Catholics as well as people of many other religious faiths, outnumbered all expectations. A tall task awaits his successor, Benedict XVI, who not only needs to live up to the Polish pontiff's legacy but also garner the same trust and deeply loyal following that John Paul II enjoyed throughout his papacy. Politically motivated crimes and the influence of the mafia also destabilised Italy's social and political climate for a long time. The situation was finally addressed by a section of the judiciary that decided to clean up the country's deeply corrupt system with a campaign nicknamed "clean hands". Many executives, politicians, businessmen and judges came under scrutiny and were investigated and tried for "dubious and unclear" dealings. The campaign did much to improve political transparency in Italy as well as resolve many of the problems that were plaguing the country. Throughout its years as a democracy, Rome has witnessed political power alternating between different fronts, from deeply-rooted leftism to political parties on the far-right. Roman

Tourism continues to be Rome's bread and butter, bringing in most of the city's (and by extension most of Italy's) income. The city has become very aware of how important this sector is to its economic well-being and has dedicated increasingly greater efforts to improving its infrastructure and services. Visiting Rome has become easy and hassle-free, turning the eternal city into one of Europe's most welcoming and popular tourist destinations. Every year millions of visitors from all corners of the world flock to Rome to experience the city's lively atmosphere and unique history. Nowadays Rome is a charming and pleasant city. A few problems prevail, such as the notorious traffic, but the city's population has grown accustomed and fond of its many visitors and proud of its impressive, one-of-a-kind historical and cultural heritage. Maintaining the old and keeping up with the new hasn't been an easy road. The city can't be left behind in the race towards the future and yet, how can it not when most of its budget is set aside to conserve the ruins of its past? But somehow Rome manages to keep everything in perspective, creating a delicate balance between progress and conservation that is perhaps the secret to its success.

society tends to split into clearly divided camps, voting for opposing political approaches in a search for the kind of stabibility that still eludes the political structure of the Italian republic. Rome enjoyed a rather splendid moment in 2000 when it celebrated its Jubilee Year. In addition to the millions of tourists who come to the eternal city every year, the Jubilee attracted a vast number of Catholic visitors. The city got a face-lift, improved its services and public facilities and cleaned up its image. And for a brief moment Rome once again stood in the limelight, a glorious capital unlike any other in the world.

Living Culture: Italian cinema Living Culture: Italian cinema

Cinema has always played a significant role in shaping Rome's identity. Although Italian cinema has had its shares of ups and downs, it has produced a number of directors, actors and films that have become truly legendary. Individuals like Sophia Loren and Federico Fellini and films like La Dolce Vita are more than just famous, they are icons, recognised even by those who have never seen an Italian film. Any discussion of the Roman film industry inevitably leads us to Cinecitt.

Benito Mussolini was very conscious of how much power the moving image held over the public imagination. Like so many others at the time, he recognised cinema as an exceptionally effective tool of propaganda. In order to better use this tool, he inaugurated Cinecitt (literally cinema city) on April 27th, 1937 - a vast, imposing complex to produce his own films, dedicated to the glorification of Italy. Cinecitt's sprawling grounds covered more than 600,000 square metres and contained 73 buildings. Of those buildings, 16 were complete film sets. Streets and squares covered more than 40,000 square metres, and gardens and film laboratories accounted for another 35,000. The period just before World War II ushered in an era of spectacular and unprecedented growth in the Italian film industry. Cinecitt wasn't alone in fuelling the cinematic explosion - the government lent generous, financial support to directors who shared its fascist ideology, and new laws forced North American companies out of the Italian market. Cinecitt was producing up to eighty films per year and elevated directors, actors and actresses like Vittorio de Sica, Gosco Giachetti, Isa Miranda, Doris Durante and Elsa Merlini to stardom. Following World War II, Rome and the rest of Italy fell on hard times and suffered through a long period of social misery and economic depression. The days of celebrating Rome's glory were over; the only thing left to examine was the widespread and devastating poverty that was decimating the country. But this time of misery gave birth to one of Italy's finest and most original cinematic movements: neo-realism. Directors like Roberto Rossellini, Pier Paolo Pasolini and Federico Fellini shaped this

modern and completely new form of cinema in collaboration with masterful actors like Marcello Mastroianni and Anna Magnani. Their efforts bore fruit in unforgettable films like Roma, Citt Aperta, which caused uproar at the time for its relentlessly realistic portrayal of post-war Rome, or La Dolce Vita, which has etched itself into our collective imagination with images like Anita Ekberg bathing in the Fontana di Trevi. The incredible infrastructure provided by Cinecitt also meant that Rome caught the eye of its illustrious North American relative, Hollywood. Tinseltown came to the eternal city to film historical epics like Quo Vadis (1951), directed by Mervin LeRoy and starring Robert Taylor, Deborah Kerr and Peter Ustinov. There is no question, however, that the greatest of these epics was Ben-Hur (1959), directed by William Wyler and starring Charlton Heston. The film swept the Academy Awards, taking home 11 of its 12 Oscar nominations - a worthy reward for one of the era's most complicated productions. The film's budget reached astronomical proportions for its time (15 million dollars), but its box office success was equally ground-breaking: 40 million dollars in its first year of theatrical release. In order to better understand the atmosphere that surrounded the film's production a few, choice anecdotes suffice. The famous chariot race in Ben-Hur is probably one of the most legendary scenes ever captured on film. The circus where the race takes place took one year to build, and filming the actual scene took three months. In taking such risks, the producers must have had some inkling that the film they were shooting was not just another ordinary Hollywood movie.

Wyler had a special fondness for Rome; BenHur was his second excursion to the eternal city. In 1953 he had come to Rome to shoot the immensely popular film Roman Holiday with Gregory Peck and Audrey Hepburn. Hollywood wasn't the only one to benefit from the film's success, which garnered good reviews and brought in a handsome financial return. It also made the whole world fall in love with a new and enchanting Rome - the city of Vespas and cobblestone streets, of illuminated monuments and balmy nights; in other words, one of the most romantic cities imaginable. When the Hollywood mega-productions ran out of steam so did Cinecitt. There were other moments in time when Italian cinema recaptured some of its past splendour. Talented and glamorous actresses like Sophia Loren and Gina Lollobrigida and actors like Vittorio Gassman and Nino Manfredi brought the industry moments of renown and recognition throughout the following years. Sergio Leone invented the spaghetti western and served up timeless classics like The Good, the Bad and the Ugly and A Fistful of Dollars. Nowadays, Italian cinema moves in more modest financial circles than its Hollywood cousin, but the industry still manages to create true cinematic gems from time to time. Memorable films like Life is Beautiful and Cinema Paradiso continue to delight audiences around the world. Stars like Monica Bellucci recall the glamour of Italy's cinematic heyday, and some have even gone so far as to call her the new Sophia Loren. Others consider the mere comparison an insult; for them Sophia Loren, the original icon of Italian glamour and style, is irreplaceable, incomparable and sacred.

Living Culture: Art in Rome Living Culture: Art in Rome

Although the pontiffs did many questionable things during their reign in Rome, their most lasting legacy is a gift to art lovers everywhere. The vast artistic heritage fostered by the pontiffs is still one of Rome's most attractive features, and the architectural boom that took place from the 15th to the 17th century left behind the indelible image generations have come to associate with Rome.

With all its palaces, churches and monuments, Rome is a veritable museum in and of itself. Rome has more artworks per square metre, originating from a greater number of historical periods than any other city in the world. On your way to a museum, you already stroll past ancient monuments like the Coliseum or encounter Renaissance and baroque masterpieces in the city's many squares. Much of Rome's glorious art is completely free, standing in the midst of daily life. And then, of course, is the indescribable variety offered at its many museums, art galleries and churches. Some of the museums charge an admission fee, but the churches can all be visited for free. Even many of the smaller parish churches contain invaluable works of art, such as Michelangelo's Moses in the San Pietro in Vncoli Church. The Renaissance was an artistic movement that spread throughout Europe from the late 14th to the mid-16th century. The movement was born in Italy and was based on the rediscovery of ancient art forms and culture. Although the movement went on to influence almost every form of artistic expression and scientific thought, the fields of sculpture and architecture seemed to embody the Renaissance spirit the most. Florence was the undisputed centre of Renaissance art, but many of the artists who lived there spend long periods of time in Rome. The capital city was not only ideal for studying the art of the ancient world, but it was also home to the pope, who commissioned many pieces from the artists. Rome benefited greatly from the sojourns of artists like Michelangelo as well as from the influence the pontiffs had on the art world of the time.

The Renaissance wasn't alone in changing Rome's urban character; the Baroque period was equally important in shaping the face of the city. In fact, the Baroque style, characterised by elaborate ornamentation and exaggerated form, was born right here in Rome. Not only is there logic behind the development of the style, but also as to why Rome was its birthplace. During the 17th century, the Catholic Church needed to bolster its image. Faced with threats of other religious movements, such as the rise of the Protestant Church, the pontiffs had to reassert their power. Fully aware of the influence art had on the public imagination, the pontiffs commissioned their architects to build churches and monuments that celebrated the glory of the Catholic faith. The resulting pieces were eyecatching, ornate and at times emotionally overwhelming. Paintings loaded with both pain and ecstasy, buildings encrusted with gold, sculptures depicting impressive, monumental figures. The goal was to transmit the idea of a powerful and opulent Catholic Church, its glory unshaken by the emergence of new religious movements. Others besides the pontiffs had their eye on the arts. The wealthy Roman families of the 17th century had also taken a liking to art and architecture, especially as a means of demonstrating their power. The families became patrons of the arts, commissioning lavish palaces, portraits and sculptures. In financing the production of the arts, they assured that the pieces would remain securely in their possession. The first half of the 17th century was marked by political calm and stability, which allowed art and architecture to flourish. The calm was broken during the second half of the century as political conflicts

arose in Rome and throughout the rest of Europe. As a consequence, financial resources were invested into less "artistic" endeavours, thus diminishing the creative output in the city. Nevertheless, Rome had already gained the monumental appearance and artistic legacy that would go on to impress generations to come. BERNINI Bernini was born in Naples in 1598, but he spent the majority of his career in Rome. Although he ventured into painting from time to time, Bernini was primarily an architect and sculptor, trained by his own father, the artist Pietro Bernini. He is considered to have been one of the main catalysts in the development of the Baroque style. He was inspired by both classic and realistic schools of art and masters like Michelangelo, but Bernini was primarily concerned with how to draw in and captivate the spectator. He wanted the spectator to become part of his work, which led him to infuse both his architecture and sculpture with powerful imagery, monumental proportions and strong, clear emotions. Whether you like Bernini's work or not is a matter of taste, but no one can deny the sheer, overwhelming power it exudes. There is no place like Rome when it comes to appreciating Bernini's work, which adorns facades and the interiors of churches and palaces throughout the city. Bernini achieved the pinnacle of his success in this city, especially with his stunning work in the Vatican. Both the Piazza San Pietro and much of the Basilica's interior display his unmistakable style. He was

the obvious candidate for the job, considering that most of his career was linked to the pontiffs and the commissions they gave him. He was somehow perfectly in tune with the Vatican's expectations and succinctly understood how the pontiffs wanted the Catholic Church portrayed. One of his most noteworthy pieces is the impressive baldachin that he fashioned for the Basilica. With this monumental bronze altar, Bernini sought to portray the superiority of divine power over earthly power. Completing the stunning effect is the immense cupola, work of the Renaissance genius Michelangelo, which curves high above the enormous altar. The Piazza San Pietro (Saint Peter's Square) is yet another example of Bernini's masterful architecture. He not only worked on the square's design but also created the 140 statues along the cornice that surrounds the elliptical square. In addition to his work for the Vatican, Bernini also built and embellished several palaces that are now considered authentic Roman landmarks. Many of them are now used as museums, and in many instances the buildings are as much of an attraction as the art inside them. This is definitely the case with the Barberini, Montecittorio and Odescalcci palaces. One of his most celebrated pieces is the monumental fountain that adorns the centre of the Piazza Navona. The Fontana dei Quattro Fuimi exemplifies Bernini's fascination with the human form, his incredible ability to render movement and the strong expressive quality he always looked for in his work. Bernini was highly respected in his day and enjoyed the prestige and protection that came with being one of the Vatican's favourite artists. This, however, did not always earn him the best of friends. The enmity that existed between Bernini and Borromini, his great rival, has taken on legendary proportions. The two artists spent a lifetime finding fault with one another's work and person, a rift that provided ample gossip for Rome's many social circles. BORROMINI Born in 1599 in Bissone, Borromini stood apart from his contemporaries for being a purist, working exclusively in architecture throughout his lifetime. He was one of the leading figures in Baroque architecture, generating a pool of influence that would reach far into the future. He was driven by the desire to create new spaces, marked by different forms and arousing strong emotions in those who stood within them. His flair for the dramatic was expressed flawlessly in his many imposing buildings, an effect that was particularly noticeable in the churches he designed. His first significant commission was the design of the church San Carlo alle Quattro Fontane. It took Borromini almost thirty years to complete the church, dedicating an immense amount of time to the facade, which has come to exemplify his particular style. The facade ended up

being taller than the church itself, adorned with sinuous, meandering forms that inspired his many disciples and legions of other baroque architects. Other pieces that bear Borromini's signature are the Sant Ivo Della Sapienzia Church and the facade of the Sant'Agnese in Agone Church. Borromini was also commissioned to renovate the San Giovanni in Laterano Basilica, Rome's official cathedral. The Sant'Agnese in Agone Church on Piazza Navona faces Bernini's fountain, the Fontana dei Quattro Fuimi, which has led to a running joke about the work of the two great rivals. Romans claim that the horrified expression borne by the statues in the fountain are due to the fact that they have to spend their days looking at Borromini's church. Although the joke is more popular myth than fact, the rivalry it is based on did exist. It all began when Borromini was working under Bernini on the baldachin in the San Pietro Basilica. The combination of these two, strong, artistic egos was incendiary, leading to a permanent rupture between the two who never managed to reconcile their very different views and approaches to the Baroque style. Borromini committed suicide in 1667 at the age of 68, driven perhaps by personal mishap or the creative contradictions that plagued him throughout his lifetime. In what has been described as a psychotic episode, he ended his life by driving a sword through his body. MIGUEL ANGEL Many consider Michelangelo Buonarroti the ultimate artist, the highest expression of a true Renaissance man. He was born in Caprese in 1475 and died in Rome in 1564. His life's work produced art that continues to move, impress and inspire legions of admirers and still serves as a model for painters, sculptors and architects today. Michelangelo was one of those rare geniuses whose talent lent itself equally to each of these three artistic forms. His work was the zenith of Renaissance art, giving the movement such a fine, immaculately rendered aes-

thetic that it is said to have augured the birth of the baroque style. Although Michelangelo completed several important pieces in Rome, his career began in Florence, the home turf of the Medici Family, one of the great art patrons of the time. At the young age of 22, Michelangelo travelled to Rome to study the classic art of the ancient world. Youth seemed no hindrance to his talent - it was during this time that he sculpted one of his finest, most moving pieces. The Piet has become as much a symbol for Rome as his statue of David has for Florence. Michelangelo's depiction of an ethereal, youthful Virgin Mary cradling Christ's dead body in her arms achieves a profundity of emotion that has never been matched by any other work of art. This sublime, indescribable marble sculpture can be seen at the Vatican, close to the entrance to the San Pietro Basilica. (The impressive cupola that adorns the Basilica is an example of Michelangelo's equally fine architecture). Around 1505 Michelangelo completed another extraordinary sculpture, Moses, under commission from Pope Julius II. The sculpture was supposed to form part of a tomb Michelangelo was building for the pontiff. But the pontiff died before it was ever finished, leaving only the sculpture. The immense power exuded by the sculpture, however, didn't require any embellishments. In the end, the tomb wasn't necessary from an artistic standpoint, because the sculpture is sufficiently masterful to stand alone. The statue of Moses can be seen at the small San Pietro in Vncoli Church, located close to the Coliseum. Listing all of the artwork Michelangelo created or supervised is almost impossible, considering his prolific nature and the longevity of his career. One of his most revered achievements, however, is the Sistine Chapel, a piece of religious art that goes far beyond mere decoration. Michelangelo was selected to complete the chapel, which already featured the work of contemporaries like Botticelli and Ghirlandaio. The ceiling and the western wall were still empty, and Pope Sixtus IV thought Michelangelo would be a good addition to the chapel's illustrious roster of artists. Michelangelo's unparalleled dedication and creative enthusiasm resulted in what is perhaps his finest work, exemplified by the episodes from Genesis and the astonishing Last Judgement, two pieces that attract most of the visitors that flock to the Vatican Museums each year. The experience of seeing these paintings cannot be put into words. It isn't necessary to be an art expert or a fan of Renaissance style painting - the genius reflected in these pieces is unmistakable, shining through in the perfection of the figures and the vivid expressive quality. The power and intensity of these paintings continues to speak to successive generations, unchanged by the passing of time. It is quite simply the highest creative expression of a master, an artistic genius who forever changed the course of art history.

Living Culture: Living Culture: The Eternal City The Eternal City
Twenty million visitors a year can't all be mistaken; there is something about Rome that fascinates and attracts people, year after year, century after century. This incredible hold on the world's imagination has turned Rome into one of the most interesting and sought out tourist destinations in the world. The eternal city is a veritable open air museum, layer upon layer of history leaving its mark on thousands of monuments, ruins, museums, art works, churches and catacombs. Considering the long and impressive history that has moulded this city, the historic centre is actually quite small and easily visited within a short time. The immense amount of time and cultural legacy expressed by this small corner of the city, however, takes more than a few days to settle in and be grasped in its entirety.

Rome is known as the city of the seven hills. The name is taken from the hills that made up the ancient city: the Palatine, Capitoline, Aventine, Caelian, Esquiline, Viminal and Quirinal Hills. There are actually two other hills in the city, the Janiculum and Pincian Hills, but they never formed part of the ancient city and are thus not counted. Rome is also famous for its staggering number of museums, but that is not what makes the city so unique. The city's singular character stems from the fact that the entire city is a gigantic, outdoor museum in and of itself. Furthermore, art works as magnificent as Michelangelo's Moses or the Pieta adorn parish churches and basilicas, allowing visitors to admire them completely free of charge.

A statistic claims that Rome is home to so many churches that seeing them all, at a rate of one church a day, would take more than a year. It is therefore best to take your time and carefully select the churches you wish to visit, a task that might seem rather overwhelming to most visitors at first. It is therefore helpful to know that there are seven churches that have historically been the principal destinations for pilgrims. The most important of the seven are the four patriarchal basilicas (Saint Peters in the Vatican, San Giovanni in Laterano, Santa Maria Maggiore and San Paolo Fuori le Mura). The last three on the list are the churches of San Lorenzo Fuori le Mura, Santa Croce in Gerusalemme and San Sebastiano. In the end, however, Rome is more than just a collection of world renowned monuments. There is a special atmosphere that is singularly Roman, a timeless charm that is palpable as you sip a cappuccino in front of the Coliseum, indulge in an ice-cream and watch the street performers in Piazza Navona, admire the sun setting behind one of the Tiber bridges, get lost amidst the labyrinthine streets of the Centro Storico or simply unwind in one of Rome's many, lush parks. The fact that Rome has an unparalleled, historical legacy to preserve is both its greatest charm and most significant weakness. At times the weight of history hinders the city's progress. Rome struggles with the dilemma of

how to build its future whilst maintaining its awe-inspiring past. With much of the public funds invested into the preservation of ancient ruins, the city's budget is often strained and unable to provide for Rome's modernisation. This duality is both a source of pride and a constant concern for most Romans. Visitors, on the other hand, are drawn to Rome precisely because the city dedicates such an enormous effort to preserving its past. No other city in the world allows you to travel back in time and contemplate such an astonishing wealth of history. Rome has been the subject of many wellknown sayings, but few are as true as this one: Roma, non basta una vita (Rome, a lifetime is not enough).

City Beats: The Many Faces of Rome City Beats: The Many Faces of Rome
Italy is one of those countries that inspire a lot of preconceived notions about their national character. Even people who have never set foot in the country have opinions on what it means to be Italian. This isn't all that surprising considering that Italy is a country that attracts millions of visitors every year, has been depicted in countless books and films and boasts some of the most famous historical monuments and illustrious art in the world. And it must be said that buried beneath every stereotype is a grain of truth which tells you a lot about a country and its people.

Within Italy, the Romans are the subject of more than a few stereotypes. Many people throughout the country choose to live in Rome, but this popularity is a double-edged sword for the capital. Often Rome is seen as receiving greater recognition and privilege than other major cities, such as Milan, which also bring the country prestige and financial gain. Rome is therefore often viewed with a certain degree of suspicion by its fellow countrymen. Meanwhile, the Romans seem rather unconcerned with these political and administrative questions. It isn't that they don't care or fail to see the importance of these issues. Rather, they realise that they are powerless to address them and therefore prefer to avoid futile discussions on the subject. Something, however, that does provoke intense and passionate debate is football. In addition to discussing the trials and tribulations of Rome's two teams, Lazio and Roma, diehard football lovers also follow the antics of Italy's many other stellar clubs such as Milan's Inter and Turin's Juventus. Football is the undisputed king of national sports, and its fans can be found in just about every corner of the country. Romans have also developed a rather nonchalant attitude towards their past glory. The events immortalised in history books and represented in celebrated monuments throughout the city are simply another aspect of quotidian life. From a local perspective, the heart of Ancient Rome, which includes the Coliseum and the Forums and attracts millions of tourists every year, is primarily seen as a traffic nightmare to be avoided at rush hour. The traffic is precisely one of those aforementioned infamous character traits that plague Rome relentlessly. Trying to get around Rome by car can turn into an odyssey, especially if you are new to the city and unfamiliar with its

streets. The Roman driving style tends to be aggressive and there seems to be a glaring lack of traffic signs. Traffic lights exist but seem to exert no authority on drivers or pedestrians, turning rush hour traffic into something close to mayhem. It is no wonder that many people opt for motorcycles and bicycles, especially since the public transport system is sorely lacking in efficiency despite numerous buses and trams and two underground lines that connect the city. Luckily driving in traffic is just about the only stressful experience you are likely to encounter in Rome. Generally the Romans prefer to take things easy. There always seems to be time for a long chat or a good show. In the winter, Romans tend to gather at cafs and trattorias. A surprising number of Romans also have a penchant for the opera and the cinema. The best seasons in Rome, however, are spring and autumn. The weather is pleasant and warm enough for dinners outside, strolls in the park, eating ice-cream in a quaint square or a leisurely shopping trip. After nightfall the city continues to buzz with activity, and you will have no problem finding something appealing

amidst the ample nightlife possibilities. All of this goes to show that yet another popular notion about Rome is true. The city is best enjoyed outside because that is where everything happens. One thing that can be said about the Romans is that they know how to have fun. Generally speaking, Romans tend to be cheerful and communicative. Roman men are especially fond of helping young female tourists travelling alone. Strangely enough, most women are not the least bit offended by this direct, undisguised flirtation. There is something light and unthreatening about the approach that makes most of these encounters quite charming. Depending on who you ask, the Romans are phlegmatic, boastful, unrefined and even rude or spontaneous, cheerful, astute and very welcoming. As with all generalisations, the truth about the Romans probably lies somewhere between these two extremes. Rome, like most cities, is largely defined by its population. What is uniquely charming, however, is the attractive duality that characterises the city's people. There is the traditional, almost provincial, Rome with the classic Italian mammas taking their children for a walk or the elderly sitting and chatting for hours in a sun-soaked square. And then there is the modern city, the dynamic and youthful Rome populated with young hipsters who are completely up to date on every trend and are interested in design, fashion, style and all things cutting-edge. The city is lively, at times even disorganised and chaotic. But whereas chaos can be unsettling in other places, in Rome it seems a natural and even enjoyable state of affairs. The glory days of the Eternal City may be over, but Rome has somehow managed to retain its charm, inviting visitors to let go and enjoy the fun.

City Beats: Italian City Beats: Italian Cuisine Cuisine

Italian cuisine is one of the most popular worldwide, enjoying an unparalleled degree of international renown and influence. Pasta, pizza, coffee and icecream are delectable Italian staples that can be enjoyed just about anywhere in the world. Yet in spite of its ubiquitous availability, the experience of having Italian food in Rome is somehow unique and inimitable.

Rome is famous for several traditional dishes, passed down through generations, which give the common perception of Italian cooking a different twist. Romans take great pride in their local cuisine, precisely because it is relatively unknown to foreigners. One of the great local specialities is trippa alla romana, innards prepared with tomatoes and cheese and served in a variety of different sauces. Another popular item is the starter saltimbocca, small rolls of beef and ham, which can be found at almost every restaurant. Visiting a local market helps explain why Romans have such a special fondness for vegetables and legumes. Vegetable specialities vary greatly depending on the season and are built around healthy ingredients like artichoke hearts, peppers, aubergines, courgettes, tomatoes and asparagus. Many dishes, such as the carciofi alla romana (garlic and mint stuffed artichokes served in a casserole), feature the vegetable as the main attraction. Vegetables are also a popular side dish, accompanying most traditional meals. These dishes tend to be rich and substantial in the winter and light and aromatic in the summer. When it comes to drinking in Italy, wine is the unquestioned and unrivalled beverage of choice. The ancient god Bacchus already bore testimony to the Roman's deep appreciation for wine, inspiring the term "bacchanalian" to describe the hedonistic, wine drenched celebrations that were commonplace in Ancient

Rome. In those long gone days, drinking excessive amounts of wine was seen as way of getting closer to the gods. Whether this was in fact true or not is debatable; after all, large quantities of wine can make all sorts of things seem quite divine. Nowadays, wine has taken on a more sedate role, and Italian varieties have gained a large, international following. Although regions like Tuscany produce outstanding wines, the most popular fare in Rome is a locally produced variety called Frascati. Purchasing wine at a local winery is an affordable and recommendable shopping expedition. Compared to other European countries, especially northern ones where a mere glass of wine is often a luxury item, the wines in Italy

are reasonably priced and of excellent quality. Another local product that must be mentioned is the cheese. Rome's most celebrated variety is the pecorino, a cheese that has taken on almost legendary proportions. According to some historical accounts, pecorino was being produced as early as 227 B.C. Other Italian varieties that form part of a traditional Roman cheese plate include parmesan, mozzarella de buffala, ricotta, fontina, gorgonzola, provolone, mascarpone and asiago. Cheese is without a doubt one of Italy's greatest claims to fame, and one of their most celebrated national products. Rome is home to many traditional alimentarias (small stores selling food products) where you can find an ample selection of cheeses. In addition to these quintessentially Roman delicacies, you will probably want to indulge in some pasta or pizza. Rome is home to a rich selection of pasta, including mainstream fare like spaghetti, ravioli, fusilli and gnocchi as well as more unusual varieties like bucattini, tagliatelle and rigatone, all served with an equally varied array of sauces. You can opt for a classic sauce like carbonara, pesto or Bolognese or venture into less familiar territory and try one of the many local specialities. Roman pasta is a versatile dish, served cold in salads, hot in soups or as an accompaniment to either meat or vegetable dishes. In fact, vegetarians will be quite elated at the myriad options Roman cuisine has in store for them. Although pizza originally came from Naples,

the Romans have embraced the dish and made it their own. Roman pizza is notable for its enormous size and thin, crispy crust and is traditionally prepared in a wood fire oven. Warm weather allows for a truly Roman dining experience: outdoors on a terrace, at a restaurant that is preferably somewhat removed from the touristy city centre. A place that caters to the local population guarantees two things: reasonable prices and an authentic and relaxed atmosphere. If you get peckish during your sight-seeing adventures, you can always stop for a slice of pizza al taglio, local pizza served in individual slices. Servings are priced according to weight (usually costing approximately 0.90 each), making this a delicious and affordable snack. Rome is also famous for two other tantalising treats: coffee and ice-cream. When it comes to coffee, the Italians claim to serve the best blends in the world, prepared in a number of different and imaginative ways. The classic

espresso is a strong, dark shot of pure coffee, the macchiato is a short coffee with a dash of milk and the caffe latte is a traditional tall coffee with milk. And then there is the cappuccino, the ultimate symbol of Italian coffee culture, a product that has been exported and embraced around the world. Drinking coffee is a social act in Rome. In addition to being a traditional breakfast item, coffee is seen as the perfect end note to a meal or an ideal companion for an afternoon chat with friends. Many, of course, also think coffee is best enjoyed with a cigarette, something that is becoming increasingly difficult to do in Rome. Smoking is forbidden inside all enclosed establishments unless they have a specifically designated smoking area. This is no hindrance, of course, while the weather is warm and sunny, but once the temperatures drop the city becomes a somewhat less friendly place for smokers. One treat that has to be enjoyed regardless of the season is the delicious Roman ice-cream.

The gelateria or ice-cream shop is a Roman institution, as ubiquitous as ancient ruins. One of the most celebrated names in Roman gelato is Giolitti, a chain that handcrafts some of the best, traditional ice-cream in the city and serves a wide variety of flavours. Ice-cream isn't as much a dessert here as it is a treat for just about any occasion. The servings tend to be generous and, if requested, accompanied by a large topping of panna (whipped cream) at no extra charge. One thing is absolutely certain - eating in Rome is a genuine pleasure. Food becomes more than mere nourishment, providing you with both a cultural and culinary experience. Roman cuisine contains all the elements of the traditional Mediterranean diet, prepared with an exceptional degree of imagination and a passion for flavour. The result is an ample selection of dishes that are unmistakably Roman and are bound to please even the most discerning palate.

Living Culture: Living Culture: The Eternal City The Eternal City
Twenty million visitors a year can't all be mistaken; there is something about Rome that fascinates and attracts people, year after year, century after century. This incredible hold on the world's imagination has turned Rome into one of the most interesting and sought out tourist destinations in the world. The eternal city is a veritable open air museum, layer upon layer of history leaving its mark on thousands of monuments, ruins, museums, art works, churches and catacombs. Considering the long and impressive history that has moulded this city, the historic centre is actually quite small and easily visited within a short time. The immense amount of time and cultural legacy expressed by this small corner of the city, however, takes more than a few days to settle in and be grasped in its entirety.

Rome is known as the city of the seven hills. The name is taken from the hills that made up the ancient city: the Palatine, Capitoline, Aventine, Caelian, Esquiline, Viminal and Quirinal Hills. There are actually two other hills in the city, the Janiculum and Pincian Hills, but they never formed part of the ancient city and are thus not counted. Rome is also famous for its staggering number of museums, but that is not what makes the city so unique. The city's singular character stems from the fact that the entire city is a gigantic, outdoor museum in and of itself. Furthermore, art works as magnificent as Michelangelo's Moses or the Pieta adorn parish churches and basilicas, allowing visitors to admire them completely free of charge.

A statistic claims that Rome is home to so many churches that seeing them all, at a rate of one church a day, would take more than a year. It is therefore best to take your time and carefully select the churches you wish to visit, a task that might seem rather overwhelming to most visitors at first. It is therefore helpful to know that there are seven churches that have historically been the principal destinations for pilgrims. The most important of the seven are the four patriarchal basilicas (Saint Peters in the Vatican, San Giovanni in Laterano, Santa Maria Maggiore and San Paolo Fuori le Mura). The last three on the list are the churches of San Lorenzo Fuori le Mura, Santa Croce in Gerusalemme and San Sebastiano. In the end, however, Rome is more than just a collection of world renowned monuments. There is a special atmosphere that is singularly Roman, a timeless charm that is palpable as you sip a cappuccino in front of the Coliseum, indulge in an ice-cream and watch the street performers in Piazza Navona, admire the sun setting behind one of the Tiber bridges, get lost amidst the labyrinthine streets of the Centro Storico or simply unwind in one of Rome's many, lush parks. The fact that Rome has an unparalleled, historical legacy to preserve is both its greatest charm and most significant weakness. At times the weight of history hinders the city's progress. Rome struggles with the dilemma of how to build its future whilst maintaining its

awe-inspiring past. With much of the public funds invested into the preservation of ancient ruins, the city's budget is often strained and unable to provide for Rome's modernisation. This duality is both a source of pride and a constant concern for most Romans. Visitors, on the other hand, are drawn to Rome precisely because the city dedicates such an enormous effort to preserving its past. No other city in the world allows you to travel back in time and contemplate such an astonishing wealth of history. Rome has been the subject of many wellknown sayings, but few are as true as this one: Roma, non basta una vita (Rome, a lifetime is not enough).

Route 01

Ancient and Imperial Rome

When most people think of Rome, they think of the eternal city's ancient centre, the ruins that have been immortalised in countless images. No other city in the world has as complete an archaeological field in its urban centre as Rome. Nestled between underground stations, caf terraces and the by now infamous, incessant Roman traffic are monuments like the Coliseum, the Arch of Constantine and the Forums, historical treasures that still guard many secrets. For some people the route through the ruins of Romemight offer nothing more than myriad piles of deteriorating stones. Others, however, whose appreciation for history is greater, consider this route to be the most essential Roman experience, a chance to see the remnants of an empire that once decided the fate of half the world, remnants that tell the story of Roman city life more than 2,000 years ago. Before tackling this route, it is best to prepare for this historical journey by setting the scene and picturing the era of gladiators, emperors, slaves, nobles and plebeians. The best place to start this walking tour is at the Circo Massimo, which now bears little resemblance to its past incarnation. Consisting of little more than a long, rectangular expanse of earth, grass and a few scattered trees, it is difficult to imagine the sporting events that once took place here. Today it serves as a resting place for tourists, a hang-out for local youth and a stage for spontaneous musical performances, all taking advantage of this quiet spot set apart from the constant hum of traffic. Crossing the Piazza di Porta Capena and heading up Via de San Gregorio, you reach the heart of Ancient Rome. Rising up at the end of the avenue are Arch of Constantine and the Coliseum, two landmarks that remain impressive despite the passing of time. The Coliseum was long the symbol of imperial power, both for its monumental grandeur and social connotations; it was a place where some went to be entertained and others went to die. Unfortunately, the Coliseum no longer possesses its original splendour, having suffered years of neglect. It lay almost forgotten for a long time and was even used as a quarry, its stones lifted to construct new buildings. The sheer size of it, however, has not been diminished. Despite having been depicted in countless images, the Coliseum never fails to impress, its monumental proportions rising up majestically and towering over its surroundings. During the day it is almost impossible to avoid long lines for the chance to visit its interior. The most magical time, however, is the evening. At sunset, when the crowds die down, the view on to the monument is at its most beautiful. Perhaps there are better sunsets to be found elsewhere in Rome, but none that evoke this much history. THE ARCH OF CONSTANTINE Due to its proximity to the Coliseum, the arch is almost like another element of the same picture. If you approach the Coliseum from Via de San Gregorio, the monumental arch serves as a gateway, welcoming visitors into the fold of this historic site. Taking a picture beneath the arch is almost inevitable; it is simply too impressive to go undocumented. Built in the <strong>year 312</strong> under Emperor Constantine, it was conceived as a symbol of triumph, a celebration of one of his many victories. However, the majority of the sculptures decorating the arch were added later by emperors such as Trajan, Adrian and Marcus Aurelius, who took advantage of the structure to commemorate their own success. The arch's central location between the Coliseum and the Forum area makes it one of the most visible and unmistakable monuments in the city, a fact that has turned the arch into one of the most well-known symbols of Rome. THE COLISEUM The Coliseum (Colosseo to the Romans) is without a doubt the most impressive building in Rome. The construction of the Coliseum, which was originally known as the Flavio

date in sight because no one knows exactly how many secrets are still buried beneath the city. A visit to the Forum is an absolute must for anyone interested in archaeology. Walking amongst the ruins, covering the same ground as Romans did so many centuries ago, provides a unique opportunity to imagine what life was like in Ancient Rome. One of the most impressive and well preserved monuments is the Arch of Septimius Severus, built to commemorate the battlefield triumphs of this emperor. The relief that embellishes the arch represents his many victories and in the past a large sculpture of Septimius Severus in a horse-drawn carriage decorated the very top. The sculpture, however, fell victim to the passing centuries and very little of it remains. A curious detail provides a glimpse into how truly quotidian this place was in its day - a modest inscription reveals that a barbershop once stood beneath the arch. All that remains of the Basilica Emilia are some rather deteriorated ruins located towards the right side of the Forum. A short distance away stands a large, brick building that once housed the Curia, the political centre of Ancient Rome, where the Senate convened during the Imperial era. The main hall was always full of political heavy-weights, and the doors stood wide open so that the citizens could observe the daily, political goings-on of Ancient Rome. During the Middle Age the Curia changed functions and was turned into a church. One of the most revered objects of Ancient Rome, the Lapis Niger or Black Stone, can be found immediately outside the Curia. Although excavations have never found any evidence of this, legends claim that the tomb of Romulus, one of the ancient, mythical founders of Rome, lies beneath this stone. A short walk through the Forum leads to the Tempio Della Concordia, built between the years 14 and 37 A.D. under the Emperor Tiberius. After an emperor died in Imperial Rome, custom dictated that a temple had to be built in his honour. This is also true in the case of the Tempio di Cesare, which, according to legend, stands in the same place where Julius Caesar's belongings were burned after his mur-

Amphitheatre, was ordered by Emperor Vespasian in the year 72 A.D. It opened a scant 8 years later, a true architectural marvel with dimensions that were absolutely spectacular for its time: 57 metres high, 190 metres long and with a circumference of 527 metres. The Coliseum was to be the greatest theatre in the world, an ambition it achieved more than successfully. Of course, the Romans had a rather different concept of theatre back then and harboured a special fondness for bloody spectacles. The Coliseum played host to innumerable, deadly games, including gladiatorial fights and exhibitions of exotic animals brought over from Africa. Giraffes, elephants, hippopotamus, hyenas and lions were sacrificed in the Coliseum's arena every day. The animals, however, served another purpose before dying. Individuals belonging to the ostracized social classes, such as slaves, Christians, prisoners of war, criminals and petty delinquents, were tossed into the arena to fight the wild creatures. While the bloodbath unfolded on the sands below, the audience amused themselves in the stands, laughing, gossiping and enjoying the deadly show. The gladiators were professional fighters who endowed the battle cry "Hail Caesar, those about to die salute you" with its universal fame. The world of cinema has used many of these ancient stories and battles to create celluloid epics like Spartacus and Gladiator, which contain as much fact as they do fiction. Of the two gladiators fighting in the arena, one was always meant to die. If he didn't lose his life in the arena, he would be condemned to death afterwards. Other films have told the stories of Christian martyrdom. While it cannot be denied that many died in the arena, no study has yet found evidence of serial executions for religious reasons. In addition to being a place of leisure, the Coliseum was a reflection of Rome's ruling classes. The podium was for the exclusive use of the emperor and his entourage, which included senators, magistrates and the vestal virgins. The rows below the podium seated the middle classes and the lowest rows, those with the worst visibility, were designated to the plebeians. Ironically, these are the rows of greatest

interest today, because they provide a close look at the stage and the many, underground passages beneath the rows, where men and animals waited for their turn to enter the arena. The brutal spectacles at the Coliseum came to an end in 523 A.D. (gladiatorial fights had already been banned in the year 438 A.D.). Due to the shortage in building materials at the time, the Coliseum was turned into a quarry for the construction of other buildings, such as the Palazzo Venezia or the Palazzo della Cancelleria. It sank into less than glorious times, at one point even serving as a warehouse for different city materials. The ransacking of the structure didn't even spare the iron bolts that connected the stones, which is why you can see deep holes in the faade today. Despite its horrific past, years of neglect and the semiruinous state it is in today (although some renovations have been undertaken), the Coliseum has not lost its power to mesmerise and remains the most significant and unmistakable landmark in all of Rome. Long queues are a given at any time of year, but seeing the inside of this structure is definitely worth the wait. After all, what's a queue, however long it may be, compared to the 2,000 years of history that await inside. The Via dei Fori Imperiali, which begins next to the Coliseum, leads to the main sections of the Forums. The large panels along the left side of the road explain the evolution of the Roman Empire throughout the centuries. Spreading out on either side of the road are the two Forums, the Roman Forum and the Imperial Forum, which take visitors back in time and offer a glimpse into what daily life was like during the Roman era. The ruins still showcase several well-preserved temples, like the Tempio di Antonino i Faustina, and the perfect, sculptural precision of the Colonna Traiana (Trajan Column). ROMAN FORUM The Roman Forum on the Palatino Hill, not far from the Coliseum, is the largest of its kind. The grounds can be entered from the Via dei Fori Imperiali, a road which offers a spectacular view on to the ancient ruins from beginning to end. Excavation and restoration efforts are still underway; in fact, there is no completion

der. When not honouring an emperor, the temples celebrated the gods, such as the Tempio di Saturno, which long guarded the city treasury. Other temples, for example the Tempio de Castor i Polux, were built to commemorate legendary heroes. The twins Castor and Polux rode their horses into battle and helped the imperial troops win an important victory in 499 B.C. The southern corner of the Forum is graced by the Basilica Giulia. Measuring 100 metres in length and 50 metres in width, this basilica served as the symbol for Julius Caesar's family throughout an entire era. Another interesting site is the Tempio di Vesta, honouring the Roman goddess of the home and hearth. Standing amidst this ruin, you can imagine the vestal virgins guarding the eternal flame of the ancient city. In that time, theirs was a revered function, which endowed the virgins with a very elevated position in ancient Roman society. Vestal virgins sat with the privileged class in the circus and theatre, they rode in their own, special carriages and lived in their own building in order to fulfil their divine duty. In exchange for these honours, the women pledged their virginity for a minimum of thirty years. If a priestess broke her vow, she was sentenced to death. Since her blood could not be spilled, the priestess met a horrific end - while still alive, she would be placed inside a wall, and then the wall would be closed up around her. The priestess' lover would also be executed. The Tempio di Antonino i Faustina, which was built in the year 141 A.D., is not far from the house of the vestal virgins. This temple is one of the few remaining clues as to the dimensions and structure of temples built to honour the deceased emperors. Since this temple went on to serve as a church, it managed to escape the destruction that befell many of the others. Upon exiting the temple, you come across the Arch of Titus, the oldest of its kind in all of Imperial Rome. IMPERIAL FORUMS (FORI IMPERIALI)

These forums are known by the same name as the street that flanks them, the Via dei Fori Imperiali. They are located close to Piazza Venezia, just a short walk from the Coliseum. Due to their proximity to the Roman Forum, they can easily be mistaken as just another section of the same. This collection of forums, however, was built by a succession of emperors, each constructing a new centre of city life upon coming to power. The Forum of Caesar, for example, was built under Julius Caesar. Very little of the actual forum has been uncovered, but a most telling piece identifies these ruins as dating back to the reign of Caesar: a temple honouring Venus Genetrix. It is a wellknown fact that Julius Caesar considered himself a direct descendant of this goddess and that he had a temple erected in her honour. COLONNA TRAIANNA The most distinctive feature of the Forum of Augustus is the temple honouring Mars. This monument to the god of war stands in contrast to the Forum della Pace (Forum of Peace), built under the rule of emperor Vespasian. The old forum library now houses the San Cosme and San Damian Basilica, which was added much later and is open to the public. It is the Trajan Forum, however, that consistently attracts the majority of visitors. The forum's busy marketplace was dismantled and turned into the Atrium Libertatis, the place where the slaves were freed. In order to make up for the lost marketplace, the Mercati Traianei or Trajan Markets were constructed, and visitors can still clearly see how the many, different shops were distributed throughout the market area. Excavations have even unearthed some marble fragments that reveal much about the various types of commerce that took place in these markets. Upon leaving the forums and heading down to the Ponte Fabricio from Piazza Venezia, you pass alongside the Teatre di Marcello. This was once the site of the Apollo Temple; nowadays, the three pillars standing next to the theatre are the only reminders of what was doubtlessly a magnificent structure in its time. The magnificent Colonna Traiana (or Trajan Column) stands close to the Trajan Forum and Markets. As the name indicates, the column was erected by Emperor Trajan. It dates back to the period between 107 and 113 A.D and served as a symbol of his many military victories. The column rises an impressive 40 metres into the air. Its surface area measures more than 210 metres, covered entirely by epic battle scenes in relief. The images spiral up the entire length of the column, carved with immense detail, precision and clarity. The passing of time has done little to mar the column's condition, leaving it almost perfectly intact for centuries. Only the paint that once adorned the relief has vanished over time. It is said that the remains of Emperor Trajan were buried in a golden urn beneath this column in the year 177 A.D. If this is true, then the ashes of this largerthan-life emperor still rest here, below the bellicose scenes of his imperial reign. Surrounding the Piazza Venezia and stretching down to the river is the Teatro di Marcello, which lies immediately in front of the columns dedicated to Apollo. This route comes to an end here, a route that is perhaps of foremost importance if one is to gain an understanding of how this historic city evolved over time.

1 Circo Massimo 2 Arco de Constantino 3 Coliseo 4 Foro Romano 5 Foro di Cesare 6 Foro di Augusto 7 Foro Traiano 8 Colonna Traiana 9 Pendent

Via del Corso from Piazza del Campidoglio Route 02 to Piazza del Popolo

This route begins at Piazza del Campidoglio on Capitoline Hill, one of the most important sites in Roman history. Much of the area's legacy can be visited in the Capitoline Museums, which are amongst most interesting museums in the city. Piazza Venezia, Rome's epicentre of urban life, is only a short walk away. The square with the enormous, white Vittoriano monument stirs up mixed emotions in Rome's citizenry, many of whom dislike the monument and have given it an assortment of less than favourable nicknames, but it is an inevitable stop for locals and tourists alike. The square does offer visitors valuable insight into the city's pace and urban way of life. The square is also the beginning of the Via del Corso, one of Rome's most emblematic avenues. The avenue continues in a straight line from Piazza Venezia to Piazza del Popolo, a very popular square with the local population, and the lush gardens of the Villa Borghese. PIAZZA DEL CAMPIDOGLIO Many consider this to be the most elegant square in the city, partially due to the fact that Michelangelo was responsible for much of its design. Construction on the square was commissioned by Pope Paul III and commenced in the year 1536 but wasn't completed until the 17th century, almost one hundred years later. The best way to approach the square is via the elegant stairway known as the Cordonata, which begins at the foot of the Piazza Aracoeli. The square's most dominant feature is a bronze

equestrian statue of Marcus Aurelius. The statue is actually a replica since the original, which dates back to the 2nd century A.D., had suffered severe damage due to years of pollution and other environmental hazards. In order to preserve what remained of the original, it was replaced by a replica and moved into the Palazzo Nuovo, where it is displayed behind protective glass. The square is lined by three elegant palaces: the Palazzo Senatorio, Palazzo Nuovo and the Palazzo dei Conservatori. These last two palaces make up the Capitoline Museums, and each one has a separate entrance, although they are connected by a tunnel. Below the Palazzo Senatorio are the remains of the Tabularium. This is one of the earliest offi-

cial buildings in Rome, already serving as an archive and registry in the year 78 B.C. In Roman times, this registry maintained all of the city's bronze tablets, which contained the laws and deeds of the Ancient Roman state. During medieval times a fortress was built that covered the remnants of the Tabularium, which was then later converted into the Palazzo Senatorio. Retaining some spirit from the past, this building is still used by the city government for several administrative functions. Heading down the stairway to the left of the Palazzo Nuovo brings you to the Carcere Mamertino. Nowadays, the building houses the San Pietro in Carcere Church, but its previous incarnation was far less pious. According to gruesome tales, this infamous prison was the final destination for generals beaten in battle and many other prisoners, who were tossed into a deep pit where they lay forgotten. Most of them died of starvation. One legend claims that Saint Peter performed a miracle during his incarceration here - he caused a spring to bubble out of the ground within the confines of the prison walls. Saint Peter then used this water to baptise the prison guards. A chapel next to a small fountain recalls this legendary miracle. MUSEI CAPITOLINI The Capitoline Museums (Musei Capitolini) consist of the collections at the Palazzo Nuovo, Palazzo dei Conservatori, the Pinacoteca and the Tabularium. Taken together, the complex is one of the oldest public museums in the

world. The museums' collection began in 1471 with a gift from Pope Sixtus IV, who decided to donate several bronze sculptures from the San Giovanni in Laterano Basilica to the people of Rome. The donation also carried a symbolic gesture - although the Campidoglio had been neglected for some time, the space had once served as the religious centre of Ancient Rome. The Palazzo Nuovo showcases a number of sculptures and statues representing wellknown Roman personalities. In addition to the famous bust of Marcus Aurelius, the collection also includes representations of Sophocles, Homer and Cicero. Another impressive piece in this collection is the bust known as Galata Morente or Galata Moribundo, which is actually a Roman replica of a Greek bust from the 3rd century B.C. Facing the Palazzo Nuovo is the Palazzo dei Conservatori, which served as the seat of the Roman tribunals until well into the Middle Age.

If you leave the Piazza del Campidoglio using the main staircase, you come across the Piazza Aracoeli on your right. This square houses another landmark, the Santa Maria in Aracoeli Church, which now marks the highest point on the Capitoline Hill. SANTA MARIA IN ARA COELI Located between the Piazza del Campidoglio and Piazza Venezia, the Santa Maria in Aracoeli Church sits atop the Capitoline Hill, the smallest but most sacred hill in Rome. The church is well-known for housing a number of outstanding, Roman art pieces that date back to the period between the 13th and 18th centuries. The most astonishing works, however, are the magnificent frescoes by Pinturicchio, which were completed during the Renaissance. Another peculiar piece is a statue of the Christ child, which was supposedly carved out of an olive tree from the Getseman Gardens, where Christ was captured by the Romans following Judas' betrayal. PIAZZA VENEZIA A short walk takes you to Piazza Venezia, city's main traffic nexus. Rome is infamous for its traffic, and a figure alone can give you a better understanding of the urban pace in this metropolis - almost one million cars drive across this square every day. This should also give you an idea of what this square is like; in addition to cars, the most noteworthy element is the enormous, white monument officially known as the Vittoriano VITTORIANO

meant to reflect the power and strength of a unified Italy. Aesthetically speaking, this might not be one of Rome's best architectural exemplars, but it does offer a few perks, including several impressive frescoes, Art Nouveau sculptures and the lovely panoramic view from the very top. The monument's height allows for a sweeping vista unlike any other in Rome, providing a unique view of the Forums and the Coliseum, which lie adjacent to it, and the silhouette of Saint Peter's dome in the distance. Despite having to tackle a seemingly endless series of steps to reach the top, this is one hike worth doing - and make sure to bring your camera because this is one of the most spectacular photo opportunities Rome has to offer. On a clear day the view is simply breathtaking, especially during a summer sunset when the sky turns all imaginable shades of pink and gold. MUSEO NAZIONALE DI PALAZZO DI VENEZIA Immediately in front of the Vittoriano, on the western side of the square, is the Palazzo di Venezia. It can only be visited when the palace is hosting an exhibition. Fortunately, this is a rather common occurrence. The building was constructed in 1455 and served as the official residence of Benito Mussolini, who used the many balconies as elevated pulpits from which to address the crowds below. The palace also houses the Museo Nazionale di Palazzo Venezia which has a permanent collection of Renaissance art as well as several pieces from the Middle Age through to the 18th century. Immediately behind the palace is the San Marco Basilica, which was founded in the 4th century but has been modified several times since then. It is most famous for its beautiful mosaic, which was completed in the 19th century. Tucked behind the palace is the San Marco Basilica, which was originally built in the 4th century but has been remodelled several times since. One of the more recent additions is a beautiful mosaic from the 19th century. Another historical treasure is just a short distance away - the Palazzo Doria Pamphili. The palace is of the utmost elegance, emphasised by

The most significant art work to be found here is the famous Lupa Capitolina (Capitoline Shewolf), an Etruscan statue sculpted in bronze during the 4th century B.C. The she-wolf is seen breast-feeding the twins Romolus and Remus, who are considered the mythical founders of Rome. It is interesting to note that the figures of the twins are far more recent works than the she-wolf and weren't added until 1509. Anyone fascinated by ancient legends should pay close attention to the frescoes that cover the palace walls - many of them are visual representations of these ancient stories. Another unusual sculpture to be found at the Palazzo dei Conservatori is entitled Spinario. This extremely delicate sculpture, carved with astoundingly fine details, depicts a young boy removing a splinter from his foot. The patio also holds a few surprises in store, namely the monumental stone foot that was carved in honour of Emperor Constantine and moved here from its original location in the Roman Forum. A stop at the Pinacoteca, located in the Palazzo dei Conservatori, is an excellent conclusion to the Capitoline Museums. This gallery features paintings by such masters as Caravaggio, Guercino, Tintoretto, Titian and Verons.

The gargantuan, white, marble monument officially known as the Vittoriano (in honour of Vittorio Emmanuele II) is famous for its many nicknames, bestowed upon it over the years by the often less than adoring Roman citizenry, including monikers such as the typewriter, the wedding cake and, worst of all, the white cancer. From an architectural standpoint, its design clashes mercilessly with its surroundings (the Forums, the Campidoglio, the palaces and museums), but it was built with exactly that intention. When it was constructed in the 19th century, its disproportionate dimensions were

a facade from the mid-18th century and a breath-taking interior decor. The palace also houses the Doria Pamphili Gallery, again named after the palace's owner, which is renowned for its outstanding private, art collection. The gallery owns 400 paintings from the 15th to the 18th century, featuring pieces by Caravaggio, Lorrain and Titian. However, one of the most spectacular pieces isn't by an Italian painter - it is a portrait of Pope Innocent X Pamphili painted by the Spanish master Velzquez. The portrait hangs alone in one of the palace's supremely elegant rooms, adding to the painting's impressive quality. One of the city's most significant churches, the Chiesa di Ges, isn't far from the gallery. The church is famous for both the beauty of its interior and the fact that it was Rome's first Jesuit church. Saint Ignacio, the founder of the Jesuit order, spent the last years of his life in this church and his chambers are open to the public. Saint Ignacio is also buried here in a tomb made entirely out of bronze and marble. If you want to continue to Piazza del Popolo, you must head down Via del Corso, one of Rome's most famous and busiest avenues. Centuries ago this avenue was where the very popular horse races took place, which is also how it got its name since corso means horse in Italian. The sporting days are long gone, and the racetrack has been replaced by chic boutiques and popular shops. As you head up Via del Corso, take a right on Via di Ripetta. This little detour will take you to the Ara Pacis Augustae and Mausoleum of Augustus. Unfortunately,

these historical landmarks are closed to the public, but the monumental exteriors are impressive in their own right and a clear indication of the important role these buildings once played. MAUSOLEUM OF AUGUSTUS AND ARA PACIS AUGUSTAE Both sites are closed to the public, but they are worth visiting for their exterior alone. The Ara Pacis was built between the years 9 and 13 B.C. (estimates regarding its construction period vary) and is most noteworthy for being one of the first, authentic examples of classic Roman sculpture. The exterior showcases a frieze depicting familial scenes from that time period. The mausoleum was built between the years 23 and 28 B.C. by the Emperor Augustus. In its day, it was one of the most spectacular buildings in Ancient Rome, covered entirely in marble. Today it has lost much of its splendour, having suffered the abuse of time, neglect and pollution. It was used as a fortress and as a theatre at different times in its history. In 1936 Mussolini had the mausoleum restored to prevent it from deteriorating any further. The Via del Corso ends at the Piazza del Popolo, a square that is incredibly popular with the local population. Tourists visiting the square for the first time are usually surprised by its enormous dimensions. PIAZZA DEL POPOLO This popular local hang-out usually takes tourists visiting the square for the first time by surprise. Its enormous dimensions are simply awe-inspiring, a sweeping square spreading outward from the gigantic obelisk at its centre. It is the second oldest obelisk in the city, brought over from Heliopolis by Emperor Augustus. Initially it stood in the Circo Massimo and marked the curve where horses turned on the elliptical racetrack, but it was moved in the 16th century. Seen from the front, the obelisk also separates two of the three churches that form part of the square's architecture: the Santa Maria dei Miracoli and Santa Maria in Montesanto. They are known as the twin churches due to their almost identical

appearance, but although both are baroque, their lay-out and foundations are actually quite different. The square's fountain is surrounded by a series of steps which serve as a popular resting place for people out and about in the city. The northern section of the square, next to the Porta del Popolo, is where you find the square's most important church, Santa Maria del Popolo, famous for the valuable art works that adorn the walls and ceilings. SANTA MARIA DEL POPOLO Traditionally churches charge no entrance fee in Rome, and the Maria del Popolo Church is no exception. The church contains a number of chapels, one of which, the Capilla Chigi, was designed by Raphael. The other chapels are adorned with frescoes by Pinturicchio and paintings by Raphael, such as the spectacular Crucifixion of Saint Peter and the Conversion of Paul. The church is marked by extremely low light, making some of the corners seem almost sinister and endowing the entire space with a very special atmosphere. In order to see the frescoes properly, you have to place 50 cents into an urn - the church then miraculously lights up and reveals its many secrets. The breathtaking quality of the frescoes and paintings make 50 cents seem like a paltry sum to pay for so much beauty.

INFO Musei Capitolini Palazzo Nuevo y Palazzo dei Conservatori Piazza del Campidoglio Tel. 06 67102475 Opening hours: Tuesday-Sunday, 9am-8pm General admission: 6,20. Reduced admission: 4,20 www.museicapitolini.org Museo Nazionale di Palazzo Venezia Via del Plebiscito, 118 Tel. 06 6798865 Opening hours: Tuesday-Sunday, 8:30am-7pm General admission: 4. Reduced admission: 2 Galleria Doria Pamphilj Piezza del Collegio Romano, 2 Tel. 06 6797323 Opening hours: Every day, except Thursday, from 10am-5pm General admission: 8. Reduced admission: 5,70 www.doriapamphilj.it

1 Piazza de Campidoglio 2 Pallazzo Venezia 3 El Vittoriano 4 Piazza Venezia 5 Palazzo Doria 6 San Marcello 7 Piazza Colonna 8 Piazza del Popolo (sta Maria de Popolo) 9 Mausoleo Augusto

Route 03

From Piazza di Spagna to the Quirinale

Piazza di Spagna, a square nestled into one of Rome's most elegant areas, is a popular meeting place for both locals and tourists alike. Although the underground stops at the square, it is far more charming to get here on foot. A pleasant, picturesque walk along the pretty Via del Babuino takes you from Piazza del Popolo straight to Piazza di Spagna. Via del Babuino is one of three streets that begin at Piazza del Popolo, at a fork known as Il Tridente (Via Ripetta and Via del Corso are the other two). These streets are an absolute must for anyone fascinated by Renaissance art and architecture, antique shops or the crme de la crme of elegant fashion. This corner of Rome isn't a typical urban area; it is a bona fide outdoor museum, filled with a wealth of artistic and historical treasures that almost no other city can match. PIAZZA DI SPAGNA It seems almost unnecessary to introduce the Piazza di Spagna, the square of a thousand postcards with those famous steps. The sweeping steps are not just a popular hang-out on sunny days; they have become an authentic Roman landmark. The steps lead up to the Santa Trinita dei Monti Church, which was built by the French. The steps themselves don't just owe their name to the Spanish, who occupied this square for many years and have had their embassy here since the 17th century. Another luxurious treat along this street is the famous Caff Greco, which has for decades been a popular gathering place for intellectuals and writers. Sitting in this history-soaked spot and sipping a classic cappuccino is a temptation that few can resist. You should know, however, that treating yourself to coffee here is a luxury in more ways than one - a simple cup costs about 6 . In order to continue the route to the Quirinale, it is best to head down Via Sistina. This street brings you to the Piazza Barberini, where its Climbing the endless steps might seem a painful task, especially on a hot day, but it is worth the effort. Both the church's interior and the spectacular, panoramic view are reason enough to embrace a little exertion. The Fontana di Barcaccia, the curious fountain in the square's centre depicting a half sunken boat, is the work of Bernini's father. KEATS-SHELLEY HOUSE Lovers of romantic poetry will find a small treasure tucked next to the grand staircase on the Piazza di Spagna. Immediately in front of the square's fountain is the Keats-Shelley House, which was once the residence of poet John Keats. Keats came to Rome in 1820 after his doctors had ordered a change in climate to combat his tuberculosis. Unfortunately, the young poet didn't recover from his illness - just one short year later he died at the age of 25. The house was turned into a museum in 1906, dedicated to the works of Keats as well as those of other romantic writers such as Shelley and Lord Byron, who also spent a few years of their lives in the eternal city. VIA CONDOTTI AND CAFF GRECO Of all the possible streets to take from Piazza di Spagna, the best choice is without a doubt the elegant Via Condotti. This is high-class at its finest, the Mecca of Italian fashion. The shop windows that line this street aren't your garden variety - designer royalty reigns here with names like Prada, Moschino, Versace and Armani turning this stretch of road into the classiest catwalk in the world. In short, the Via Condotti is a feast for the eyes that everyone can enjoy but only very few can actually own.

name changes to Via delle Quattro Fontane. This is also the entrance to the Palazzo Barberini, a perfect example of the ostentation that the family of Pope Urban VIII was notorious for. The family wanted nothing but the best and therefore commissioned three of the era's finest architects, Maderno, Bernini and Borromini, to design and build their residential palace. Centuries later the family is sharing the wealth; the palace is now open to the public and home to the Galleria Nazionale d'Arte Antica with a wonderful collection featuring artists such as Federico Lippi, Caravaggio, Raphael and Tintoretto. Heading down Via delle Quattro Fontane and taking a right on Via Quirinale takes you to a couple of Rome's most famous baroque churches, built by the celebrated, rival architects Bernini and Borromini. The first church along this street is San Carlo alle Quattro Fontane, located at the corner where the two streets meet. This was Borromini's opera prima in terms of the many churches he eventually built throughout Rome. A few metres down Via Quirinale, you come across the Sant'Andrea al Quirinale Church, one of Bernini's most original, architectural masterpieces. The church's interior still preserves its magnificent decor, but there is something even more unique about this place. Bernini's design of the cupola created an astonishing lighting effect that remains impressive even today. Admission to both churches is free. PIAZZA DEL QUIRINALE The spacious Piazza del Quirinale is just around the corner. The square is most notable for the palace that now serves as residence to the president of the Republic. It is therefore commonplace to see many carabinieri (local Italian police) strategically placed throughout the square. However, there are other things to see here besides uniforms. The centre of the square is adorned with a classic obelisk and statues representing the twins Castor and Polux, Roman era replicas of original Greek statues from the 5th century B.C. Exploring the neighbourhood requires a slight physical effort since most of the streets contain rather steep stretches; the Quirinale is, after all,

the tallest of Rome's seven hills. In addition to being the political epicentre of modern-day Italy, the Quirinale's maze of little streets also harbours one of Rome's most glorious and celebrated landmarks. The effort invested into exploring this area pays off the minute you step into the little square that contains what is probably the most frequently visited and photographed monument in Rome, the Fontana di Trevi FONTANA DI TREVI The enormous Fontana di Trevi is probably the most famous fountain in the world, which makes its location twice as surprising. You somehow expect it to occupy a more majestic space instead of a tiny little square nestled amidst a maze of equally tiny streets. The labyrinthine nature of the streets also seems to muffle the fountain's waterfall, which isn't audible until you step into the square - adding yet another element of surprise to discovering this Roman landmark. The Fontana di Trevi became an icon in 1959 when Anita Ekberg and Marcello Mastroianni took their infamous dip in the fountain in Federico Fellini's masterpiece La Dolce Vita. The scene took the world by storm, inspiring thousands to try their hand at imitating the couple. One word of sound advice - bathing in the fountain is highly discouraged. The floor of the fountain has sensors that are connected with the nearby police station. If the carabinieri detect as much as a foot in the water, an alarm is set off and a police unit will sweep into the square and present you with the appropriately steep fine. Therefore, it is safer and cheaper to practice a different Roman tradition instead tossing two coins into the fountain. The first coin ensures your return to the eternal city, and the second promises to make you fall in love whilst in Rome. And remember to turn your back to the fountain as you toss the coins over your shoulder - otherwise the wishes won't come true. If you are wondering what eventually happens to all of the coins, you can rest assured that you are not the only one benefiting from your generosity. The city council collects the coins every so often and donates the money to a number of charitable institutions in the city.

The fountain was designed by Nicola Salvi in 1732 and represents Neptune's carriage drawn by two sea horses and two tritons. Although the fountain has been photographed and reproduced in countless images, no picture comes close to the experience of seeing the real thing. However, you shouldn't expect a quiet, serene atmosphere in which to admire this spectacular piece. Be prepared for throngs of tourists and a constant stream of street vendors selling every imaginable knickknack, street performers dressed as ancient Romans and spontaneous photographers trying to sell you Polaroid pictures of yourself for 5 a piece. In short, a dizzying whirl of activity that might seem a tad overwhelming at first but is, in its own way, quintessentially Roman.

INFO Casa Museo Keats-Shelley Piazza di Spagna, 26 Tel. 06 6784235 Open Monday-Friday from 9am-1pm and 3pm to 6pm. Saturdays from 11am to 2pm and 3pm to 6pm. Closed on Sundays. Admission: 3 www.keats-shelley-house.org Galleria Nazionale dArte Antica Palazzo Barberini Via Barberini, 18 Tel. 06 4814591 Open Tuesday-Sunday from 9am-7pm. General admission: 5. Reduced admission: 2,50 www.galleriaborghese.it/barberini/it

1 Caf Greco 2 Casa Keats-Shelley 3 Piazza di Spagna 4 Santa Trinit dei Monti 5 Fontana di Trevi 6 Quirinale 7 Palazzo Barberini

Route 04

The Historic City Centre

The Centro Storico or historic city centre lies to the west of Via del Corso. This area was once surrounded by the ancient city walls and consists of an intricate network of little streets, important monuments, elegant palaces and some of Rome's most famous and charming squares. PIAZZA COLONNA AND PIAZZA MONTECITORIO Both Piazza Colonna and the adjacent Piazza del Montecitorio are key places in the city, especially as far as politics are concerned. The Palazzo Chigi on the Piazza Colonna is the official residence of the prime minister and the Palazzo del Montecitorio is the seat of the current government and the House of Representatives. Although the palace was designed by Bernini, it was Carlo Fontana who actually oversaw the construction in 1697. The centre of the square is adorned with yet another of the city's many obelisks. The most common sights in these squares are official cars, private security and bodyguards at the corners. Whenever the press is milling about and security tightens, you can assume that an important personality is nearby, something that isn't all that unusual here. In addition to being the heart of political life, the spacious and elegant squares are also lined with pleasant cafs and some of the most exclusive (and expensive) hotels in the city. The maze of charming, little, cobblestone streets offers a rich variety of boutiques specialising in all of fashion's latest trends. But before indulging in a shopping spree, make sure to check the price tags - this area is notoriously expensive. Eventually you come to the Piazza della Rotonda, a busy square lined with outdoor cafs and several excellent ice-cream shops. This is also where you find one of Rome's most important and exceptional landmarks, the Pantheon. THE PANTHEON Located on the Piazza della Rotonda, the Pantheon, which was begun in the year 27 B.C. under Emperor Agrippa, is the most well preserved building of the Ancient Roman period. The building, once an awe-inspiring temple dedicated to all the planetary gods, has somehow managed to persevere despite immense adversity. It survived a terrible fire and was rebuilt by Emperor Hadrian in 120 A.D. and in 1609 it was converted into a church and barely escaped complete destruction. The facade has a triangular pediment held up by sixteen Corinthian columns. Inside you find yourself in one of the most humbling and solemn spaces in all of Rome. The most striking feature is, without a doubt, the impressive cupola. This is one of the grandest cupolas ever built and at its centre is the oculus, a hole measuring 9 metres in diameter that allows light to filter into the space, creating indescribably beautiful patterns and plays with light and shadow. When it rains, the water falls into the Pantheon but runs off through several, small holes in the ground. The Pantheon still manages to inspire wonder in those who visit, but its current state is nothing compared to the splendour it once possessed. Long ago both the interior and the exte-

goddess Minerva. The temple dated back to the 8th century but vanished beneath the foundations of the church in 1280. The church was restored in the 19th century, which significantly improved its appearance. If you look very closely at the facade, you will notice faint scars in the stone - traces of times when the Tiber's water rose and flooded the area. The church guards the remains of Catherine of Sienna, Italy's patron saint, and is adorned with excellent frescoes by Filippino Lippi and sculptures by a young Michelangelo. A strange sculpture stands at the square's centre, immediately in front of the church's entrance. The statue was sculpted by Bernini and depicts a small elephant carrying an obelisk on his back. rior of the cupola were covered in bronze, but the "needs" of the time caused the burnished metal to disappear. The Pantheon was stripped of its bronze, which then found its way into the cannons at the Sant'Angelo Castle and the impressive baldachin that Bernini fashioned for the Saint Peter's Basilica. Pope Urban VII, the pontiff responsible for ransacking the Pantheon, belonged to the Barberini family, which led the Romans to develop a more than appropriate word-play. When asked to explain the deterioration of the once splendid Pantheon, Romans like to reply by saying that "what the barbarians spared of the Pantheon was greatly appreciated by the Barberini". Despite losing much of its splendour over time, the Pantheon never fails to impress and a stay in Rome isn't complete until you have visited this site (admission to which is free). In addition to the space itself, you can visit the tombs of Vittorio Emmanuele II and Umberto I, the first kings of Italy, and that of the great artist Raphael. The latter tomb bears a rather strange inscription that is rather difficult to decipher. Upon leaving the Pantheon, take some time to explore the Piazza della Rotonda, which is always lively no matter the time of day. There is something inherently cheerful and spirited about the atmosphere in this square, which is equally popular with tourists and locals. The latter enjoy the square in traditional Roman style, either by sitting on the steps around the fountain or in one of the caf terraces that abound in this area. The Tazza d'Oro is one of the best cafs in Rome, serving a delectable selection of Italian coffees at what are, considering the location and fame of this establishment, surprisingly reasonable prices. SANTA MARIA CHURCH SOPRA MINERVA You are now faced with countless ways of exploring the Centro Storico, but the best choice is taking Via del Pie' di Marmo from Piazza Sopra Minerva. This aptly named street (Avenue of the Marble Foot) cannot be missed. The corner is marked by a giant, marble foot, the last remnant of an ancient Roman sculpture, lying nonchalantly out in the open. There are some things that you can only find in Rome. As you wander towards Piazza Navona, you pass the elegant Palazzo Madama, a palace built in the 16th century by the Medici family, which now houses the city's Senate. Facing the palace is yet another church that shouldn't be missed, the San Luigi dei Francesi Church. This baroque church is very popular amongst locals, who seem unfazed by the fact that the chapels in their parish church feature the work of masters like Giacomo della Porta, Domenico Fontana and Caravaggio. PIAZZA NAVONA This is one of Rome's most celebrated squares, a place that somehow possesses a charm that goes beyond the palaces, fountains and churches that decorate the space. There is no doubt that the art and architecture to be found here is absolutely magnificent, but there is something more, something indefinable, that makes Piazza Navona into such an unforgettable place. Its name, navona, supposedly refers to its boat-like shape, which serves as a platform for a colourful group of passengers. Street performers, painters, vendors and artisans ply their trade here during the day and much of the night, something that doesn't much please the people living on the square. Despite the complaints about noise, the residents of Piazza Navona are well aware of what a distinguished address they are lucky enough to call home. Even though the square is always crowded (usually tourists rather than Romans) and finding a table in a caf is a daunting task, Piazza Navona is simply one of those special places you always return to when in Rome. Christmas is one of the square's best seasons, when the traditional Befana, a Christmas market named after the typical Italian witch that brings presents to the children, opens for holiday season.

The square is baroque in style, lined by several buildings with charming, ornate facades. It bears little resemblance to its past incarnation, although its shape does provide a clue. This was once the site of the Circo Domiciano, a popular horse-racing track and athletic field. Instead of the lavishly elegant buildings, the space was surrounded by rows of seats, filled with long gone audiences that came to be thrilled and amused by a vast number of sporting events. The square is an open-air museum, a place where visitors can admire the work of two artistic contemporaries and notorious rivals Bernini and Borromini. Bernini designed the spectacular Fontana dei Quattro Fuimi, the centrepiece in a trio of fountains that decorate the square. Borromini built the Sant'Agnese in Agone Church (hyperlink), one of the city's baroque masterpieces. The anecdotes surrounding their rivalry are legendary; perhaps it was precisely this competitive streak that led the two artists to create such unforgettable pieces . FONTANA DEI QUATTRO FUIMI The Fontana dei Quattro Fiumi, one of three fountains that adorn the Piazza Navona, stands between the Fontana del Moro to the south and the Fontana del Nettuno to the north. Of the three, the Fontana dei Quattro Fiumi is doubtlessly the most unusual and surprising. Bernini, the artist responsible for designing the fountain, used human figures to represent four of the world's greatest rivers - the Danube, the Ganges, the Nile and the Rio de la Plata. The expressive quality of the figures is astonishing as are their almost perfectly rendered physical proportions. The fountain underwent a meticulous renovation process which was completed in 2004. The renovation returned the fountain much of its previous glory, allowing visitors to appreciate what a masterpiece it truly is. An amusing anecdote surrounds one of the figures; if you look closely, you will notice that the figure representing the river Nile is wearing a blindfold. Some claim that the blindfold refers to the fact that the Nile was considered a mysterious river at the time. Others, however, insist that the figure, which faces the Sant'Agnese in Agone Church, is blindfolded so as not to look upon the church, which was built by Bernini's great rival, Borromini. However, this latter tale is probably the work of malicious tongues since Bernini completed the fountain long before Borromini finished his work on the church's facade. SANT AGNESE IN AGONE CHURCH The Sant'Agnese in Agone Church is yet another one of Borromini's baroque masterpieces. The most fascinating section of the church is the chapel that guards the relics of Saint Inez. The story of Saint Inez, who died a martyr in this church, is a curious one. As she was stripped of her clothes to be flogged to death her hair started to grow miraculously until it covered her entire body. One of the church doors leads into an underground tunnel where you can

Heading down towards the river on Via Minerva, you come to the Santa Maria Sopra Minerva Church. The church's strange name refers to the fact that this was a religious site long before a church stood here. This church, one of the few exponents of Gothic architecture in Rome, stands above the ruins of a temple dedicated to the

visit the ruins of the ancient Circo Domiciano, which now lie beneath the Piazza Navona. PIAZZA PASQUINO AND PALAZZO BRASCHI In one corner of the Piazza Pasquino stands one of Rome's historic speaking statues. These statues were once the cornerstone of a rather curious practice. During the 15th and 16th century it was customary for people to leave messages with these statues, usually critiques about the way things were being done in the city. It goes without saying that this practice was not looked upon favourably by the authorities. Authoring such a message was considered a crime punishable by death. The Pasquino statue rests against one of the walls of the Palazzo Braschi, which now houses the Museum of Rome. The museum's collection brings together many documents and other material related to the city's cultural, social, historic and artistic life from the Middle Age until 1952. PIAZZA CAMPO DE FIORI Leaving the palace behind and heading down Via Baulari, you end up at the Piazza Campo de'Fiori. This is one of the city's liveliest and most popular squares, sought out by people from all walks of life. In the mornings the square hosts a famous, open-air flower and plant market, the traditional event that gave the square its name. The cafs are crowded throughout the day, and the many little side-streets are lined with chic stores and galleries. After sunset, the square turns into a popular nightlife spot, featuring many bars and pizzerias. The clientele is as mixed as during the day, attracting both young crowds that sit in the middle of the square drinking beer and hipsters in designer clothing that sip cocktails at the many upscale bars. A mysterious, hooded statue stands at the centre of the square. The piece honours Giordano Bruno and serves as a sinister reminder of a

dark, malevolent period in the square's history. During the days of the Inquisition, the Campo di'Fiori was used for executions, a fate that also befell Giordano Bruno. Bruno was a scholarly monk who developed an astronomical theory stating that the earth revolves around the sun and not vice versa. This might strike us as a well-known, even mundane fact, but in the year 1600 it was anything but. The theory cost Bruno his life - he was branded a heretic and burned at the stake. The statue, notable for is dark and mysterious quality, marks the spot where Bruno died. PIAZZA FARNESE This elegant square is primarily known for its namesake palace, which now houses the French embassy. The palace contains several valuable art works, but unfortunately it is closed to the public. It is interesting to visit the square nonetheless, because the palace's fascinating facade is worth seeing. It carries the signature of many architectural talents, including some of the most renowned artists Rome has ever known such as Antonio da Sagallo, Giacomo della Porta and Michelangelo. The square's centrepiece, consisting of two, gigantic, twin fountains, is another eye-catching element. The fountains' design, which features a pair of granite bathtubs, is particularly unusual. The pieces have their own peculiar story - they were moved to the Piazza Farnese from their original location at the Termes di Caracalla. PALAZZO SPADA The Palazzo Spada is a beautifully conserved palace, thanks to the restoration the Spada family commissioned from Borromini in 1632. The family donated their private art collection to the city of Rome in 1926, which is displayed in the Spada Gallery and includes interesting paintings by Rubens and Titian. Another notable facet of this building is the architecture itself. When Borromini undertook the restoration of the palace, he decided on a few modifications, one of which is a true architectural achievement. Borromini reduced the size of the columns in the hallway leading out to the patio and elevated the floor, thus creating a very surprising and peculiar visual illusion. The hallway seems much longer to the eye than it actually is, confusing more than one visitor walking down its length for the first time.

Informacin til Museo di Roma Palazzo Braschi Piazza di San Pantaleo, 10 Tel. 06 67108346 Open Tuesday-Sunday from 9am-7pm. General admission: 6,20. Reduced admission: 3,10 www.museodiroma.comune.roma.it Galleria Spada Palazzo Spada Piazza Capodiferro, 13 Tel. 06 6832409 Open Tuesday-Sunday from 8:30am-7:30pm. General admission: 5. Reduced admission: 2,50 www.galleriaborghese.it/spada/it/default.htm

1 Piazza Colonna 2 Piazza del Montecitorio 3 Panten 4 Piazza della Rotonda 5 Sta Maria Sopra Minerva

6 Via del Pie' di Marmo 7 Piazza Navona 8 Estatuas parlantes 9 Piazza Campo de'Fiori 10 Piazza Farnese

Route 05

El Trastevere
The Tiber River, which runs through much of the city's historic core, is more than just a waterway; the river has grown to be as much a symbol of Rome as the Coliseum or the Spanish Steps. The river endows the city with yet another facet of its personality and has influenced Roman life for centuries. The many bridges that cross the Tiber are signposts of different, historical eras and have become essential elements of the river's landscape. The neighbourhood that has been most significantly influenced by its proximity to the Tiber is Trastevere, whose name even references the legendary river. Tevere is the Italian name for the Tiber and tras means on the other side. Thus, it is the neighbourhood on the other side of the Tiber. Trastevere lies across the river from the Centro Storico and has the most unique and steadfastly Roman character of all the city's areas. Time, however, doesn't stand still, not even in Trastevere. The neighbourhood has been discovered by a young, hip and wealthy crowd, causing the area to lose some of its traditional charm. Many of the neighbourhood's long-term locals are slowly moving out to other, cheaper areas and new, wealthier tenants are taking their place. The old "palaces" are being converted into hip establishments, gradually changing the life-style of this area. The traditional trattorias still abound in Trastevere, but they now rub shoulders with fast-food pizzerias and other places that cater primarily to the many visitors who come here every day. Things might be changing in Trastevere, especially for its local population, but that doesn't change the fact that it is still one of the most authentic and charming areas in Rome. It somehow seems to move at a different pace than the rest of the city, its individual character forged through both the real and the psychological division that is the Tiber River. Perhaps it is this very same separation that has also allowed Trastevere to keep much of its unique character alive over time. A palpable shift in atmosphere and rhythm accompanies the change from day to night in the neighbourhood. Day and night are very different here and both must be experienced in order to truly appreciate everything Trastevere has to offer. Trastevere in the mornings and during most of the daytime hours more closely resembles a village than part of a country's capital city. The pace is languid, street vendors wander the streets and shops display part of their merchandise on the cobblestone streets. There is a timeless quality to the older generations who sit in the squares, chatting with what seems like all the time in the world, and to the laundry that still flutters on the balconies. Italian mammas shop at small, family-owned shops, and families stroll down the narrow streets as if much of the modern world was still being held at bay by the river. This is the classic Trastevere, a proletarian neighbourhood that still holds on to its traditional way of life. At night everything changes as both crowds of young people and tourists cross the river and flock to the neighbourhood. A trattoria or restaurant is tucked down every street, even the tiniest alleys, and still offer reasonable prices despite the surge in the area's popularity. Stores specialising in music, clothing and handicrafts stay open until very late, and street performers provide spontaneous entertainment at any given time, in any given place. Some people come to stroll through the neighbourhood while others prefer to sit in the squares, hanging out with friends and drinking. Unfortunately this can lead to less than desirable situations in the late hours of the night, often causing the carabinieri to come and clear out the area. However, this is all part of Trastevere's character, a neighbourhood with two very different lifestyles, and anyone seeking a complete picture of Roman life needs to experience them both. Many bridges cross the Tiber, but some are especially suited for a trip into Trastevere. Ponte Sisto, Ponte Garibaldi, Ponte Fabricio and Ponte Palatino, located between the Centro Storico and the Teatro de Marcello, are all excellent choices that lead directly to the Trastevere riverfront. Ponte Fabricio, as the bridge is known on the northern shore, is one of the oldest in Rome. Its name changes to Ponte Cestio on the southern side. This might be the most picturesque route to take since it leads you

to mark the exact spot where the snake crawled ashore. People stricken with the plague came to the sepulchre and were cured when they left and thus the island's mythical healing powers were born. In fact, the island had long been dedicated to Aesculapius, the roman god of medicine. This ancient tradition was continued by monks in the Middle Ages, who set up a hospice that would eventually become the Ospedale Fatebenefratelli. This hospital is still up and running and is considered one of Rome's most revered medical institutions. There is also a church on the island, named after Saint Bartholomew, which stands above the ruins of the ancient temple dedicated to Aesculapius. Another interesting landmark can be found a little further down the river. The remnants of what is popularly referred to as the Ponte Rotto (the Broken Bridge), belong to one of the oldest stone bridges built in Rome. Originally constructed in 142 B.C., the bridge was largely destroyed by a violent flood in 1598. After years of deterioration, all that remains of the ancient bridge is one, lone arch. Crossing the Ponte Cestio takes you to the Piazza Piscinula in Trastevere, site of the San Benedetto in Piscinula Church, which is famous for having the oldest Roman church bell. Another noteworthy church, the Santa Cecilia in Trastevere, is located at the nearby Piazza Mercanti. Art lovers flock to the church to see the strikingly beautiful fresco by Pietro Cavallini in the choir. The religiously devout, however, come here for another reason. The church is the final resting place of Saint Cecilia, who died in the year 230 A.D. More than a thousand years later, in 1599, her tomb was opened and her body was discovered in a remarkable state of preservation, a fact that many could only explain as a divine miracle. TORRE DEGLI ANGUILLARA There is more to this building than a pretty exterior. Its long and colourful history began with the Anguillara family who owned the tower until 1538. The building then changed hands and fell into a long period of decline during which it was used as a stable, slaughterhouse

across the Tiber Island, another charming spot in the city. ISOLA TIBERINA (TIBER ISLAND) The little island in the middle of the Tiber River, which only measures 300m in length and 80m across, is a very curious place. Countless legends surround this tiny patch of land, mostly revolving around its long tradition in medicine. One legend tells the story of a snake brought over from Greece to cure an outbreak of the bubonic plague that was decimating the city. The snake escaped the ship it was travelling on and reached the island, and a sepulchre was built

and cellar. Brighter times came when a middleclass family turned the tower into a manufacturing plant for enamel and coloured glass. However, the most interesting tenant the tower ever had was poet Dante Aligheri, who lived here for about one year. In fact, the library inside the tower houses what is probably the best collection of Dante's work worldwide. The square on which the tower stands is also the beginning of Trastevere's main thoroughfare, the Viale di Trastevere, an extremely long avenue that transverses the entire length of the neighbourhood. The street becomes the area's central attraction on Sunday mornings when it transforms into a traditional market with coun-

Informacin til Museo di Roma in Trastevere Piazza di San Egidio, 1/b Tel. 06 5899359 Open Tuesday-Sunday from 10am-8pm. General admission: 2,60. Reduced admission: 1,60 www.comune.roma.it/museodiroma.trastevere/ Galleria Corsini Via della Lungara, 10 Tel. 06 68802323 Open Tuesday-Sunday from 8:30am-7:30pm. General admission: 4. Reduced admission: 2 www.galleriaborghese.it/corsini/it/default.htm

tless stores and visitors eager to browse. The market runs down the entire length of the avenue all the way to the river, close to Porta Portese and the Ponte Aventino. THE PORTA PORTESE MARKET Porta Portese is one of the largest, most diverse and popular flea-markets in Europe. On any given Sunday up to 4,000 stalls open shop to sell all imaginable merchandise, including antiques (as well as a lot of junk), second hand clothes, books, magazines, decorative items and food products. Due to the market's soaring popularity, finding bargain deals is becoming increasingly

difficult, but it is still possible. All you need is some patience and a good hand at bartering and then you're bound to leave Porta Portese with at least one or two unique acquisitions. Taking Via di San Francesco a Ripa from Viale di Trastevere leads you directly to the Piazza Santa Maria in Trastevere, the neighbourhood's main square. This is Trastevere's heart, the place where you find the truest expression of the neighbourhood's aforementioned character. The square is the epicentre of neighbourhood life, both during the day and at night. In terms of historically important buildings, the Santa Maria in Trastevere Basilica is one of Rome's most

significant. It was the first church in Rome to be dedicated to the Virgin Mary. If you want to see yet another side of this multifaceted neighbourhood, head down Via della Scala until you reach the Villa Farnesina and the Palazzo Corsini. These are two of the area's most elegant buildings. The former is home to a very fine art collection that includes pieces like the Three Graces by Raphael whereas the latter houses a section of the Galleria Nazionale d'Arte Antica (the rest of the gallery can be visited at the Palazzo Barberini).

1 Ponte Sisto 2 Ponte Garibaldi 3 Ponte Fabricio

4 Ponte Palatino 5 Isola Tiberina 6 Torre degli Anguillara

7 Santa Cecilia in Trastevere 8 Santa Maria in Trastevere 9 Mercado Porta Portese

Route 06

Along the Esquilino from Termini Station to San Giovanni in Laterano

This route is unlike others in that it covers areas that are distinctly different from one another, resulting in a tour that allows you to sample much of Rome's multi-faceted character. Starting at Termini Station, this route takes you back in time to several important periods in the city's history and stops in at a number of important architectural and religious sites, coming to a close at the basilica in San Giovanni in Laterano. TERMINI STATION Rome's central train station is more than the nexus of incoming and outgoing railroad traffic; it is also a perfect example of how fascist and post-war architecture coexist in the same space. The inside of the station is a hub of activity: the main point of departure and arrival for both national and international trains as well as a busy conglomeration of shops, bars and cafs. The tourist information located inside the station is an excellent resource for people visiting Rome for the first time. The Piazza dei Cinquecento, which serves as the city's bus terminal, is right next to the station. If you ever get lost, this is the best place to go since almost every bus line in Rome begins its trajectory here. The square is a lively and noisy place, not all together surprising considering that this is the city's hub for public transport. During the day, the square is brimming with life and activity, filled with people coming and going. At night the milieu changes considerably, and the area turns into a less than desirable place to spend the nocturnal hours. MUSEO NAZIONALE ROMANO The museum's archaeological collection is not only the best in Rome but also one of the most important worldwide. Parts of the collection can be seen at a number of locations throughout the city, but the most important pieces are here, at one end of the square. These are the remnants of the Terme di Diocleziano, the most popular and renowned baths of the 4th century, which once accommodated more than 3,000 people. The baths took up an enormous stretch of land, a terrain now flanked by the streets Via Torino, Via Volturno, Piazza dei Cinquecento and Via XX Settembre. The spot that once held the actual baths is now taken up by the Santa Maria degli Angeli Church, which was designed by Michelangelo and contains several, valuable artworks in its interior. This section of the museum, the Museo Nazionale Romano - Terme di Diocleziano, can be accessed from the Piazza della Repubblica, a square also well-known for its fountain, the Fontana delle Naiade. This section of the museum, resting on the ancient ruins of the baths, only houses a few pieces of the entire collection. The museum is scattered throughout the city and housed in a number of different places such as the Palazzo Massimo alle Terme, the Palazzo Altemps and the Crypta Balbi. The Aula Ottagona, a space that displays a number of Roman sculptures from the era of the baths, is located at one end of the square. The Palazzo Massimo alle Terme, located close to the Terme di Diocleziano, has an impressive collection of sculptures depicting emperors and members of illustrious Roman

families as well as ancient paintings, some of which date back as far as the year 20 B.C. The remaining sections of the museum are located further away. Although they don't technically belong to this itinerary, they are mentioned below in order to provide a complete overview of the museum. You can visit another part of the collection at the Palazzo Altemps, close to Piazza Navona, which consists mostly of classic sculptures that have been restored and thus saved from complete deterioration. If you head down from Piazza Venezia towards the Tiber, you will come across the Crypta Balbi. As the name indicates, this is a subterranean site; a ruin beneath an old theatre built in the year 13 B.C. SANTA MARIA MAGGIORE BASILICA Heading down Via Torino from Piazza della Repubblica, you come to the Santa Maria Maggiore Basilica. The church's facade may mislead a few visitors into believing that it is more modern than it actually is. The facade is an 18th century addition to the church, which actually dates back to the 5th century. The origins of the church are cloaked in a lovely legend. One day Pope Liberius saw a vision of the Virgin Mary, who spoke to him and asked for a church to be erected in her name. It would snow in one place the next day, she said, and that was where the church should be built. It was August but to the astonishment of Rome's citizenry, it snowed on

the Monte Esquilino (the location of the church). This has resulted in a charming ceremony that takes place every year on August 5th to commemorate the miracle. On this day countless white petals are released from a hole in the church's ceiling and gently come floating to the ground. Despite several remodelling efforts, the church has managed to maintain the rich beauty of its interior. Most of the ceiling is covered in gold, which was given to the church by the Catholic Monarchs, who had accumulated immense wealth thanks to Spain's voyages to America. Another interesting feature is the bell tower, an excellent example of Romanesque architecture. The Esquilino Hill stretches all the way from our starting point at Termini Station to the Coliseum. The main street connecting these areas is Via Cavour, and the best option after your visit to Santa Maria Maggiore is to head down this thoroughfare. Bear in mind that if you decide to do this route in the opposite direction, you will face a rather exhausting climb. The incline on Via Cavour is rather steep, making a downhill stroll the more comfortable option of the two. Eventually you come across the charming square San Pietro in Vincoli (hyperlink) and its namesake church. SAN PIETRO IN VINCOLI CHURCH

church closes at midday (between 12:30pm and 3:30pm). If you happen to visit the church during these hours, you can always relax in one of the many bars and pizzerias located throughout the area. The establishments around the church are very reasonably priced and popular amongst students from the neighbouring medical school on Via Eudossiana. COLLE OPIO AND DOMUS AUREA The Colle Oppio was once the stuff that dreams are made of, fantastical grounds that surrounded the Domus Aurea, Emperor Nero's residence towards the end of his life. Nero ordered the construction in 64 A.D., after a brutal fire decimated the city. The facade was once painted entirely in gold and the lush, beautiful gardens were bisected by private aqueducts. Nero didn't enjoy his palatial idyll for long - he committed suicide just four years after construction was completed. His successors wanted to eliminate every trace of the excesses left behind by the eccentric emperor so they stripped the entire complex. The plundering of the Domus Aurea and the passing centuries contributed greatly to the deterioration of the structure. So little remains of its past incarnation that most of what we know of the original Domus Aurea comes from historical data and stories passed down over generations. Looking at it today, you would never imagine that it was once such a splendid, awe-inspiring building. SAN CLEMENTE BASILICA The next stop on the route is Via Merulana, which can be reached by taking one of two main streets. Walking along Viale del Monte Oppio, you pass the ruins of the ancient Trajan baths, a site that has unfortunately suffered from long-term neglect, and the San Martino ai Monti Church. In any other city, this church, adorned with beautiful mosaics and the remnants of classic sculpture, would rank amongst the most exceptional. Not so in Rome, a city of innumerable churches, where far more glorious examples leave this one lingering in obscurity. If you instead opt for the Via de San Giovanni in Laterano, which leads directly to the city's cathedral, you can make a stop at the San Clemente Basilica. This is one of the most fascinating churches in

This small, charming church has more than one surprise in store for visitors. One highlight is the majestic statue of Moses on his throne, a piece by Michelangelo. The statue, which is located on the right side of the church, is actually part of the tomb Michelangelo was designing for Pope Julius II. However, the pontiff died before the tomb was finished, and he was buried in the Saint Peter's Basilica instead. The church is also famous for a pair of chains, safeguarded inside a chapel. The church was actually built precisely to house these chains, which are believed to be those used in the capture of Saint Peter. According to legend, only one of these chains was located in Rome. And then, one day, the other chain came to Rome from Constantinople and the two were miraculously reunited. The church is open every day and there is no admission charge. Keep in mind that the

Rome, built on a number of different levels that expose the long history of religious practice that took place here. Over the centuries, the site housed a succession of churches and temples, each new building covering the remains of its predecessor. Three of these can still be seen in this architectural patchwork, and it is believed that even more structures lie in the ground beneath. Behind the 18th century facade are the remnants of a church built in the 12th century, embellished with beautiful mosaics. The second level still shows traces of a church that stood here in the 4th century, and the final level unveils yet another long buried treasure the ruins of a house that once served as a temple dedicated to the pagan god Mitra. Via Merulana is difficult to miss; the street is much wider than all those in the vicinity. Once you are here, head southward on this classic avenue, lined with an assortment of traditional, Roman shops. These stores have none of the elegance that marks the area around Piazza di Spagna or Via del Corso, but they have a far more authentic feel to them and there is no shortage of bargains to be found. Continuing on this street until Via Labicana, you now come to the San Antonio de Padva Church on your left. This is an authentic, popular neighbourhood church, the perfect place to get a glimpse of what daily Catholic life is like in Rome. If you happen to be here on June 13th, don't miss out on a visit to the church. This is when the community celebrates the church's patron saint, allowing you the rare treat of witnessing an authentic, local religious celebration.

SCALA SANTA

over to Rome. The marble steps are now covered in wood to protect them from wear and tear. Devout visitors climb the staircase on their knees, pausing on every step to give forth a short prayer. The steps end at the Sancta Santorum (Holy of Holies) which was once a private chapel used exclusively by the pope. The chapel contains an interesting portrait of Christ, authored by an unknown painter. Less devout visitors wanting to visit the chapel can do so via two alternative staircases on either side of the Scala Santa. Regardless of religious beliefs, the Scala Santa is one of the most impressive expressions of faith that one can witness in our day and age. PIAZZA SAN GIOVANNI This enormous square is most famous for being the site of Rome's cathedral, the Basilica of San Giovanni in Laterano . This basilica was the first Christian church to be built in Rome, commissioned by Emperor Constantine. The church has prevailed through several bouts of adversity, surviving two fires that nearly destroyed it. Fortunately, the church was rebuilt both times in a manner that respected its original design and structure. The facade features a set of enormous bronze doors that were originally part of the Curia in the Roman Forum. The doors sit below an 18th century portico by Alessandro Galilei and serve as the main entrance to the basilica. The majestic, spacious interior bears the signature of Borromini, who was commissioned in the

Via Merulana finally brings you to the Piazza San Giovanni , a square dominated by the monumental San Giovanni in Laterano Basilica. Before entering the church, you should visit one of the holiest sites in the Christian faith - the Scala Santa. This is one of Rome's most unusual sites and one of Christianity's most sacred places. Devout pilgrims frequently visit the steps, which are reputed to be those ascended by Christ in Jerusalem on his way to trial before Pontius Pilate. It is in fact true that the steps once stood in Jerusalem. Constantine's mother, a famous collector of relics, had them brought

INFO Museo Nazionale Romano Terme di Diocleziano Via E. De Nicola, 78 Tel. 06 39967700 Open Tuesday-Sunday from 9am-7:45pm. General admission: 5. Reduced admission: 2,50 www.archeorm.arti.beniculturali.it/sar2000/diocleziano/default.asp Museo Nazionale Romano- Palazzo Massimo alle Terme Largo di Villa Peretti, 1 Tel. 06 4814144 Open Tuesday-Sunday from 9am-7:45pm. General admission: 6. Reduced admission: 3 www.archeorm.arti.beniculturali.it/sar2000/Museo_romano/Pal:massimo.asp Museo Nazionale Romano Palazzo Altemps Piazza di San Apollinare, 44 Tel. 06 6833759 Open Tuesday-Sunday from 9am-7:45pm. General admission: 5. Reduced admission: 2,50 www.archeorm.arti.beniculturali.it/sar2000/Altemps/Pal_altemps.asp Museo Nazionale Romano Cripta Balbi Via Botteghe Oscure, 31 Tel. 06 6780167 Open Tuesday-Sunday from 9am-7:45pm. General admission: 4. Reduced admission: 2 www.archeorm.arti.beniculturali.it/sar2000/cripta/cripta.asp

17th century to renovate the entire basilica. Marble is the predominant material, which adds to the almost regal quality of the space as does the incredible Giotto fresco that covers the length of one entire wall. A Gothic baldachin hangs above the altar, which is reputed to cover the relics of the apostles Paul and Peter. Only the pope may conduct mass under the baldachin, a privilege that is honoured on every Maundy Thursday. One of the most impressive sites within the basilica is the cloister. Admission to the basilica is free of charge, but a morning visit to the cloister costs 2 . The fee is reduced to 1 if

you visit the cloister in the afternoon, shortly before closing time at 6pm. A sense of perfect serenity characterises the cloister, where you can see a number of sarcophagi as well as the personal effects of several pontiffs. Upon leaving the basilica, make sure to visit the adjacent building, which houses the baptistery. The battistero (baptistery) is where the first Christian baptisms took place in Rome. Like the basilica, the baptistery was built under Emperor Constantine and both structures have been remodelled several times over the centuries, not always to favourable effect. The chapels of Saint Rufina, Saint John the

Evangelist and Saint Venanzio are all noteworthy for their beautiful mosaics. Another attraction is the Palazzo Lateranense, which served as the pope's residence for many years and now houses the Offices of the Roman Diocese. The palace was the site of some of the most important events in the history of the Catholic Church, including the signing of the Letrn Pact in 1929 which established the Vatican as an independent state.

1 Piazza dei Cinquecento 2 Museo Nazionale Romano 3 Terme di Diocleziano

4 Stazione termini 5 Santa Maria Maggiore 6 San Pietro in Vincoli

7 Domus Aurea 8 Baslica de San Clemente 9 Scala Santa

The Vatican

Route 07

The Vatican is the world's smallest, independent state, an autonomous region, despite its physical proximity to Rome, with a population of 500. The Vatican has its own communication network (press, radio, and television channels), stamps and transportation system; prior to the introduction of the Euro, it even had its own currency, minted within the confines of the tiny state. The governing authority of the state is the Pope, the highest official in the Catholic Church. As this is being written, only a few months have passed since the death of John Paul II and the nomination of his successor, Benedict XVI. The entire world closely followed the Pope's funeral and the nomination process that reaches its conclusion with the traditional column of white smoke. Regardless of religious beliefs, people around the world focused their attention on the Vatican for several days, gaining insight into the Catholic Church's inner workings and witnessing a record-breaking media event. The modern Vatican City State was created on February 11, 1929 when Dictator Benito Mussolini and Pope Pius XII signed Letrn Pact. The pact recognised the independence and sovereignty of the Holy See, thus ending a dispute with Italy that dated back to the Catholic Church's loss of the Papal States in 1870. The pact also assigned the Pope as the Vatican's head of state, a position that was to be elected by a conclave of cardinals. The Pope is in charge of the legislative, executive and judicial functions, whereas the Roman Curia is res-

ponsible for the state's administration as delegated by the Pope. Since every Pope is considered the direct successor of Saint Peter, thus receiving his authority directly from Jesus Christ, he is granted complete power within the Catholic Church. During the First Vatican Council in 1870, more than 400 bishops approved the dogma of the Supreme Pontiff's Infallibility, which means that the Pope is infallible in questions of faith and morality and that his decisions cannot be disputed. The current Pope, Benedict XVI (whose real name is Joseph Ratzinger) is the 265th pontiff. The custom of pontiffs adopting a name other than their own started in the year 533 when John II was chosen as the Pope. The

real name of this Roman priest was Mercurio and it goes without saying that the Catholic Church couldn't have its highest representative be named after a pagan god. SAINT PETER'S SQUARE The Vatican is the main destination for Christian and Catholic pilgrims as well as a popular tourist attraction thanks to its impressive art collection. Saint Peter's Square is the central nerve of the Vatican, the place where most visitors gather before heading to other sites. It is also the entrance to the impressive Saint Peter's Basilica, the largest and most elaborate that exists anywhere in the world. The Piazza San Pietro (Saint Peter's Square) is a

the Catholic Church and symbol to its power worldwide, adorned with many sculptures and funerary monuments as well as containing 50 altars and 500 columns. A statue of Saint Peter holding the key to the city marks the entrance to the basilica and recalls the historical event that gave birth to this religious monument. Standing in the square, it is almost impossible to grasp the basilica in its entirety; the monumental nature of its size stretches beyond the limits of human vision. It was built by several artists under the watchful eye of many emperors, which led the architecture in many different directions. When Constantine commenced construction, the basic structure was to mimic a Latin cross, consisting of a central nave, several lateral naves and a crossing. Some time later, Nicholas V decided to expand the church and, even later, Julius II commissioned a new church from Bramante. Bramante changed the concept and based his design on the shape of a Greek cross instead. When Bramante died, Raphael, Da Sangallo and Fra Giacondo were put in charge of the project, and they decided to return to the original idea. More changes followed with the selection of Michelangelo, who was asked to construct the cupola and once again opted for the Greek cross as the design's guiding principle. Finally, after Michelangelo's death, Pope Paul V decided to change the project's design yet again, returning to the concept of the Latin cross. Seen from an architectural point of view, the basilica's blend of styles and the constantly changing decisions regarding its construction turned it into something less than a masterpiece. Many experts consider it an architectural hodgepodge that doesn't even approach brilliance. However, the basilica still manages to impress, serving as both a monumental place of worship and undisputed symbol of the Catholic Church. Before entering the basilica, you will have to endure the endless queues that seem immune to seasons and weather as well as undergo a complete security control. Cameras are permitted, but other objects that might logically be found in a tourist's handbag (penknives, nail clippers, sharp objects) are prohibited. You should also remember that a certain dress code is enforced bare shoulders and short skirts and trousers are a definite no-no. It is therefore a good idea to

vast, monumental square, a place where the faithful gather every Sunday for mass. When the Pope is in Rome, he conducts the mass from the window of his private quarters. Although the square is an important destination for Catholic pilgrims, it is equally attractive to tourists of all stripes since the Vatican is home to one of the world's most spectacular art collections. The square was constructed between the years 1656 and 1667 by Bernini, who had been commissioned by Pope Alexander VII. The square's elliptical shape and architecture has brought about a number of different interpretations. Some scholars insist that the semi-circular "arms" flanking either side of the square represent "the church's open arms", welcoming all those who visit. Others, in turn, claim that the square's design represents the Pope, the side buildings symbolising his arms and the basilica's cupola the crown upon his head. One thing about the architecture's design is certain. Amongst the requirements was the stipulation that the Pope's private quarters would be clearly visible to all sections of the square, already anticipating that these would function as the primary place for conducting mass and giving papal addresses. The two fountains adorning the square are pieces by Maderno and della Fontana, and the Egyptian obelisk was brought over from Heliopolis and placed in the square by Sixtus V in September 1585. The entire elliptical shape of the square is surrounded by a magnificent series of columns, crowned by statues of saints that protect the square. However, the main attraction is the basilica with its monumentally impressive facade and the breathtaking cupola designed by Michelangelo. BASILICA SAN PIETRO It is said that this is the place where Saint Peter died a martyr, crucified in front of his many followers. In honour of his memory, early Christians built a small chapel on this spot, the same which would later serve as site for the world's greatest basilica. The majestic structure can hold up to 60,000 people and was built under Emperor Constantine during a time in which the Christian faith enjoyed an enormous surge in power and influence. This is the seat of

bring a scarf or jacket in order to pass the first security control. Five doorways lead into the church. The main entrance, the Porta Santa (Holy Door) can only be opened and closed by the Pope, and its use is therefore limited to a jubilee year. Once you cross the threshold, the astounding art collection unfolds before you. One of the first sculptures you come across is the Piet, the immensely moving and luminous depiction of the Virgin Mary holding the lifeless body of Christ in her arms. THE PIET The Piet stands in the Santa Petronilla Chapel, one of the first chapels to the right of the basilica's entrance. This is one of Michelangelo's most meaningful and poetic pieces, not only because of its deeply moving quality, but also because the sculptor was only 22 when he carved the piece in 1498. Of all the work Michelangelo created throughout his career, this is the only one he ever signed (his name is engraved onto the sash that crosses the Virgin Mary's dress). It took Michelangelo two years to sculpt this masterpiece, carved entirely out of an enormous block of marble from the Carrara quarry. The Piet depicts the <strong>Virgin Mary cradling Christ's lifeless body</strong> in her arms immediately after he was taken down from the cross. The Virgin's face is lined with an indescribably moving expression, filled with a profound sadness as well as the kind of resignation that can only be borne of deep faith. The sculptural precision of the figures is classic to Michelangelo's work, who placed great importance on anatomical representation and exactitude. The Piet always draws a large crowd, but it is worth waiting for a moment of relative calm to contemplate the sculpture. It takes some time to truly appreciate the luminous, sensitive quality of this piece and the masterful skill that went into creating it. The sculpture stands behind a protective glass shield ever since a disturbed individual tried to destroy it with a hammer in 1972.

Before tackling this trek, make sure that the day is clear. If you happen to visit the Vatican in winter, wait until 6pm before heading up. Witnessing the sunset up here is a truly extraordinary and singular experience. The lovely Vatican gardens are also best seen from up here where their spectacular appearance can be most clearly observed and appreciated. The basilica's interior is also connected with the church's subterranean level, which is best described as an underground necropolis. The most celebrated of all the burial sites is Saint Peter's tomb, which supposedly marks the exact spot where he was buried. The area also serves as the final resting place for many past pontiffs. One of the most frequently visited tombs at this time belongs to John Paul II. It is very brightly lit, which means that it is immediately recognisable. Donations are always welcome and generously provided, judging from the contents of the small basket in front of the tomb. In addition to visiting the basilica, all visitors who wish to do so may meet the Pope in person. Of course, this can only take place by appointment; a <strong>papal audience</strong> must be requested at least one week ahead of time. Appointments can be solicited at the Preffettura della Casa Pontificia, located immediately to the right of basilica's bronze doors, by telephone at 06 69 88 46 31, by fax at 06 69 88 58 63 or in writing (please send your request to the Preffeturra's mailing address: Preffeturra della Casa Pontifcia, 00120 de Citt del Vaticano). Papal audiences take place every Wednesday at 11am in the basilica. The only exceptions are when the Pope is travelling and during the months of July and August when audiences are held at the Castel Gandolfo, the Pope's summer residence. THE SWISS GUARD The Swiss Guard has been the military unit in charge of Vatican City securitysince 1505, the year in which it was founded by Pope Julius II. Pope Julius II considered a military unit dedicated solely to the protection of the pope vitally important. During its formation, the Guard first recruited Swiss mercenaries, considered some of the finest infantry personnel at the time. The Guard consists of 100 soldiers: four officers, twenty-three soldiers of mid-level rank, two drummers, one chaplain and seventy halberdiers. The halberdiers are specifically trained to use a rather strange weapon, the halberd, which ends in a lance point and has an axe head along one side. In order to join the Swiss Guard, applicants also have to meet certain prerequisites. Soldiers have to be male, Swiss and between the ages of 19 and 30. Furthermore, soldiers must measure more than 174 centimetres in height, be unmarried and have completed basic training in the Swiss Army. It goes without saying that all soldiers applying to the Guard must belong to the Catholic faith. Nowadays, the Swiss Guard is mostly symbolic

Michelangelo was only 22 when he sculpted this extraordinary, marble piece. The sculpture sits behind a protective glass shield ever since a vandal tried to attack it with a hammer a few years back. However, the glass doesn't hamper visibility in the slightest and taking photographs of this beautiful piece is not a problem. BERNINI'S BALDACHIN At the very centre of the basilica, immediately below the monumental cupola, you find Bernini's Baldachin. This enormous, bronze baldachin (a part of which was originally in the Pantheon) measures 29 metres in height and covers the most sacred section of the church, the legendary, final resting place of Saint Peter. A visit to the tomb, located down a flight of stairs in the basilica's subterranean level, is also included in a later section of this guide. The baldachin covers the main altar, and the most eye-catching elements are the two, spiral columns that support it. The columns have been the subject of many, differing interpretations. The majority of experts, however, agree that Bernini intended the columns as a symbolic reference to those that supported Christ in the Temple of Solomon. Next to the baldachin is a small figure of Saint Peter, facing a long queue of devout followers. You will notice that the figure shows a high degree of wear and tear, the result of millions of hands touching it over the years. Against the wall of the apse, close to the baldachin, stands the Cattedra Petra. Saint Peter supposedly sat in this gilded, wooden chair when he held his first sermon, surrounded by a gathering of faithful Christians. The many naves of the basilica showcase several statues of saints, as enormous and monumental in size and character as everything else in this church, and holy relics. One of the most famous relics is the notorious Longinos lance, the weapon used by its namesake soldier to confirm that Christ was dead. You can also visit the cupola of the basilica (at an additional charge). The ascent is arduous (the cupola is of considerable height and there is no elevator) but the stunning view from the top is definitely worth the exhausting trip.

in character. In addition to their police duties, the Guard is responsible for supervising and enforcing proper conduct in the areas within and surrounding Saint Peter's Square and the Basilica. Furthermore, their history and unusual garb has turned the soldiers into a popular tourist attraction. Posing for photographs has now become an integral part of their job. Most of the soldiers don't seem to mind this task, fully aware that their present duties are far more concerned with public relations than military defence. Recognising the soldiers is easy enough, since all of them wear a pair of unmistakable trousers that button below the knee and a typical, long-sleeved jacket (regardless of the season) with blue, yellow and red stripes. It was long believed that Michelangelo designed the colourful uniform, but that is, in fact, nothing more than a popular myth. The uniform currently worn by the Guard wasn't introduced until 1915. THE VATICAN MUSEUMS The entrance to the Vatican Museums is located in the back of the basilica. The museums hold one of the most valuable and spectacular art collections worldwide, cultivated and carefully maintained over centuries. The pieces were acquired, directly commissioned by the church or received as gifts. The art itself isn't the only thing worth seeing; the space, consisting of innumerable hallways, gallery spaces and magnificent rooms, is equally as impressive. If you wish to take in every piece displayed in these rooms, be prepared to spend at least an entire day in the museums. If your art intake requires a more defined structure, you can opt for one of the many routes. Each one is marked with a different colour indicating the pieces that can be seen along the way. The main attraction for most visitors is the impressive Sistine Chapel. Unfortunately, the popularity of Michelangelo's masterpiece means that the chapel is usually rather crowded. Nevertheless, a visit to this astonishing place is almost obligatory - no one should miss the chance to see Michelangelo's masterful murals. The ceiling vividly portrays episodes from the Genesis, and the main wall depicts the horrors of the Last Judgement.

Many of the other gallery spaces and rooms contain excellent collections of ancient Italian maps, tapestries, candelabra, ecclesiastical and noble furniture and invaluable Greek and Roman sculptures. The Gallery of Candelabra is worth visiting for two reasons. Firstly, the pieces themselves are spectacular, and secondly, the windows offer a magnificent view on to the Vatican Gardens. Pope John Paul II kept a cabbage garden on the grounds. Being Polish, he reserved a special fondness for this crucial element of his native cuisine. It isn't known whether his successor, Benedict XVI, has maintained the vegetable garden or if his German origins have brought about any changes to the agricultural practices. Another highlight are the Stanze of Raphael (Raphael's Rooms), four official papal chambers decorated by the artist and his school. Raphael commenced his work on the rooms at the same time that Michelangelo was working on the Sistine Chapel. The Room of Heliodorus, for example, was completed by Raphael between 1512 and 1514 in honour of Pope Julius II, who even appears in one of the paintings. The Expulsion of Heliodorus, one of the most famous paintings, symbolises a papal victory against an invasion of Italy. Sometimes the pontiffs' representation in the paintings is quite prominent, such as in the fresco The Liberation of Saint Peter in which Pope Julius II appears as a saint. The Room of the Segnatura, which is where the Papal Council meets to sign official documents, is adorned

with philosophical allegories and references. The Room of the Fire in the Borgo pays homage to the fire of 847 which, according to legend, was miraculously put out by Pope Leo IV simply by making the sign of the cross. A visit to the Museums wouldn't be complete without a stop at the Borgia Apartment. The Borgias were one of the most powerful families in Italy during the Renaissance. In fact, Cesar Borgia was the son of Pope Alexander VI, but for obvious reasons he was always referred to as his nephew. This section contains some interesting, ancient frescoes as well as a rather unusual collection of modern art, including pieces by artists such as Paul Klee, Francis Bacon and Max Ernst. This route comes to an end at the Vatican Library and leads out into a pleasant patio. The patio also connects with the Chiaramonti Museum and the Pio-Clementine Museum, both of which contain vast collections of invaluable objects. In one of the patios, you come across the famous figure of Laocoon. The piece dates back to the 1st century A.D. but wasn't discovered until the 16th century. The sculpture depicts the famous Trojan priest and his two sons as he battles a pair of enormous serpents. Before reaching the exit, you can choose to visit a number of other fascinating collections. Amongst these are the Egyptian Collection, dedicated entirely to this ancient civilisation, the Etruscan Collection and the collection in the Gregorian Profane Museum, all of which are located within the same area. A stop at the famous Pinacoteca, which could easily qualify as a museum in its own right and showcases paintings by Giotto, Lippi, Leonardo da Vinci, Raphael, Caravaggio and many others, can serve as the perfect conclusion to your visit. The most memorable way to leave the Museums is via the famous Simonetti Stairway, a spectacular, spiral staircase that has become yet another symbol of Vatican City.

Vatican Museums. Michelangelo dedicated many years of his life to painting the chapel's awe-inspiring ceiling. He painted alone, climbing up scaffolding and often using only one hand. It would take four, long years to complete the paintings, but in the end, the almost superhuman effort was worth it: the paintings, which depict episodes of the Genesis, are some of the most magnificent art pieces the world has ever known. The scenes include the Creation of Adam and Eve, the Flood, the Banishment from the Garden of Eden and many biblical characters, such as the Prophets, Sibyls and several Nudes carrying medallions with inscriptions from the Book of Kings. The series of paintings are almost overwhelming. The eye is not granted even a moment's rest, at times creating an almost unbearable sensory overload (a feeling that has even been given a scientific name - the Stendhal Syndrome). Michelangelo started without a precise vision of the final work, painting as ideas came to him, guided solely by his immense artistic genius. There exists a noticeable difference between the earlier, more modest and restrained section of the ceiling, and the later half, in which the colours are far more vivid and the figures more imposing. It is almost as if Michelangelo stopped midway and decided to shift the style of his great work, perhaps realising the immensely moving effect it would produce in those who gaze upon it. One of the most heart-wrenching paintings is

THE SISTINE CHAPEL The Sistine Chapel is, without a doubt, the most outstanding and world-renowned feature of the

the scene of the Last Judgement that Michelangelo painted onto the chapel's main wall. Many experts believe that this is the cornerstone of the chapel and that all of the other paintings revolve around this one, despite the fact that it was commissioned years after the ceiling had been completed. The artist spent six years on the piece, from 1535 until 1541, and created a stunning painting that shows the good souls ascending to heaven and the condemned being dragged into hell. The force of the work and vivid character of the figures is deeply moving, offering insight into Michelangelo's pessimistic worldview as well as his great artistic gift. Although Michelangelo's paintings are what the chapel is most famous for, the structure would still be a wonderful work of art without them. The paintings representing scenes from the life of Christ and Moses were created by artists as renowned as Botticelli, Perugino, Ghirlandaio and Signorelli, four of the greatest masters of Italian Renaissance art. Taking photographs in the Sistine Chapel is forbidden. However, there is no sign advising visitors of this fact, and the security guards are far too busy looking out for other transgressions, such as making sure that visitors don't touch the walls, sit on the floor or speak to loudly. Therefore, when a flash goes off, a voice comes over the speaker system, advising visitors in all imaginable languages that photography is forbidden in the chapel - by then, however, it is already too late. The Sistine Chapel is also the place where the Conclave meets after a pontiff's death to decide on a successor.

CASTEL SANT'ANGELO If you leave Saint Peter's Square and head straight down the Via della Conciliazione, you come to the Castel Sant'Angelo. Construction on this castle, which towers over the Tiber River, began in the year 123 A.D.. Nowadays it is considered one of the most well-known and recognisable Roman landmarks, no easy task considering the immense architectural wealth the city has to offer. The castle is a regal fortress crowned by the figure of an angel. More than mere adornment, this angel is actually the subject of a legend. The story comes from a time when the bubonic plague was decimating the city, and processions solemnly marched through the streets, praying for an end to the epidemic. One day Pope Gregory the Great saw an angel appear at the very top of the castle. He interpreted the heavenly apparition as a sign that the city's days of suffering were coming to an end. He ordered the construction of a chapel at the very top of the mausoleum to remember and honour the event. The castle now houses a museum, but its functions have varied quite dramatically over the centuries. The castle had been originally conceived as a mausoleum for Adrian, which was indeed its first function. From that time on, the castle was used for many, different purposes by each successive pontiff. Due to its structure, the castle often served as a fortress and refuge for the pontiffs during times of conflict, and it was also turned into a prison at one point. It now houses the military museum and has several halls adorned with frescoes from the 16th century.

INFO Musei Vaticani Viale Vaticano, 100 Tel. 06 69884947 Open Monday-Friday from 8:45am-3:20pm and Saturdays from 8:45am-12:20pm, March-October. Open Monday-Saturday from 8:45am12:20pm and on the last Sunday of the month from 8:45am-12:20pm, November-February. General admission: 12. Reduced admission: 8. www.vatican.va Museo Nazionale di Castel SantAngelo Lungotevere Castello, 50 Tel. 06 68119111 Open Tuesday-Sunday from 9am-8pm. General admission: 5. Reduced admission: 2,50 www.beniculturali.it

Via Veneto and Villa Borghese

Route 08

The area that stretches from the illustrious Via Veneto to the enormous, lush gardens of the Villa Borghese is one of the most elegant in Rome. Via Vittorio Veneto is more than a street, more than a collection of elegant cafs and upscale fashion - it is a symbol for everything associated with the Roman dolce vita. It is a cornerstone of an entire lifestyle, one that has been reflected on the silver screen time and again, especially in the films of director Federico Fellini. The films, however, also borrowed from real life, amplifying the legend of Via Veneto and carrying it around the world. It is a case of life imitating art and vice versa. In its heyday, Via Veneto was a playground for well-heeled intellectuals, wealthy socialites, celebrities and all of the city's "beautiful" people. But social trends and lifestyles change, even in the eternal city. Although the street has maintained its elegant veneer, it has lost much of its social splendour. Via Veneto is still a lovely street for a stroll, taking you from Piazza Barberini to the Villa Borghese, past upscale cafs and exclusive boutiques. But a sense of nostalgia lingers in the air, noticeable in how everything about the street reflects and remembers the glory of its past. The Piazza Barberini is adorned with two beautiful fountains by the baroque master Bernini. The more spectacular of the two is the Fontana del Tritone, which depicts a triton blowing into a meticulously rendered seashell. The second fountain, known as the

Fontana delle Api or the fountain of the bees, was erected in honour of the famous Barberini clan whose family symbol was this particular insect. The bee can be found on all of their family emblems and coat of arms, which embellish several facades throughout the city. The Palazzo Barberini, located on the square, is noteworthy for its gallery, the Galleria Nazionale d'Arte Antica, which includes pieces by artists like Raphael, Caravaggio, Guido Reni and Filippo Lippi. One of Rome's most peculiar churches isn't far from Piazza Barberini. The Santa Maria della Concezione Church isn't particularly interesting to look at; in fact, its exterior appearance is rather austere. It is what lies beneath the church, deep inside the subterranean level, that is far more interesting. Here you find a cemetery of the capuchin order of monks, a place that isn't for the faint-hearted. The skeletons of about 4,000 capuchin monks have been used to decorate the walls and the interior of the chapels, giving the cemetery a somewhat eerie and yet undeniably gripping atmosphere. Via Veneto comes to an end at the Villa Borghese, one of Rome's many splendid parks. The park once covered 75 hectares and was named after one of its owners, the famous cardinal Scipione Borghese Caffarelli. The state took charge of the park in 1902 and turned it into a beautiful collection of public gardens. It is an ideal spot for an afternoon out with the entire family. The zoo located inside the park is bound to thrill younger visitors whereas

older ones can enjoy a quiet afternoon next to the lakes or read in the shade of the ancient trees that dot the park. The daytime version of the park is family-friendly and peaceful - quite a striking contrast to the scene that plays out during the nocturnal hours when it becomes a popular hang-out for prostitutes and transvestites. Villa Borghese is also home to two of the city's most fascinating museums. The Galleria Borghese is the more popular of the two and contains one of Rome's most magnificent collections, carefully put together by the cardinal Scipione Borghese. The museum has two floors of which the first is dedicated to sculpture and the second to painting. The latter floor

is lined with paintings by masters such as Raphael, Botticelli and Titian. The gallery's greatest pride, however, resides in two magnificent sculptures by Bernini, Pluto and Proserpina and Apollo and Daphne. Despite the undeniable artistic richness of this collection, it was once even more glorious. The collection lost some of its lustre in the early 19th century when more than 200 pieces were sold to the Louvre in Paris. The Galleria Nazionale d'Arte Moderna also forms part of the museum complex in the Villa Borghese gardens. The museum is located in a building with a neoclassic facade, built for the 1911 World Fair in Rome. The permanent collection includes paintings and sculpture from the 19th and 20th centuries, and the

museum also hosts several temporary shows throughout the year. In the nearby Villa Giulia, you can visit the Museo Nazionale Etrusco di Villa Giulia. The exhibition consists of archaeological treasures from the Etruscan era found in the north of Lazio and Umbria. The collection includes a wide variety of objects, ranging from quotidian items to remains of carriages and other traditional pieces that offer an in-depth look at the Etruscan civilisation. There is even a perfectly reconstructed Etruscan tomb amongst the many displays. The most famous and valuable piece is the Sarcfago degli Sposi (the Sarcophagus of the Wives), which dates back to the 6th century B.C.

INFO Galleria Borghese Piazzale del Museo Borghese Tel. 06 32810 Open Tuesday-Sunday from 9 to 19h General admission 8,50 . Reduced admission 5,25 . www.galleriaborghese.it Galleria Nazionale dArte Moderna e Contemporanea Viale delle Belle Arti, 131 Tel. 06 322981 Open Tuesday-Sunday from 8:30 to 19:30h General admission 6,50 . Reduced admission 3,25 www.gnam.arti.beniculturali.it/gnamco.htm Museo Nazionale Etrusco di Villa Giulia Piazale di Villa Giulia, 9 Tel. 06 3200562 Open Tuesday-Sunday from 8:30 to 19:30h General admission 4 . Reduced admission 2 www.beniculturali.it

Other interesting sites in Rome

Route 09

TERMES DI CARACALLA The area surrounding the ancient Roman city centre contains other fascinating sites worth visiting. The Piazza Numa Pompilio, close to Circo Massimo, is most famous for the magnificent Termes di Caracalla, the most famous and largest baths in all of Ancient Rome. Construction on the baths began in the year

an impressive glimpse into ancient customs, but at night the area is mostly known for prostitution. In their heyday the baths could accommodate more than 1,600 people and were adorned with colourful marble and gilded stones. All that remains of the glorious decor are the mosaics, which have resisted both time and the frequent plundering of the baths. They cover exactly the same area as they did thousands of years ago, silent witnesses to the passing centuries. The ruins of the buildings provide clues as to their previous dimensions. Some of the impressive vaults, measuring 30 metres in height, are still standing. The only evidence of other spaces, such as the gym, library, leisure centre and caldarium (a hot water and steam bath), are the explanatory panels. But with just a little imagination, you can look onto the ruins and imagine what life was like in the past and the daily rituals that took place here. VIA APPIA ANTICA The Via di Porta San Sebastiano begins at the Termes di Caracalla and leads to the portal of the same name. Nowadays, the portal stands at a busy intersection where the many, different streets running parallel to the ancient city wall converge. In the past, however, this portal was one of the city's landmarks. The Museo delle Mura di Roma (Museum of the Roman City Wall) is located next to the portal and houses all of the documentation that has been found and collected with regards to the wall's cons-

truction. At the height of Ancient Rome's glory, the wall measured 20 km in length and had 18 portals that led into the city. A construction project is currently underway to ensure the preservation of the ancient city wall, which means that walking along the top is no longer permitted. In the past, this was one of the most pleasant ways of getting to know this bit of Roman history and hopefully the restoration process will make this a possibility once again in the future. After crossing through the Porta San Sebastiano, the only walking option in this part of the city is along the Via Appia Antica. Sundays are the best day to tackle this section of the city since a sizeable stretch of the street is closed to traffic. On other days, a stroll down the Via Appia Antica can be anything but pleasant since the sidewalk is narrow and uncomfortable and the traffic is incessant and prone to the notoriously fast and reckless driving Roman motorists are famous for. History buffs will be delighted by this walk, because many of the key landmarks of Christian Rome can be found along this road. The first noteworthy site is the Domine Quo Vadis Church. The church's peculiar name is derived from an exchange between Peter and Christ. Peter encountered Christ at this point on the road and asked him the famous question "Lord, where are you going?". The footprints imprinted into the church's floor were supposedly left there by Jesus Christ as he walked towards Rome. At this point, the most interesting route to

212 A.D. and although the passing centuries have stripped them of much of their splendour, a visit still provides a clear picture of how truly magnificent they once were. Nowadays, the site is used for concert performances and other events. One of the most famous is the celebrated opera festival that stages shows at this historic spot during the months of July and August. Other sections of the baths have fallen on harder times. During the day they still offer

Shelley and the son of Goethe. Nowadays, the Monte Testaccio is one of the city's liveliest areas, both during the day, when shops and schools are open and buzzing with activity, and at night. It is a popular nightlife spot, filled with theatres, cinemas and dance clubs, some of which are located inside the old, converted warehouses that once stocked the olive oil and wine traded by imperial merchants. EUR Ancient Rome and the Renaissance are the two periods that come to mind when you mention Roman history and architecture. But there are other historical eras that exist in this city and can be read and reconstructed through the architecture they left behind. During the reign of Dictator Benito Mussolini, many under- or undeveloped areas in Rome where given new investment and infrastructure. Other areas weren't built up from scratch; instead, older architecture was destroyed to make way for new construction that met the needs of the governing powers and celebrated the futurist aesthetic championed by the fascist regime. This gave birth to some of the city's most celebrated streets, such as the Via dei Fori Imperiali (between the Forums), the street around the Coliseum and the Piazza Vittorio Emmanuelle II. The latter required the destruction of an entire stretch of land between the Forums so that Mussolini could perform his military parades in a space that symbolised the glorious power of Ancient Rome. In addition to these streets, Rome has an entire neighbourhood that reflects this particular architectural style. EUR, the neighbourhood's name, stands for Esposizione Universale di Roma, an event that was planned for 1942 as a celebration of Mussolini's twenty years in power. The exposition never took place due to the advent of World War II, which also significantly delayed construction on the EUR project. The neighbourhood wasn't completed until the middle of the 20th century. The residential neighbourhood is well-connected with the city centre, both by bus and underground (there are two stations that serve EUR).

follow is Via Ardeatina (which later intersects with the Via Appia Antica again), the site of the most important catacombs that are open to the public. The catacombs are underground funerary chambers, built for the celebration of Christian burials. Along Via Ardeatina, you can visit the catacombs of Domitilla, San Callisto and, further to the south, San Sebastiano. It is often claimed that the catacombs were built as hiding places for persecuted Christians. Whereas it is true that Christians used the catacombs to elude their persecutors, this was not the main function of the catacombs. Roman law at the time explicitly forbade burials within the city; the catacombs were built underground in order to evade the law and hide the funerals from public view. The Vicolo delle Sette Chiese will bring you back to the Via Appia Antica, which now continues in a straight trajectory towards the Circo di Massenzio. If you are doing this walk in the summer, it is important to bring along water and other refreshments since the itinerary is long, the weather is bound to be hot and during certain hours of the day the bars and restaurants along the street are closed. The route's closing attraction, the Circo di Massenzio, makes the effort and the exhaustion well worth it. This massive racetrack once seated 10,000 spectators, who gathered here to watch the popular and emblematic chariot races. Another interesting site in this area is the tomb of Cecilia Metella, which dates back to the year

10 B.C. and is in an astoundingly good state considering its age. The historical interest of the route reaches its zenith here; the remaining stretch still contains a few, scattered sites worth visiting, but they are of increasingly less historical importance. The later stretch of the Via Appia Antica is also a well-known and popular lover's lane. As dusk sets in, couples park their cars here, taking advantage of this secluded corner to enjoy some romantic moments away from prying eyes. MONTE TESTACCIO The Monte Testaccio is located across the river from Trastevere, on the other side of the Ponte Sublicio. The Via Marmorata leads up to this popular area, which is rather different from the urban centre along the Via del Corso and the Quirinale, allowing you to experience yet another facet of this incredibly diverse city. Monte Testaccio is the name of a hill (nowadays a park) that served as the entrance to the ancient Roman city. During the imperial age, this was a predominantly commercial area, known for its wine and olive oil trade. Later on, during medieval times, the hill was site of the Goichi di Testaccio (the Testaccio Games), which were presided over by the Pope. During the course of the games, which usually included tournaments and animal races featuring bulls, bears and pigs, the Testaccio became the centre of city life. Towards the end of the 19th century, Monte Testaccio attracted many construction workers and their families who built their homes on the hill. Interestingly enough, the hill is now considered one of the most expensive residential districts in all of Rome. The monuments on the Monte Testaccio aren't of any particular historical importance, but they are amongst Rome's most curious. One of area's most unusual architectural pieces is the Pyramid of Caius Cestius - a miniature version of the Egyptian pyramids, built to house the remains of its namesake, the city official Caius Cestius. The Protestant cemetery is also located within this area, home to the tombs of several renowned individuals, such as the poets Keats and

The most representative landmark is the Palazzo della Civilt del Laboro, which translates as The Palace of Labour but is popularly referred to as the Square Coliseum. One look at the facade, decorated with arched windows reminiscent of the Coliseum and numerous statues, explains the nickname. Currently, the building's interior is being renovated, but the facade is perfectly visible and not affected by the work in progress. When Rome hosted the Olympic Games in 1960, EUR captured the spotlight. It was turned into the Olympic headquarters, chosen because of its perfect location outside of the city centre and removed from heavy traffic, and the space it provided for building athletic facilities. During this time, the Pallazzo dello Sport was constructed; a massive arena with an athletic field that could accommodate 20,000 people. It is still used nowadays, mostly for large events such as pop concerts or political conventions. Close by and visible from most corners of the neighbourhood, stands an

enormous, oddly shaped water tank, which is known by the nickname The Mushroom. The upper section of the tank is taken up by a restaurant, which offers a spectacular view on to the city. The neighbourhood was built over many decades, which means that not all of the sections reflect a fascist and militaristic aesthetic. Taken together, the architectural complex is a reflection of Italy at its most modern, governed by a rigid, cool aesthetic consisting of straight lines, glass, steel and concrete. It is a different side of the eternal city, one that is perhaps far from the first and most common impression provided by guide books. However, it is as much a part of Rome as the ancient ruins and endows the city with yet another facet of its unique personality. However, the most interesting places in EUR are the museums. The Museo Nazionale Preistorico-Etnografico Luigi Pigorini (National Prehistoric and Ethnographic

Museum) contains an impressive collection of prehistoric tools from all of the four continents (Africa, Asia, Australia and America). The Museo della Civilt Romana brings together a variety of artefacts from Ancient Rome, including a number of models and different reproductions. They are rather unusual in character, such as entire temple facades that have been reconstructed in the museum or curious documents, such as an edict issued by Emperor Diocletian regarding an unjustified price hike during the imperial era. The Museo dell'Alto Medievo continues this journey back in time with a fascinating collection of medieval art and artefacts. The Museo delle Arti e Tradizioni Popolari (Museum of the Traditional and Popular Arts) provides a look at cultural traditions throughout Italy. Here you can find everything from traditional artefacts and handicrafts to popular games and even a perfectly reconstructed, authentic Venetian gondola.

USEFUL ADVICE

Documentation Citizens of the EU do not need a visa to travel to Italy and may remain in the country for an unlimited amount of time. A valid identity card or passport is required to enter the country. Language Italian is the official language, but given Rome's popularity as a tourist destination it isn't difficult to get by in most other languages. English is probably the best alternative if you don't speak the local language, and anyone with a good grasp of Spanish will have no problem understanding and communicating with most Italians. Currency The Euro is Italy's official currency. Climate The climate is Mediterranean and therefore generally mild, but it isn't unusual for temperatures to climb over 40C at the height of the summer. Most of the rainfall comes in spring and autumn, but the heat can provoke classic summer downpours during the month of August. In terms of what to pack, make sure to bring along a hat or sunglasses, especially if you are travelling in the summer, since the days are usually bright and sunny. The temperatures tend to cool down later in the day, making for very pleasant evenings. If you visit Rome in the winter, bring along a coat. Even though the city generally has mild temperatures throughout the year, it can become a tad chilly in the winter. Business Hours Although business hours are getting longer and longer during the day, most shops are still generally open from 9am to 1pm and from 3:30pm to 7:30pm. Almost all shops are open on Saturdays, and a few are closed on Mondays. Since tourism is active throughout the year, most businesses will close for their summer holidays during the month of August. Disabled People Comfortable access for disabled people is still a pending challenge for the city. Except for the Vatican, where streets and museums have generally been adapted to the needs of physically disabled people, a stroll through the rest of the city can still prove rather complicated. Most churches, museums and archaeological

sites have a lot of stairs (even in the outlying areas), making wheelchair access somewhat difficult. Where to stay Rome has a wide array of accommodation options, allowing each visitor to make a choice based on personal taste, location, length of stay and, it goes without saying, budget. A cheap hotel (Italian pensione) is a popular option amongst budget travellers. Most of these hotels can be found around the Termini train station. This is not a particularly recommendable area, particularly the southern part at night, and it definitely doesn't exude the romantic charm most people seek when visiting Rome. If you are on a tight budget, you can also opt for a youth hostel, a very popular choice amongst young people who prefer spending their money on enjoying the city and only want a decent place to sleep. The most well-known youth hostel in the city is the Ostello Foro Italico, located on Viale delle Olimpiadi, 61, which is a comfortable place to stay at, albeit slightly outside the city centre. The YWCA on Via Cesare Balbo, 4 is closer to all the tourist attractions, but it locks up at midnight, meaning that night owls should definitely cross it off their list. The Bed & Breakfast model has also caught on in the Italian capital, especially since the Jubilee brought countless pilgrims to the city in the year 2000. The hotels and apartments couldn't accommodate the massive influx of visitors, which is why many locals opened their homes to visitors. This is usually a comfortable option, but it does mean having to adjust to the rules and schedule set by the owners of the house. The prices tend to be cheaper than those of a hotel and usually include a bedroom and breakfast in a clean and usually pleasant environment. If you are planning a longer stay or are travelling in a group, renting an apartment might be the ideal option. Apartments are usually not cheap, especially if located in the centre or popular tourist areas, but they are a comfortable form of accommodation and as they include a kitchen, you can always save money on meals by eating at home. Apartments vary gre-

atly in style and quality, ranging from tiny to absolutely luxurious. As always, your personal criteria and budget will determine the choice of apartment. The Centro Storico (historic centre) is full of hotels of all categories, ranging from extravagantly luxurious to more modest fare. This area contains most of the monuments, museums and tourist attractions, making it a good option for anyone keen on saving time and seeking a quality accommodation. However, you should be cautious when selecting a hotel. Roman hotels are classified according to stars (1 to 5), but the stars are not always directly related to the quality and comfort provided by the accommodation, but rather to the number of services offered, even if those leave much to be desired. It would be impossible to list all of the hotels in Rome. We have therefore decided to mention a few that stand out within their respective categories. Any discussion of the most luxurious hotels in the city must include the Hassler Villa Medici, a five-star luxury hotel located on the Piazza Trinit dei Monti, next to the Spanish Steps. Although the hotel's luxury and decor might strike some as excessively decadent, it is one of the city's treasures and has housed illustrious guests like the royal families of Sweden, Greece and Great Britain. Other less aristocratic but no less glamorous guests have included Hollywood legends like Elizabeth Taylor and Francis Ford Coppola. This hotel isn't within everyone's budget of course, but taking a look around doesn't cost a cent and the entrance lobby is definitely a sight worth seeing. Another high budget hotel is the Holiday Inn Crowne Piazza Minerva, located in the square of the same name, close to the Pantheon and Bernini's Elefantino statue. Situated within a real 17th century palace, the hotel sports an interior redesigned with great aplomb by the artist Paolo Portoghesi. The rooms are spacious and exquisitely decorated down to the smallest detail. The splendid Venetian glass that adorns the inside of the hotel is truly an artwork in and of itself. The hotel Lord Byron, located at Via G. de Notaris, 5, lies beyond the Villa Borghese and therefore a little outside the centre. The hotel was built in what was once an old monastery

and thus combines luxury with absolute tranquillity. In spite of the steep rates, it is difficult to find an available room since the hotel only has 47. Even if you can't book a room, you can always dine at the hotel restaurant, Le Jardin, one of the most prestigious in all of Rome. The further out from the centre you get, the easier it is to find hotels with reasonable rates. For example, the Hotel Lady, in the outskirts of the Vatican, is a budget hotel that has maintained much of its original dcor and charm. Located at Via Germanico, 198, this no-frills hotel features a pleasant ambiance and spotlessly clean rooms. Where to eat Restaurants, street vendors, trattorias, pizzerias, ice-cream shops...Rome is a veritable paradise for anyone with a passion for great food. And not only pasta lovers will find something to tickle their palate - in a city so rich in tourism, you will find a wide variety of international cuisine: Chinese, Vietnamese, Thai, Indian, Japanese and many more. It seems difficult to imagine, however, that anyone visiting the Italian capital could resist indulging in a pasta dish, an oven-baked pizza or a delicious selection of Italian cheeses. Rather than discuss the almost infinite variety of the countless restaurants in this city, it might be more interesting for the visitor to know what kind of food predominates in each of the Roman neighbourhoods. Once you are there, it is just a question of choosing the place that best suits your fancy. One of the classic areas to go for lunch or dinner is Trastevere. Although the area is still undeniably charming, many of the pizzerias and trattorias here have lost much of their authenticity. Due to the vast influx of tourists, many establishments have opened purely out of financial interest and have little to no experience in the culinary arts. There still are, however, a few authentic gems, such as Da Augusto, on Piazza de Renzi, which offers excellent value for money and stands out for its pleasant and cheerful service. If there is a place to avoid in terms of restaurants, it is the area surrounding the Termini station. Tourists often fall victim to high prices and poor quality food. If you do find yourself in the neighbourhood and feel the need for a quick bite, a panini or a pizza al taglio (pizza slices) is always a safe bet. That way you won't be met with any nasty surprises in terms of food or price! The restaurants in the centre tend to be pricier, but the options are manifold. Piazza Navona and Campo di Fiori are some of the most recommendable destinations, where the atmosphere more than makes up for the increase in prices. The areas surrounding the Vatican are home to reasonable restaurants serving good food, especially the further you move away from more touristy places like the Piazza San

Pietro and the Castel Sant'Angelo. When it comes to desserts, Rome is nothing short of a paradise. It will be almost impossible to resist having an Italian ice-cream, and if you want to indulge in a true classic, then opt for the Gelateria Giolitti. Here you will find a thousand different flavours in almost as many different forms (cups, cones, etc.). You will have to get your ice-cream to go since the tables tend to be reserved for guests having a more substantial treat (slices of cake, etc.). Therefore, the vast majority of people simply sit down on the curb and leisurely enjoy their ice-cream, making the atmosphere along the Via degli Uffici del Vicario number 40 exceptionally pleasant during the summer months. Another word of advice - when the ice-cream vendor asks if you'd like "panna," make sure to say yes. Your ice-cream will be served with a mountain of whipped cream, which is an absolutely decadent delight. By the way, apparently Pope John Paul II had a penchant for a particular chestnut flavoured ice-cream served at this establishment. Finding a great cup of coffee is an easy task, but there are two places that top everyone's list of great Roman cafs. The Caffe Greco, on Via Condotti close to Piazza Spagna, is one of them - that is, as long as you are willing to pay an average of 6 per cup. If you are more budget conscious, but don't want to sacrifice quality then stop in at the Tazza d'Oro, right next to the Pantheon. They serve what is possibly the best espresso in all of Rome and, even though it seems hard to believe given the quality and location, the caf is one of the most reasonably priced in the city. Nightlife Roman nights are pleasant, fun and cater to just about every liking. The ambiance isn't as sophisticated as in other European cities; in fact, summer nights are usually spent on the streets, the squares and anywhere outdoors. That being said, the city offers a variety of nightlife options so that every visitor can enjoy their idea of nocturnal fun. Anyone who knows trendy clubs in cities like London, Barcelona or Berlin will not come across anything new in Rome, but that doesn't mean there isn't anything going on. The city might not be a trendsetter, but it does follow those who are. Therefore, you can head out for a night of dancing at fashionable nightclubs and discotheques that groove to the sounds of grunge, house or disco, depending on your preference. Admission and dress code depend entirely on the night in question. It is therefore a good idea to find out what kind of night is being promoted before heading to the club and being met with a dose of disapproval from the bouncer. It is difficult to list and compare clubs since trends come and go and the "in" places change from season to season. In terms of areas, Trastevere is still one of the leading neighbourhoods when it comes to

nightlife, particularly as far as cocktail bars are concerned. Testaccio is seen as a more alternative place that skirts mainstream trends, whereas the areas around Piazza Navona and the Pantheon house several establishments that are as elegant as they are hip. Shopping Shopping in Rome is diverse, fun and at times exhausting. Italian fashion ranks amongst the best, but Rome is a city where you can find just about anything, especially if you are looking for quality rather than the best deal. The most typical shopping area for anyone seeking clothes and fashion is located between Via del Corso, Piazza di Spagna and Via del Babuino. Along Via Condotti you will find the most high-end names such as Prada, Gucci and Armani as well as other brands that might not make the catwalk, but produce fashionable quality clothing at more affordable prices. On Via del Babuino, as well as on Via Giulia and Via dei Coronari, there is an abundance of antique shops, where bland pieces mingle with real and highly valuable artworks. Anyone with a good working knowledge of antiques will find this area fascinating; everyone else should probably resist making a purchase, even though taking a look around is almost comparable to visiting a museum. Handicrafts, such as costume jewellery, paintings and handmade objects, can be found around Piazza Navona, the Pantheon and Campo di Fiori. Although it seems hard to believe that department stores could compete with such an overabundance of choices, they do exist. The Rinascente, on Via del Corso and Piazza Fiume is one of the most famous of its kind. Markets are another excellent shopping destination, providing insight into the bustling Roman character. The Porta Portese market, on Via Portuense in Trastevere, specialises in second hand objects and is one of the largest in all of Europe. The market is open every Sunday morning. For a completely different ambiance and to buy fruits and vegetables head over to the Campo di Fiori on weekday mornings from Monday to Saturday. The San Cosimato market in Trastevere, which offers the same kind of products, is also very popular and, depending on what you buy, much cheaper. Festivals and celebrations Roman festivals are a constant facet of city life, particularly once spring and the warm weather arrives. The main city festivals take place out on the streets, and when they aren't religious or traditional in nature, they tend to be cultural events. In January, the main festival is New Year's Day, celebrated with a massive procession along the catacombs in which participants carry lit candles. January 6th hails the arrival of Befana the witch. The children await her visit every year

and get candy if they have been good and a lump of coal if they haven't. A few weeks earlier, Rome gets dressed up for Christmas. The streets are festively adorned, and the churches set up representations of religious scenes. March 19th features San Giuseppe as the protagonist. The church of the same name, located to the north of the Vatican in the Trionfale neighbourhood, and its surroundings fill with people flocking to the market and enjoying a classic fried pastry known as fritelle, which is distributed throughout the area. Due to the religious nature of the city, the Easter Week and Holy Week are two of the most important events in Rome. Although their celebration always depends on the Christian calendar, they tend to take place in March or April. On Good Friday, in remembrance of the Stations of the Cross of Christ, an impressive procession led by the Pope makes its way through the city, all the way to the Coliseum. Easter Sunday also features the Pope in the spotlight as he gives the classic blessing to his parishioners from the Piazza San Pietro, an event that is often televised across half the world.

Coinciding with the advent of spring, Rome celebrates its Mediterranean climate and organises the Festa Della Primavera. This is when a visit to Piazza Spagna is an absolute must since its enormous staircase is filled with pink azaleas. On April 21st, Rome celebrates the city's historical founding. This is the city's birthday, Il Natale de Roma, which is celebrated with concerts, pyrotechnic shows and different cultural activities. Another historical holiday, this time in commemoration of Rome's liberation by the allied forces at the end of WWII, is the Festa de la Liberazione. It is celebrated in May, as are the International Equestrian Games, one of Rome's most important shows in which horses perform jumping competitions in the gardens of the Villa Borghese. June is the month of Saint Peter and Saint Paul, since the 29th is their official holiday. Most of the city's businesses close on this day and several masses and other religious services are held in the churches dedicated to these saints as well as in the Vatican. Summer is another reason to celebrate, as demonstrated by the Estate Romana. It begins

in June, but continues throughout the entire summer until September with a full programme of concerts, theatrical performances, operas, outdoor film screenings, etc. Most Romans go on holiday during these months, so this cultural event largely benefits tourists. July is particularly well known for the operas staged at the Termes di Caracalla. The Festa del Noantri is one of the most noteworthy events to take place in Trastevere in July. It continues until mid-August, reviving an ancient local neighbourhood worker's tradition (although their numbers shrink every year) in which wine and food are served on the street. August also shines a spotlight on Santa Maria Maggiore and recalls the founding of the church, alluding to the "miracle" that occurred in the area, which - according to legend - caused snow to fall in the middle of summer. In October, the Ottobratta Romana fills Trastevere with cultural events throughout the month, and in early December, the Settimana dei Beni Culturali (celebrated throughout Italy) grants free admission to all archaeological attractions and state-run museums.