Secret Rome: 7th Edition
An Unusual Travel Guide
Paperback | 17 March 2021 | Edition Number 7
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Paperback
400 Pages
400 Pages
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18.42 x 10.16 x 1.91
18.42 x 10.16 x 1.91
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Let Secret Rome guide you around the unusual and unfamiliar. Step off the beaten track with this fascinating Rome guide book and let our local experts show you the well-hidden treasures of an amazing city. Ideal for local inhabitants and curious travellers alike. The places included in our guides are unusual and unfamiliar, allowing one to step off the beaten track. Now in it's 7th edition, Secret Rome features 140+ secret and unusual locations.
Inside Secret Rome : Visit places closed to the public, admire exceptional works of art away from the tourist circuit, listen to a concert in a magnificent hidden oratory, have your dog or car blessed, puzzle over a rare catoptric meridian or a wonderful anamorphic fresco, discover the remarkable motorized Rubens, enter into the secrets of the Vatican, rediscover a lost Bernini masterpiece, say a prayer before an image of the Holy Face of Jesus like that deposited on the moon in 1968, organize a dinner for two in a private palace, protect your throat from the rigorous of winter ... Far from the crowds and the usual cliches, Rome is still a reserve of well-concealed treasures only revealed to those who know how to wander off the beaten track, whether residents or visitors. An indispensable guide for those who thought they knew Rome well, or who would like to discover the hidden face of the city.
Don't miss - Each chapter of this Secret Rome travel guide book corresponds to a different part of the city so that one can always find a hidden or secret place to discover. Perfectly planned walks - Make sure that you do not miss any Secret location, by discovering each one featured in this guide by planning a walking tour of each part of the city.
About the Authors
Ginevra Lovatelli is the author of the first version of this guide. She organizes original private tours to discover Rome.
Adriano Morabito is a Rome native who is still passionate about his city and its less well-known sites, began focusing his attention on urban speleology in 1999. He is one of the founders of "Roma Sotterranea," an association active in the exploration and study of underground tombs of historical and archaelogical interest.
Marco Gradozzi is also a Rome native who still lives in the Campo Marzio district, Marco Gradozzi has a passion for archaelogy, photography, music and folk traditions. He has been an active participant in the "Roma Sotterranea" association since 2007.
Inside Secret Rome : Visit places closed to the public, admire exceptional works of art away from the tourist circuit, listen to a concert in a magnificent hidden oratory, have your dog or car blessed, puzzle over a rare catoptric meridian or a wonderful anamorphic fresco, discover the remarkable motorized Rubens, enter into the secrets of the Vatican, rediscover a lost Bernini masterpiece, say a prayer before an image of the Holy Face of Jesus like that deposited on the moon in 1968, organize a dinner for two in a private palace, protect your throat from the rigorous of winter ... Far from the crowds and the usual cliches, Rome is still a reserve of well-concealed treasures only revealed to those who know how to wander off the beaten track, whether residents or visitors. An indispensable guide for those who thought they knew Rome well, or who would like to discover the hidden face of the city.
Don't miss - Each chapter of this Secret Rome travel guide book corresponds to a different part of the city so that one can always find a hidden or secret place to discover. Perfectly planned walks - Make sure that you do not miss any Secret location, by discovering each one featured in this guide by planning a walking tour of each part of the city.
About the Authors
Ginevra Lovatelli is the author of the first version of this guide. She organizes original private tours to discover Rome.
Adriano Morabito is a Rome native who is still passionate about his city and its less well-known sites, began focusing his attention on urban speleology in 1999. He is one of the founders of "Roma Sotterranea," an association active in the exploration and study of underground tombs of historical and archaelogical interest.
Marco Gradozzi is also a Rome native who still lives in the Campo Marzio district, Marco Gradozzi has a passion for archaelogy, photography, music and folk traditions. He has been an active participant in the "Roma Sotterranea" association since 2007.
CENTRE NORTH Hendrik Christian Andersen Museum . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Period elevator on the Pincio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 The Pincio water clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 The Dinner at ...mmaus in Santa Maria di Montesanto . . . . . . . . . . . . . . . . 21 The artists' church . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 The Trident: three routes for pilgrims to Rome . . . . . . . . . . . . . . . . . . . . 21 The first known grotesques of the Renaissance . . . . . . . . . . . . . . . . . . . 21 The cannon ball of Viale della Trinita dei Monti fountain . . . . . . . . . . . . . . 23 The anamorphic frescoes of Trinita dei Monti convent . . . . . . . . . . . . . . . 24 What is anamorphosis? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Trinita dei Monti convent sundial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Casino Boncompagni Ludovisi (Dell'Aurora Ludovisi) . . . . . . . . . . . . . . . 29 Villa Maraini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 The breasts of Bernini's "Charity" and "Truth" . . . . . . . . . . . . . . . . . . . . .35 The facade of Palazzo Zuccari . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 The marble flood gauge of Porto di Ripetta . . . . . . . . . . . . . . . . . . . . . . .39 The columns of Ripetta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Blessing of the throats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Why is Saint Blaise invoked to protect the throat? . . . . . . . . . . . . . . . . . 43 Innumerable relics of Saint Blaise . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 The ruins of Augustus' sundial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Poussin's tomb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Miraculous waters of the Madonna del Pozzo . . . . . . . . . . . . . . . . . . . . .47 Et in Arcadia ego . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Arcadia: a taste of paradise? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Mass in Aramaic at Santa Maria Church in Campo Marzio . . . . . . . . . . . . . .51 CENTRE WEST Piceni hospice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Palazzo Scapucci . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Tomb of Saint Anicetus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Why is Via dei Soldati (Street of the Soldiers) so named? . . . . . . . . . . . . . 57 Tour of the Angelica Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Private tour of Palazzo Sacchetti . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 The "sofas" on Via Giulia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 A failed project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Criminology Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Gonfalone oratory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Monumental hall of the Vallicelliana Library . . . . . . . . . . . . . . . . . . . . . . 69 The library trapdoor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69 The secret rooms of Saint Philip Neri . . . . . . . . . . . . . . . . . . . . . . . . . . .71 Why does the facade of the Oratory of Saint Philip Neri curve inwards? . . . 71 Spiritual concerts in Chiesa Nuova sacristy . . . . . . . . . . . . . . . . . . . . . 71 Saint Philip Neri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73 Saint Philip Neri and the pilgrimage to the seven churches of Rome . . . . . 73 The motorised Rubens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 The cover of the "Terrina" fountain . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Palazzo Pamphilj . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Private tour of Palazzo Patrizi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Dinner for two in the Patrizi Palace . . . . . . . . . . . . . . . . . . . . . . . . . . . .81 The private chapel of Palazzo Massimo alle Colonne . . . . . . . . . . . . . . . .83 Cappella Spada . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Saint Philip Neri's cell at San Girolamo della Carita . . . . . . . . . . . . . . . . . 85 Hypogeum cemetery of Santa Maria dell'Orazione e Morte church . . . . . 87 Esoteric symbols at Palazzo Falconieri . . . . . . . . . . . . . . . . . . . . . . . . .89 The Ouroboros: a symbol of divine illumination . . . . . . . . . . . . . . . . . . . .92 The optical illusion of the fountain in the Piazza Capodiferro . . . . . . . . . . 95 The "noble floor" of Palazzo Spada . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 Monte di Pieta chapel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Bees at the Casa Grande . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100 Abandonment of a great palace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 The abandoned infants bas-relief . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 CENTRE SOUTH Crypt of the papal entrails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104 A hidden door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 A lay woman on a church facade . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105 The stag of Sant'Eustachio church . . . . . . . . . . . . . . . . . . . . . . . . . . .107 Saint Eustace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Rose petals at the Pantheon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Plaque condemning the "vile taverns and their loathsome ugliness" . . . . 109 Scar on a marble column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111 Accademia d'Armi Musumeci Greco . . . . . . . . . . . . . . . . . . . . . . . . . . 113 The church of Sant'Ignazio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115 The apartments of Saint Aloysius Gonzaga . . . . . . . . . . . . . . . . . . . . . 115 The monumental hall of Collegio Romano . . . . . . . . . . . . . . . . . . . . . . 117 Museo Athanasius Kircher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119 Biblioteca Casanatense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 The hidden symbolism of Bernini's elephant-obelisk . . . . . . . . . . . . . . 123 The unrequited love of Lorenzo de' Medici: an inspiration for Poliphilo and Shakespeare? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124 Poliphilo's Dream of the Strife of Love . . . . . . . . . . . . . . . . . . . . . . . . . .125 What does Hypnerotomachia mean? . . . . . . . . . . . . . . . . . . . . . . . . . .125 Flood plaques at the church of Santa Maria sopra Minerva . . . . . . . . . . 126 The oldest flood plaque in Rome . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127 122 commemorative flood plaques . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Why were there such frequent floods? . . . . . . . . . . . . . . . . . . . . . . . . 127 Hidden symbolism of the tomb of Andrea Bregno . . . . . . . . . . . . . . . . . 128 Sanctuary of Our Lady of the Small Arch . . . . . . . . . . . . . . . . . . . . . . . .131 Hidden message of the Holy Apostles . . . . . . . . . . . . . . . . . . . . . . . . .132 Princess Isabelle's apartment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 The Palazzo Colonna cannon ball . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 The holy face of Jesus at Santo Stefano del Cacco . . . . . . . . . . . . . . . . .137 Berardi's water clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 The irregular facade of Palazzo Altieri . . . . . . . . . . . . . . . . . . . . . . . . . 139 The boarded-up window at Palazzo Mattei . . . . . . . . . . . . . . . . . . . . . . 141 Why is it often windy in Piazza del Gesu? . . . . . . . . . . . . . . . . . . . . . . 141 The piano nobile of Palazzo Mattei di Giove . . . . . . . . . . . . . . . . . . . . . 143 Institute of the Italian Encyclopaedia . . . . . . . . . . . . . . . . . . . . . . . . . 145 Outline of the former ghetto fountain . . . . . . . . . . . . . . . . . . . . . . . . . 146 Inscription at Palazzo Manili . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Palazzo Costaguti's walled-up entrance . . . . . . . . . . . . . . . . . . . . . . . 150 A palace of unsuspected magnificence . . . . . . . . . . . . . . . . . . . . . . . . 150 Marble slab stipulating the size of fish . . . . . . . . . . . . . . . . . . . . . . . . 151 Vestiges of the old fish market . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151 Monastero di Santa Francesca Romana di Tor de' Specchi . . . . . . . . . . . 153 Cages of the wolf and the eagle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Hole in the facade of Santa Maria in Aracoeli . . . . . . . . . . . . . . . . . . . . 157 The Hidden Treasures of Roman Banks . . . . . . . . . . . . . . . . . . . . . . . . 159 THE VATICAN & SURROUNDING AREA The Pope's railway . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 The Longinus Lance at Saint Peter's . . . . . . . . . . . . . . . . . . . . . . . . . 165 The lance that pierced the side of Christ on the Cross: a fervently disputed relic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 The veil of Veronica at Saint Peter's . . . . . . . . . . . . . . . . . . . . . . . . . . 167 The extraordinary saga of Veronica's veil . . . . . . . . . . . . . . . . . . . . . . 167 The cult of Christian relics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 21,441 relics for 39,924,120 years of indulgences! . . . . . . . . . . . . . . . .169 When saints are not so holy: Saint George, Saint Christopher, and Saint Philomena struck from the list . . . . . . . . . . . . . . . . . . . . . . .169 Relics of the feathers of the Archangel Michael, the breath of Jesus, and even the starlight that guided the three Wise Men! . . . . . . . . . . . . . 169 Acheiropoietic works of art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Indulgences: "As soon as the money clinks in the collection-box, the soul flies out of purgatory ." . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Souls in Purgatory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Symbols of motherhood on the high altar of Saint Peter's . . . . . . . . . . . .175 Symbolism of the Fontanella delle Tre Tiare . . . . . . . . . . . . . . . . . . . . . 176 Why are the keys a papal symbol? . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Saint Peter's meridian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 Passetto arches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Headquarters of the Order of the Holy Sepulchre . . . . . . . . . . . . . . . . . 183 Restaurant la Veranda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 National Museum of the History of Medicine . . . . . . . . . . . . . . . . . . . . .185 Monumental complex of Santo Spirito in Sassia . . . . . . . . . . . . . . . . . . .187 The Italian clock of the Palazzo del Commendatore . . . . . . . . . . . . . . . . 189 What is the origin of "Italian" clocks? . . . . . . . . . . . . . . . . . . . . . . . . . 189 The foundlings' wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 What is a foundlings' wheel? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Museum of the souls in purgatory . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Palazzetto Bianco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 The optical illusion of Via Piccolomini . . . . . . . . . . . . . . . . . . . . . . . . . .195 GIANICOLO Bosco Parrasio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 The Accademia dell'Arcadia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Arcadia: an esoteric taste of paradise? . . . . . . . . . . . . . . . . . . . . . . . . 199 Janiculum hill: The true location of Saint Peter's crucifixion? . . . . . . . . . 201 The Via Garibaldi latrines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201 Borromini's staircase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201 San Pietro in Montorio's cannon ball . . . . . . . . . . . . . . . . . . . . . . . . . 203 Garibaldi: saviour of Tasso's bell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 American Academy in Rome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 The facade of "Michelangelo's house" . . . . . . . . . . . . . . . . . . . . . . . . . 206 A statue facing the other way at the request of the Vatican . . . . . . . . . . 207 Villa Lante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Monastery of Sant'Onofrio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 The cross of the Order of the Holy Sepulchre of Jerusalem . . . . . . . . . . . 211 Order of the Holy Sepulchre of Jerusalem . . . . . . . . . . . . . . . . . . . . . . 211 The belfry of San Giacomo alla Lungara . . . . . . . . . . . . . . . . . . . . . . . . 211 Hermetic frescoes of Villa Farnesina . . . . . . . . . . . . . . . . . . . . . . . . . .212 Hermes trismegistus and hermetism . . . . . . . . . . . . . . . . . . . . . . . . . 214 The face at Villa Farnesina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217 TRASTEVERE The mechanism of the reliquary of Saint Francis' cell . . . . . . . . . . . . . . . 221 The cloister of San Giovanni Battista dei Genovesi . . . . . . . . . . . . . . . . .223 Why is John the Baptist the patron saint of Genoa? . . . . . . . . . . . . . . . 223 The cloisters of the Nuovo Regina Margherita Hospital . . . . . . . . . . . . . . 225 The forty-hour device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227 Anatomy theatre of San Gallicano hospital . . . . . . . . . . . . . . . . . . . . . .229 Was Asclepius, god of medicine, behind the creation of Tiber island? . . . . . 229 The excubitorium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 The church bell, San Benedetto in Piscinula . . . . . . . . . . . . . . . . . . . . . 232 The forgotten mosaics of Santa Maria in Trastevere church . . . . . . . . . . .233 Vicolo dei Panieri . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 The old pharmacy of Santa Maria dela Scala . . . . . . . . . . . . . . . . . . . . . 237 AVENTINO - TESTACCIO The Figures Missing from the Arch of the Moneychangers . . . . . . . . . . .241 The holes in the Arch of the Moneychangers . . . . . . . . . . . . . . . . . . . . 241 Traces of Judaism in the Roseto Comunale . . . . . . . . . . . . . . . . . . . . . 242 Winning blooms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .243 An American behind Rome's Rose . . . . . . . . . . . . . . . . . . . . . . . . . . . .243 The orange tree of Santa Sabina cloister . . . . . . . . . . . . . . . . . . . . . . . 245 Napoleon on a 5th-century door! . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 The Devil's stone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 The oldest known Crucifixion scene . . . . . . . . . . . . . . . . . . . . . . . . . . 247 The hiding place of Saint Alexius . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 The Order of Malta's keyhole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 Gardens of the Knights of Malta priory . . . . . . . . . . . . . . . . . . . . . . . . 251 The Order of Malta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 The Maltese cross . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 The meaning of the eight points in the Maltese cross . . . . . . . . . . . . . . . 255 Istituto Nazionale di Studi Romani . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Giovanni Battista Nolli: architect cartographer . . . . . . . . . . . . . . . . . . .257 Park of the Museo Ferroviario di Porta San Paolo . . . . . . . . . . . . . . . . . 259 The mortuary chamber of Piramide di Caio Cestio . . . . . . . . . . . . . . . . . 261 The Protestant Cemetery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 LATERAN - COLOSSEUM - FORO - CELIO The marks of Saint Peter's knees . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Blessing motorists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 Enrico Sturani's private collection . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 Titulus ...quitii below the basilica of San Martino ai Monti . . . . . . . . . . . . 271 The Mithraic sanctuary of Circo Massimo . . . . . . . . . . . . . . . . . . . . . . 273 Other Mithraic sanctuaries in Rome . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Mithraism - a fascinating ancient cult for initiates . . . . . . . . . . . . . . . . 276 Christmas owes 25 December to the winter solstice and Mithraism ... . . . 277 The hand on Via dei Cerchi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Why is there a tower within the Circus Maximus? . . . . . . . . . . . . . . . . . 279 The table of Santa Barbara oratory . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Origin of the word "grotesque" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 The first known grotesque decoration of the Renaissance . . . . . . . . . . . 283 Verbal abuse in Basilica San Clemente . . . . . . . . . . . . . . . . . . . . . . . . 285 The legend of Pope Joan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Game in the cloister of Santi Quattro Coronati basilica . . . . . . . . . . . . . . 289 X-rated frescoes in St Stephen's . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 Mithraeum under the church . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 The urn of Clement XII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Nine Men's Morris or esoteric symbol? . . . . . . . . . . . . . . . . . . . . . . . . 294 The triple enclosures of San Giovanni in Laterano cloister . . . . . . . . . . . 295 Is the Ark of the Covenant really in Ethiopia? . . . . . . . . . . . . . . . . . . . . 296 Private visit to the Sancta Sanctorum . . . . . . . . . . . . . . . . . . . . . . . . . 297 The relic of Christ's Foreskin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 More powerful than the Holy Foreskin, the Holy Umbilical Cord of Christ! . 299 The INRI inscription at Santa Croce in Gerusalemme . . . . . . . . . . . . . . . 300 Can the True Cross be traced back to Adam, Solomon and the Queen of Sheba? . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Museo Storico dei Granatieri di Sardegna . . . . . . . . . . . . . . . . . . . . . . . 303 The baker's tomb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Hypogeum of the Aurelii . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 The dust of the pillar of Santa Bibiana . . . . . . . . . . . . . . . . . . . . . . . . . . 309 QUIRINALE - TERMINI - MONTI - ESQUILINO Casino dell'Aurora . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Private visit: the side rooms of Casino dell'Aurora . . . . . . . . . . . . . . . . . 313 Pavilion of the Muses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 The statue of Stanislas Kostka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Divine Wisdom fresco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 Hermetic fresco . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Museo di Patologia del Libro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 The sundial of Santa Maria degli Angeli church . . . . . . . . . . . . . . . . . . . 321 How does a meridian work? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 Why was 4 October followed immediately by 15 October in the year 1582? The measurement of time and the origin of the meridians . . . . . . . . . . . . 324 The meridian of Santa Maria del Fiore: the highest meridian in the world . . 325 Why were meridians installed in cathedrals? . . . . . . . . . . . . . . . . . . . . 325 The boreal meridian of Santa Maria degli Angeli church . . . . . . . . . . . . . . 337 Where does the word "boreal" come from? . . . . . . . . . . . . . . . . . . . . . . 337 Anachronistic characters in the Santa Pudenziana mosaic . . . . . . . . . . 329 Cross commemorating the abjuration of King Henry IV of France . . . . . . 330 A statue to restore the French king's image in Rome . . . . . . . . . . . . . . . 330 A mass on 13 December in honour of France . . . . . . . . . . . . . . . . . . . . 331 The square halo of Santa Prassede basilica . . . . . . . . . . . . . . . . . . . . 333 Why square halos? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Fish farm near Stazione Termini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Blessing of the animals at Sant'Eusebio . . . . . . . . . . . . . . . . . . . . . . . 337 Marquis Palombara's Porta Alchemica . . . . . . . . . . . . . . . . . . . . . . . . 339 OUTSIDE THE CENTRE Villa Madama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345 VIGAMUS - Video-Game-Museum . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 The cannon ball in the Aurelian Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . 348 Guido Reno's painting of Saint Michael the Archangel . . . . . . . . . . . . . . 349 Ipogeo di Via Livenza . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 Barber's symbols at Porta Pia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 A visit to Villa Albani . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Bunker at Villa Ada Savoia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Museo delle Forze Alleate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 Source of the Acqua Sacra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 Garden city of Montesacro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 Other springs in Rome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 Mussolini's bunkers at Villa Torlonia . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Hidden sepulchres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 The Etruscan tomb of Villa Torlonia . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 Museo di Storia della Medicina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367 Alfonso Tozzi's collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 Air-raid shelter in the EUR district . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 Fresco at Villa Osio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 The three columbaria of Vigna Codini and the tomb of Pomponius Hylas . . 377 Museo della Memoria Giocosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 The cistern of Via Cristoforo Colombo . . . . . . . . . . . . . . . . . . . . . . . . . 381 Museo delle Auto della Polizia di Stato . . . . . . . . . . . . . . . . . . . . . . . . . 383 Salvator Mundi by Bernini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 Jewish catacombs of Vigna Randanini . . . . . . . . . . . . . . . . . . . . . . . 387 Geodetic baseline on the Appian Way . . . . . . . . . . . . . . . . . . . . . . . . . 388 Geodesy and triangulation: a discipline that led to the metre . . . . . . . . . 389 Museum of Period Coaches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 Mausoleo di Monte del Grano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
ISBN: 9782361954161
ISBN-10: 2361954168
Series: Secret' Guides
Published: 17th March 2021
Format: Paperback
Language: English
Number of Pages: 400
Audience: General Adult
Publisher: JONGLEZ
Country of Publication: FR
Edition Number: 7
Dimensions (cm): 18.42 x 10.16 x 1.91
Weight (kg): 0.39
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