SIXTUS BRIDGE

PONTE SISTO

Piazza Trilussa/Via dei Pettinari

Part of an arch is ancient: maybe part of the Bridge of Agrippa, built before 12 BC, or of the AURELIUS or “ANTONINUS” BRIDGE built in 147 AD for Antoninus Pius (138/161) or Caracalla (211/217), who was actually called Marco Aurelius Antoninus

It was restored in the years 366/367 by the prefect Lucius Aurelius Avianus Symmachus under Valentinian (364/375 with Valens and Gratian) and called the Bridge of Valentinian until 589 when a flood of the River Tiber destroyed it

Since then it was called tremulous BRIDGE, BROKEN BRIDGE or GIANICOLENSE BRIDGE

It was rebuilt in 1473/75 maybe by Baccio Pontelli (about 1450/92) for Sixtus IV Della Rovere (1471/84). He incorporated the ruins of the ancient bridge in the new construction and used materials taken from the Colosseum

The bridge was financed with money from the taxes levied on the “public whores” or prostitutes under the control of the church

One of the pillars was restored in 1567 by Matteo Bartolani da Città di Castello (about 1527/about 1598) for Pius IV Medici (1559/65)

In 1998 the parapets were rebuilt according to the original design and the damaged metal walkways added in 1877 were removed

It is 108 m (354 feet) long and 11 m (36 feet) wide

It seems that Sixtus IV had decided to build the bridge because when he was still a cardinal he had lived in the Convent of S. Salvatore in Onda in Via dei Pettinari and so he knew well how the construction of the new bridge would have facilitated communications in this area of ​​Rome

It is the only bridge in Rome constructed between antiquity and the nineteenth century

HOSPITAL HOLY SPIRIT IN SAXIA

OSPEDALE S. SPIRITO IN SASSIA

Lungotevere in Sassia 1

Schola Saxonum built for Ina king of the Saxons in 727 to assist his compatriots the English pilgrims of Wessex, the south-west of England

Though not yet then a hospital in the modern sense, it is considered the first hospital in Europe

In 1050 resided here as an illustrious pilgrim King Macbeth of Scotland, later immortalized by Shakespeare's play

After the Battle of Hastings in 1066 and the Norman occupation of England pilgrims dwindled drastically and the structure declined

Rebuilt in 1198 maybe, according to Vasari, by Marchionne Aretino at the behest of Innocent III of the Counts of Segni (1198/1216) and formalized in a Papal Bull in 1204

It was given to Guy of Montpellier, who had established the HOSPITALLER ORDER OF THE HOLY GHOST for the care of abandoned children, orphans and illegitimate

Rebuilt after being destroyed by fire and extended in the years 1473/78 for the Jubilee of 1475 maybe by Baccio Pontelli (about 1450/92) for Sixtus IV Della Rovere (1471/84) according to Giorgio Vasari

Vasari, however, seems to be contradicted by evidence documenting the presence of Baccio Pontelli in Rome shortly in 1477 and longer only after 1482

Expanded in the years 1665/67 with the SALA ALESSANDRINA (Alexandrine Hall) for Alexander VII Chigi (1655/67) parallel to the Sistine Ward and now used for conferences

The hospital enjoyed the proceeds of the Banco di S. Spirito (Bank of the Holy Spirit) founded in 1605 by Pope Paul V Borghese

ENTRANCE ARCH

1664 by Gian Lorenzo Bernini (1598/1680) that contains the portal of the end of 1400s maybe by Bregno Andrea (1418/1503)

To the left ARCH OF THE EXPOSED with spinning wheel where the unwanted children were left

From that moment they became children of the institute and were registered as matris ignotae. The contraction m. ignota generated the Italian word mignotta (bitch), certainly not a very nice way to describe a woman

It is believed that this custom began here in 1198 even if there is evidence only since the sixteenth century. In 1866 there were 1179 wheels all over Italy and they were abolished only after 1870

FAÇADE FACING THE RIVER rebuilt in the years 1926/28 by Luigi Lepri

To build the levees the 1744 extension of Ferdinando Fuga (1699/1782) was destroyed. Only the PORTAL maybe by Andrea Bregno and few items are original

BUILDING ON LUNGOTEVERE IN SASSIA 1927/33

VESTIBULE

On the altar of S. Job “Canopy” about 1546 maybe by Andrea Palladio (1508/80), altarpiece by Carlo Maratta (1625/1713)

SISTINE WARD

1473/78 maybe by Baccio Pontelli 120 m long (400 feet) and the two wings BAGLIVI HALL on the left and LANCISI HALL on the right

1,000 m² (10,800 square feet) of frescoes “Stories of Sixtus IV” of the fifteenth century by various artists of the Umbrian school

ORATORY OF St. MARY OF GOOD HELP

ORATORIO DI S. MARIA E DEL BUON AIUTO

Piazza di S. Croce in Gerusalemme/Via Nola

1476 for Pope Sixtus IV Della Rovere (1471/84)

According to tradition, Sixtus IV found refuge from a raging storm in a shrine with an image of the Virgin Mary

Once the danger was over he ordered that a church would be dedicated to that image with the title of Buon Aiuto (Good Help)

Fresco detached from the original shrine “Madonna with Child” maybe by Antonio Aquili aka Antoniazzo Romano (about 1435-40/1508)

CAPITOLINE MUSEUMS

MUSEI CAPITOLINI

Piazza del Campidoglio

Since 1471, the oldest museum in the world open to the public

It was an idea of Pope Sixtus IV della Rovere (1471/84) who donated to the people four bronze statues and displayed them publicly. So the modern concept of "museum" was born

The museum expanded with Leo X Medici (1513/21) and Pius V Ghislieri (1566/72)

Clement XII Corsini (1730/40) in 1734 inaugurated the Palazzo Nuovo (New Palace) built specifically as a museum, another new thing: it was the first time a building was built to house works of art visible to everyone, not just to the private owners of the building and their guests

It was expanded again with Benedict XIV Lambertini (1740/58) and between 1748 and 1750 the Pinacoteca Capitolina (Art Gallery) was opened, the oldest public collection of paintings in the world. The British Museum in London was opened in 1753 and the Louvre in Paris only in 1793

There were other additions after 1870 when Rome became the capital of Italy

In 2005 the last renovation called "Grande Campidoglio" (Great Capitol Hill) was completed. It lasted nearly a decade and was designed by the Dardi and Einaudi Studios, and, for the Roman Garden, by Carlo Aymonino (1926/2010)

A very articulated museum was therefore created, with the acquisition of new exhibition spaces, the reorganization of some areas and the reopening of closed sections with new exhibitions

The museum was also enlarged with the public opening of the Tabularium, connected to the other buildings through the Gallery Junction, the restoration of Palazzo Caffarelli and the acquisition of Palazzo Clementino, formerly used for offices

With the latest additions the museum cover an area of about 10,000 m² (108,000 square feet)

In 2008 it was visited by 452,232 people, still too few for one of the most beautiful and exciting museums in the whole world

BASILICA OF St. PETER IN CHAINS

BASILICA S. PIETRO IN VINCOLI

Piazza di S. Pietro in Vincoli

Built in the fourth century. It was originally dedicated to the apostles and it was built over one house (domus) of the third century

Rebuilt in the early fifth century by the priest Philip with the help and patronage of Eudoxia Minor daughter of Theodosius II, wife of Valentinian III (425/455) emperor for 30 years, son of Galla Placidia

Consecrated by Pope Sixtus III (432/440) in 439 when the name changed in the current one

According to tradition Eudoxia received from her mother the chains that held St. Peter prisoner in Jerusalem and then gave them to pope Leo I the Great (440/461) who held them close to those used for the imprisonment of St. Peter in the Mamertine Prison

The chains miraculously merged into a single chain. The new cult of the chains supplanted the pagan rite celebrated on the Kalends of August to commemorate the victory of the emperor in Egypt

Restored by Hadrian I in 780 (772/795)

Modified in the years 1467/71 by Sixtus IV Della Rovere (1471/84), who added to the left of the façade the PALACE OF THE TITULAR CARDINAL

Restored in 1503 by Julius II Della Rovere (1503/13), nephew of Sixtus IV

Modified at the beginning of the eighteenth century and in the second half of the nineteenth century

Here in 533 Pope John II (533/535) was elected, the first pope who changed his name after being elected. His real name was Mercury and certainly he did not consider appropriate the name of a pagan god for a pope. An inscription of him, formerly on the floor is kept in the left aisle

Also here on April 21, 1073 the archdeacon Hildebrand of Soana was elected pope with the name of Gregory VII (1073/85) there 

PORCH

About 1475, completed in 1505

Attributed by Vasari to Baccio Pontelli (about 1450/92) but maybe designed by Meo del Caprino or Giovannino de' Dolci (d. about 1486)

The façade was elevated in the years 1570/78

The GATE is from the time of Clement XI Albani (1700/21)

CENTRAL NAVE

COUNTER FAÇADE

Bricks original of the fifth century with novel structure of a rare type: arches on columns communicating with the narthex and five oculi above with the central one modified at the beginning of the eighteenth century

To the left of the entrance "Funerary Monument of Antonio Benci aka Antonio del Pollaiolo (about 1432/98) and of his younger brother Piero" made in about 1499 maybe by Luigi Capponi (active end of 1400s/beginning of 1500s)

Above the monument fresco "Propitiatory procession for the plague of 1476" from the workshop of Aquili Antoniazzo aka Antonio Romano (1452/1508) formerly part of the dismantled 1576 altar for the mosaic icon of St.Sebastian depulsor pestilitatis (winner of the plague)

TWENTY ANCIENT IMEZIO MARBLE COLUMNS (or Proconnesus marble) maybe from the nearby Portico of Livia

On the right side, between the 5th and 6th intercolumniation there are openings to expose the original floor

WOODEN CEILING

1705/07 Francesco Fontana (1668/1708) son of Carlo Fontana and Carlo Stefano Fontana's brother

Painting in the center "Miracle of the chains" 1706 by G.B. Parodi (1674/1730)

RIGHT NAVE

In a niche fragment of fresco "Head of the Redeemer"

1st RIGHT - ALTAR OF St. AUGUSTINE

"St. Augustine" believed to be a work of Giovanni Francesco Barbieri aka Guercino (1591/1666) but more likely of his pupil Benedetto Zalone

FURTHER AHEAD

"Tomb of Lanfranco Margotti" who died on 1611 with a portrait of Domenico Zampieri aka Domenichino (1581/1641)

2nd RIGHT - ALTAR OF St. PETER

"Liberation of St. Peter" copy of Pietro Santi from the original by Domenichino in the sacristy vestibule

FURTHER AHEAD

"Monument of Cardinal Girolamo Agucchi", who died on 1605, by Domenico Zampieri aka Domenichino, who maybe painted the portrait as well

RIGHT TRANSEPT

"Mausoleum of Julius II" Della Rovere (1503/13) completed in 1545 by Michelangelo Buonarroti (1475/1564)

It was commissioned in 1505, begun in 1513 after the end of the vault in the Sistine Chapel, left unfinished after three years of work: it was Michelangelo's "torment" for 40 years

Julius II is actually buried with his uncle Sixtus IV in the Chapel of Sts. Michael and Petronilla in St. Peter's Basilica

"To adapt the pieces of marble already cut for the new site, he opened a large lunette in the wall over which the grave had to lean, so that the light coming from the back as well as left and right, was to create an effect of spatial ambiguity. The idea was that the tomb wouldn't seem to be leaning against the wall, but it would stand high and freely in the air. This device, which anticipated a century of research by Bernini and Borromini about light inside monuments, was the best way not to give up entirely the idea of three-dimensional monument for which he had worked so hard" (Antonio Forcellino)

"Moses" conceived 1513/16, drafted 1517, reworked 1542 (25 years later!) when Michelangelo drew back the left leg and turned the head which originally was looking straight ahead. The statue is in a more advanced position compared to the original project

"The reasons were certainly artistic, but perhaps the choice of turning the face of the prophet was also the presence of the Altar of the Chains on the opposite side of the transept to where Moses was placed. This altar was the symbol of Catholic superstition and the foundation of that temporal power which continued to claim a Church that Michelangelo didn't recognize anymore. If Moses had looked straight ahead, he would have just laid eyes on the altar, while with the amazing change he was looking toward the light coming down from an open window just to his left and unfortunately now closed. The ray of light that illuminated his face, left arm and his horns, would have completed in a refined way the spiritual suggestion to which the entire monument alluded" (Antonio Forcellino)

On the right "Active Life" (aka Leah) and on the left "Contemplative Life (aka Rachel)" 1542/45 by Michelangelo finished by Raffaello da Montelupo (about 1505/57)

"The two figures seem to allude to the particular function that the theology of the Benefit of Christ, the guide book of the "Spirituals" of Viterbo, assigned respectively to faith and love in his attempt to mediate between conservative Catholicism and the Protestant Reformation. Faith saves and his fervor turns to the sky, where it seems to ascend like fire. Charity does not save, but it is equally appreciated for its ability to illuminate the truth of the feeling of faith, as flame reveals the heat of fire. The suggestion of Cardinal Reginald Pole to Vittoria Colonna effectively exemplifies this view: pray as if you would save for your faith, act as if you would save for your works. The sculptures of Michelangelo were crying this out to the whole world" (Antonio Forcellino)

"Julius II recumbent" by Michelangelo Buonarroti

Giorgio Vasari mistakenly believed it to be the work of Tommaso Boscoli who maybe only made the sarcophagus, but it was correctly attributed to Michelangelo, according to recent findings of Antonio Forcellino, the restorer of the work

"The highest point of the sculpture are definitely the hands, reaching a summit never reached by anyone in the gestures of the body. The hands in statues of popes, central focus of the funeral ceremony along with the face, have two options: blessing or resting. But Michelangelo cannot be satisfied with something that was already said before and invents hands that speak with their peculiar posture. These are yielding hands, hands aware of the futility and vanity of life works, because eternal destiny will not be determined by life works. These are hands telling the misery of men, even popes, and the immensity of God's mercy" (Antonio Forcellino)

"Madonna and Child" by Michelangelo Buonarroti attributed by Vasari to Scherano da Settignano who had only roughhewn the marble. It was then finished by Raffaello da Montelupo

"Prophet" and "Sybil" Michelangelo Buonarroti finished by Raffaello da Montelupo

"Marble plinths with telamons" by Jacopo Del Duca (about 1520/1604)

To left of the monument "St. Margaret" 1644 Giovanni Francesco Barbieri aka Guercino (1591/1666) with a dragon painted maybe by his brother Paolo Antonio Barbieri. It was stolen along with two paintings by Carlo Maratta that were on the sides and were never found. It was recovered in 1976

"Funeral monument of Giulio Clovio" who died in 1578 protector of El Greco. He was described by Vasari as the Michelangelo of the miniature

TRIBUNE

Frescoes on the left "St. Peter released from prison"

In the center "The Patriarch of Jerusalem Juvenal gives the chains to Eudoxia"

On the right "Eudoxia gives the chains to the pope"

In the vault of the upper basin six panels with "Stories of the crucifix of Beirut" 1577 by Jacopo Coppi aka Meglio

The story of the crucifix of Beirut was a legend of the eighth century: an image of Christ on the Cross, crucified again with contempt, issued blood miraculously

"Marble chair" maybe from the nearby Baths of Trajan

CANOPY and CONFESSION 1876 by Virginio Vespignani (1808/82)

In the MAIN ALTAR two doors in gilded bronze with bas-reliefs "Scenes from the life of St. Peter" 1477 by Cristoforo di Geremia or Ambrogio Foppa aka Caradosso

Statues "St. Peter" and "Angel" by Ignazio Jacometti (1819/83)

Urn of gilt bronze made in 1856 by Andrea Vici Busiri with chains that held St. Peter captive and that would be miraculously merged in the hands of Pope S. Leo the Great

In the CRYPT under the altar early Christian "Sarcophagus with scenes of the Gospel" from the period of Theodosius (379/395), found in 1876 with the alleged relics of the seven Maccabee brothers, Jewish martyrs of the second century BC, seen as precursors of the martyrs of Christ, whose cult was deeply felt in the fifth century

Frescoes "Stories of the Maccabean brothers" 1877 by Silverio Capparoni (1831/1907)

LEFT NAVE

LEFT TRANSEPT - CHAPEL OF THE HOLY SACRAMENT

Painting "Virgin and Child with Angels" 1880 by Luigi Bravi

Organ 1884 on a wooden structure made in 1686

"Monument to Cardinal Antonio Andrea Galli who died in 1767

"Inscription of John II (533/535)" the oldest evidence of the cult of St. Peter's chains formerly in the floor

IN THE NAVE

"Tomb of Cardinal Vecchiarelli" with two columns of portasanta marble and floors of inlaid polychrome marble by two anonymous Neapolitan sculptors

2nd LEFT - ALTAR OF St. SEBASTIAN

Byzantine mosaic "St. Sebastian bearded" about 680 restored 1682, the only existing representation of the saint as a bearded old man. He is represented, according to the epigraph on the right, as a protector from the plague, maybe in connection with the plague that had broken out in Rome just in 680

FURTHER ON IN THE NAVE

"Monument of Cardinal Cinzio Passeri Aldobrandini" (nephew of Clement VIII Aldobrandini - 1592/1605 - and patron of artists including Torquato Tasso) 1704/07 di Francesco Carlo Bizzaccheri (1655/1721) with the help of Pierre Legros (1666/1719) for the Prince G.B. Pamphilj

"It reaches the top of the late baroque splendor for the preciousness of the materials, taken from the Villa del Bel Respiro, for its ultimate freedom from structural architectonical conditions but, above all, for the complexity of the allegorical theme evoked in terms of strong emotional impact. The grim gesture of Death with scythe and hourglass, wrapped in the shroud behind the precious alabaster urn of flowers, is hyperbolic as much as the presence of the two cherubs on the front" (Alfredo Marchionne Gunter)

1st LEFT - ALTAR OF THE PIETÀ

"Deposition of Christ" by Cristoforo Roncalli aka Pomarancio (1552/1626)

TO THE LEFT OF THE ALTAR OF THE PIETÀ

"Tomb of Cardinal Nicholas of Cusa" who died in 1464 with bas-relief of "St. Peter among Cardinal Nicholas of Cusa and the liberating angel" 1465 maybe by Andrea Bregno (1418/1503) formerly in the altar of the Holy Chains which was originally located in the left transept. Below coat of arms with a lobster derived from the name of the cardinal

His name was Nikolaus Krebs born in 1401 in Kues, latinized in Cusa, known now as Bernkastel-Kues near Trier in Germany. Philosopher, scientist and humanist, he argued, against Ptolemy and Aristotle, that the earth is not still, but rotates around the sun and it is not possible to determine the center of the universe, which coincides with God and not a star

He also argued that the stars are similar to the sun, that they can have planets rotating around them and that some planets may be inhabited

He therefore produced many theories similar to those that Giordano Bruno would later proclaim

He was the titular cardinal of St. Peter's in Chains and he had the church restored

FURTHER ON IN THE NAVE

"Tombstone of Cardinal Sisto Gara Della Rovere" nephew of Julius II

SACRISTY

VESTIBULE

"Liberation of St. Peter" 1604 by Domenico Zampieri aka Domenichino (1581/1641)

"St. Augustine" by Pier Francesco Mola (1612/66). "Return of the Prodigal Son" maybe from the workshop of Pier Francesco Mola

SACRISTY

Marble altar of the fifteenth century with relief "Madonna and Child"

In the vault oval with "Liberation of St. Peter" surrounded by grotesque style decorations and four panels with "Miracles of St. Peter" 1580/81 maybe by Paris Nogari (about 1536/1601)

PALAZZO DELLA FACOLTÀ D'INGEGNERIA
Palace of the Faculty of Engineering

1885 Enrico Guj (1841/1905)

Completed 1916/25 G.B. Milani (1876/1940)

It was built on the right side of the church in the area of the former convent

It was the first modern university building in Rome after the Palazzo della Sapienza

Ancient cloister restored with the convent in 1651