Co podniknout v destinaci Metropolitan City of Rome

“Villa Borghese is a large city park in the city of Rome that includes green accommodation of different types, from the Italian garden to the large areas of English style, buildings, small buildings, fountains and lakes. It is the fourth largest public park in Rome (about 80 hectares), after the public part of the Regional Park of Ancient Appia, villa Doria pamphilj and villa Ada and extends largely on the district of Pinociano and in small part on the district Campo Marzio, divided by the Aurelian Walls.”

“Amphitheatrum Flavium is the most famous and impressive monument of ancient Rome, as well as the largest amphitheater in the world. ”

“The Vatican Museums begin just beyond a massive bronze door that, like magic, takes you out of Italy and into the smallest country in the world: the Vatican. There are priceless works of art here, collected by the popes or often expressly commissioned by them. More than 70,000 pieces are on exhibition in over 42,000 square meters, with another 50,000 pieces preserved in the vaults and storerooms. Forget about seeing everything in a single visit: it simply can't be done. To the millions of visitors that come here from every part of the globe to admire these marvels, the whole complex seems to be one gigantic museum but the Vatican Museums, with their full name "Papal Museums and Galleries", are the Museum of Museums, the result of the union of various collections, collections that often take the name of the pope that began them. The most sought-after stop on the Vatican Museum trail is without doubt the Sistine Chapel however every room is rich in history and precious examples of life from every era. The birth of the Museum was almost by chance: it all began in 1506, when an ancient sculpture was found in a vineyard on the Esquiline Hill near Nero's Domus Aurea. It was only later that it was recognized as one of the most famous statues ever: the Laocoonte, described even by the Latin author Pliny. The subject of the work is taken from an episode of Virgil's Aeneid in which the seer and priest Laocoonte, for having predicted Ulysses' use of the Trojan Horse, was punished by the gods who sent two enormous snakes to strangle him and his two children in their deadly coils. Like all the pontiffs, Pope Julius II had always shown great interest in artwork, and he immediately summoned Michelangelo and Giuliano da Sangallo to authenticate the sculpture. The pope then decided to acquire it, making sure no one else could do so before he did. So the dramatic Laocoonte was put on exhibit in the Vatican, enriching Pope Julius II's collection that was the seed of what would ultimately become the Vatican Museums. The Laocoonte was placed in Bramante's Belvedere Courtyard where Julius II grouped all his ancient statuary, transforming it into the "Courtyard of the Statues". Visitors came from all over the world just to admire the sculptures and artists stopped there to copy the masterworks. The Museums as they appear today, were created in the second half of the 18th century and are made up of two parts: the actual Museum and the popes palaces, naturally only the portions open to the public. The visit is an incredible stroll through the history of art where you can meet the greatest artists ever, through their most important works. You can organize your visit according to the time you have at your disposal; the shortest takes at least two hours, the longest, around six. You'll discover masterpieces in a sort of crescendo as you pass from one room to another; in fact, the rooms themselves are works of art, frescoed by artists like Fra Angelico, Pinturicchio or Raphael. The Vatican Museums: The courtyard of the Pinecone Chiaramonti Gallery Braccio Nuovo Pio-Clementino Museum Octagonal Courtyard Apoxyomenos Apollo del Belvedere Laocoonte Galleries of the statues Belvedere Torso The round hall Sala a Croce Greca Gregorian Egyptian Museum Gregorian Etruscan Museum Gallery of the Candelabra Gallery of Tapestries Gallery of Maps Sala Sobieski Raphael’s rooms Hall of Constantine Room of Heliodorus Room of the Segnatura Room of the fire in the Borgo Sala dei Chiaroscuri Cappella Niccolina Appartamento Borgia The Sistine Chapel The ceiling Last Judgment Musei della Biblioteca Apostolica Vaticana Pinacoteca Vaticana Museo Gregoriano Profano Museo Pio Cristiano ”

“One of the most beautiful squares in the world. Surrounded by interesting streets with antique dealers and good restaurants (sometimes pricey, though).”

“ The Pantheon has represented the greatest expression of the glory of Rome!”

“This is considered as one of the most famous fountains in the entire world. Trevi Fountain is quite the stage prop as well! Besides La Dolce Vita, when Anita Ekberg jumped into the Trevi Fountain with her clothes on, the massive monument has been featured in many films including Roman Holiday, Three Coins in the Fountain and even The Lizzie McGuire Movie. The fountain is even replicated at Epcot in Walt Disney World! The tradition is to toss a coin in , to ensure that one day you'll return to the eternal city of Rome ♥”

“Just south of Vatican City stands Castel Sant’Angelo, where popes sought solace during sieges. Climb to the top for splendid views of Vatican City and the Tiber. At its base you can see the Ponte Sant’Angelo with Bernini’s exquisitely carved marble angels.”

“Trastevere means “across the Tiber,” and once you cross the river, you’ll notice the difference. The vibe is hip and bohemian, and you’ll find plenty of boutiques selling jewelry, perfumes, and handicrafts .At night, Trastevere buzzes with people hanging out and drinking at the bars that line the streets. It’s easy to wander around and find one that appeals to you, but a good place to start is Freni e Frizioni, which serves a great aperitivo and cocktails with fresh fruit.”

“Villa Doria Pamphili is a succession of surprising views and historic buildings immersed in the lush vegetation of one of the largest green areas in the city. It has a perimeter of 6.5 km and extends over 184 hectares and, in addition to being a park, it is also a splendid monumental villa, so green that it was also known as the 'Bel Respiro' (Beautiful Breath). One of the accesses to Villa Doria Pamphili is Piazza di San Pancrazio (St Pancras's Square). This place was already talked of in the mediaeval period - the pilgrim itineraries (the old 'guides') indicated the Santuario di San Pancrazio (St Pancras's Sanctuary) to those arriving from the north. This is a beautiful church that, finding itself on a pilgrimage route, could offer a welcome to the wayfarers in its monastery; it also had a Catacomb in its crypt full of valuable frescoes. Today, the underground cemetery contains graffiti, traces of old paintings and lots of loculi making its dark corners even more mysterious. When the estate along the Via Aurelia was bought by Panfilo Pamphili in 1630, there was only the Villa Vecchia, the oldest building, inside it. However, between 1644 and 1652, under the papacy of Innocent X Pamphili, the architects Algardi and Grimaldi built the complex of the Villa Nuova, which became the residence of Camillo Pamphili, the Pope's nephew. At the beginning, the villa was divided into three parts - the building and gardens (pars urbana), the pinewood (pars fructuaria) and the farm (pars rustica), but the Pamphili family had the so-called 'Casino di Allegrezze' designed and built. This was to host parties and large receptions while the park and the 'Giardini di delizie' (Gardens of Delight) were arranged around the Palazzo where the games and pastimes of the Roman nobility were held for many years. The scene must have been enchanting because of the incredible number of rare plants and flowers kept with such care and in such quantity that they could be used to extract perfumes, not counting the oranges, lemons, cedars and ilexes in which coloured birds of various species and from distant places nested. The plants were in decorated terracotta vases or put directly into the ground. 
The scene was completed by lots of fountains, almost all designed by Algardi, fed by a Roman aqueduct that Pope Paul V had refurbished at the end of the 14th century and which took the name of Acquedotto Paolo. Deer and fallow deer, pheasants and many other species of animals kept specially to entertain guests who went hunting, the favourite sport of the nobility, ran free among the poplars and pines in the depths of the woods and glades. Today, after entering by Porta S. Pancrazio, the Arco dei Quattro Venti (the Four Winds Arch) is directly ahead. A little further on there is Palazzina Corsini dating to the 18th century and part of the Villa Corsini from the same century. From here, there is a breathtaking view of the Valle dei Daini (Fallow Deer Valley) where these animals roam freely and which was cleared in 2000 after years of negligence. The Fontana del Giglio lies beyond the pinewood, and features plays of water that flow into the Laghetto del Belvedere (the Belvedere Lake), a natural basin which underwent alterations and extensions over the years without changing the water supply. Only a recent restoration has improved the inflow and outflow of the water while the historic paths created for the beauty spots ('belvedere') have been rearranged. The Cappella Doria Pamphili (Doria Pamphili Chapel), a little way away, was the last of the buildings constructed in the villa between 1896 and 1902. The Villa Vecchia or Casino di Famiglia, the original building, is on the side of the Via Aurelia Antica which, at this point, runs alongside the ruins of the Acquedotto Traiano-Paolo (Traiano-Paolo Aqueduct), whose material was 'reused' to build the villa. The gardens of the Villa Vecchia were famous for the great number of citrus trees. At the end of the 19th century, they appeared to be paths with sweeping curves that enclosed various types of trees, flowerbeds in designs and many palms which gave an exotic appearance. The west part of the Villa recalls the Roman countryside and is an excellent place to laze, walk or do open-air sports. As a result of its position, Villa Doria Pamphili also has interesting archaeological remains; these include a Roman necropolis where two tombs from the Augustan age were found, decorated with splendid frescoes and which can be admired in the Museo Nazionale Romano. The mediaeval Casale di Giovio, built on a little Roman funerary temple, is on a small hill, once more in the western part. Villa Doria Pamphili was extended and altered in the middle of the 19th century but the villa was inexorably divided in two by the opening of a dual-carriage way, bearing the name of Leo XIII, in 1960. In 1967, the complex was acquired by the state and Rome City Council and was at long last opened to the public. Today, it is the ideal place to laze, have a picnic, do open-air sport or simply walk in a lush, green oasis in the chaotic heart of Rome. Casino del Bel Respiro The Casino del Bel Respiro is one of the most beautiful buildings of Villa Pamphili, also known as Palazzina dell'Algardi in memory of the architect whose intention was to express the magnificence of the noble family. It was commissioned by Giovanni Battista Pamphili, who became Pope with the name of Innocence X. It was the home of valuable art collections, and recreational events, parties and meetings were held there. The palace was inspired by the villas of Palladio while the furnishing and gardens recalled ancient noble residences, in particular Villa Adriana at Tivoli, where Algardi used to go to study and draw. The building has a façade on two levels on the main side and, to overcome the difference in the level of the ground, three levels on the side where the Giardino Segreto (Secret Garden) was created. 
This secluded and picturesque oasis was embellished by hedges shaped to form designs like the fleur-de-lys, the family crest, and many statues which also decorated the access drive to the Casino. Two fishponds were planned along the short sides of the garden but only one was actually created. A fountain in the centre completed the scene. The Giardino Segreto leads to the Giardino del Teatro (Theatre Garden), a semi-circular construction which hosted certain theatrical events.”

“St. Peter’s Basilica may be a pilgrimage site for Catholics, but even non-believers can appreciate the church’s architectural majesty. Inside you’ll find Bernini’s masterful altarpiece—the great bronze baldacchino—and Michelangelo’s Pietà.”

“ Piazza di Spagna is one of the most beautiful streets in Rome, connected to via Del Corso, it represents one of the most sought after and affluent tourist centers for Rome.”

“On of the most important church in Rome, San Giovanni is the main church after the Vatican. It's one of the oldest church in Rome. We offer the free audio-guide on youtube, in our channel rhome86 ”

“It's been an open-air market for centuries. Close to Piazza Farnese, and Piazza Navona. 300 meters away from Roman Holiday Residenza.”

“Piazza del Popolo Between the elegant Pincio, and the banks of the Tevere, Piazza del Popolo yawns into an enormous ellipse. Churches, fountains, monuments, and marble memoirs of historic events in Rome both ancient and modern tastefully embellish the square. Since antiquity, the city's Northern entrance formed a vestibule into the city through the gate in the Aurelian Walls. Though now known as Porta del Popolo, it has had various names over the centuries. Originally called Porta Flaminia by the Emperor Aurelianus who commissioned its construction, during the Early Medieval period, it was called Porta San Valentino, after the nearest Catacomb. Finally the name Porta del Popolo was agreed on, as the church adjoining the gate is Santa Maria del Popolo. Piazza del Popolo itself was known as Piazza del Trullo in the Middle Ages, after the conical fountain which once stood in the centre of the square, reminiscent of a characteristic South-Italian dwelling. Its present name may be due to the poplar tree, known in Latin as "populus" which also meant people, an apt association, as various public events such as fairs, games and dramatic executions were held there. For centuries Piazza del Popolo had a public fountain, a horse trough and a cistern for washerwomen. It was Sixtus V, in 1589, who turned his attention to the square. The Trullo fountain, under the supervision and workmanship of Domenico Fontana, was to be replaced with the Egyptian obelisk of Ramesses II, second in age and height only to the one in San Giovanni,originally brought to the city by the Emperor Augustus, and put in Circus Maximus. Its transportation and installation in Piazza del Popolo gave the square a more regal, less domestic air. Four lions water basin, were added to the obelisk in 1823, during the reign of Pope Leo XII. The next event to prompt work on Piazza del Popolo was the arrival of the Swedish Queen Christina. Desiring to convert to Roman Catholicism, she arrived to Rome in 1655, to a splendid Roman welcome: coming from the North, her first vision was through Porta del Popolo. Bernini had been commissioned to restore the inner façade of the ancient gate in preparation for her arrival. A plaque was placed above the arch, reading: "FELICI FAUSTOQUE INGRESSUI MDCLV" (For a Happy and Propitious Entrance) which remains to this day. Her entrance was so "felicitous" that she never left Rome again. Towards the end of the Seventeen Hundreds, amid the Napoleonic invasion, the ever increasing flood of visitors and pilgrims, descending on Rome through Porta del Popolo, prompted the decision to modernize the square. Till the Eighteen Hundreds, the square had a trapezoidal form which converged on the gate. During the Napoleonic epoch, the French Prefect, Tournon, was head of the "Commission of Embellishments" in Rome. He commissioned Valadier, a Roman architect, to redesign Piazza del Popolo, which he did to stunning effect. Works began in 1816, lasting till 1824 and marked the first time, since the French occupation, that prisoners were not used for works. The project was to take into account the important existing buildings: three churches, Santa Maria Del Popolo, Santa Maria di Montesanto (Saint Mary of Montesanto), Santa Maria dei Miracoli (Saint Mary of Miracles), the obelisk, Porta Del Popolo and Via del Corso, which were to remain untouched. The lateral structures were swept away redefining the square as an ellipse and were replaced by spacious exedras. These supported the fountains of Neptunebetween two tritons, and of the Goddess Roma on either side, added in 1823 during the reign of Pope Leo XII. The square became then accessible from side to side, as well as each end. With a touch of genius, the square was connected to the park on the hill above with a flight of curving steps and ramps, causing the Pincio hill to seem to cascade into the square below. Piazza del Popolo was the last papal contribution to Rome's legendary architecture, and in many ways reflects its splendor, inspiring a sense of awe in the visitor. Emphasizing this supremacy, the three churches dedicated to the Virgin, surrounded the obelisk which, in ancient times had been dedicated to the pagan Sun god. The twin churches at the far end of Piazza del Popolo, which Valadier had incorporated into his plans, had been constructed well over a century earlier. Though initiated by Carlo Rainaldi, they were completed by Gian Lorenzo Bernini with the collaboration of Carlo Fontana. Rainaldi invested the best of his abilities into the design and construction of Santa Maria dei Miracoli. His task was to both inspire and impress travelers entering the city, drawing them across the square to the beauty of the churches beyond. His skill as urban planner was evident. As well as being elevated from the level of the square, the two churches emphasized the elegant lines of the Trident, Via del Babbuino, Via del Corso and Via di Ripetta, radiating out beyond, adding depth and perspective to the overall picture. The observer's attention however, is drawn to the square on the splendid façades and apparent striking symmetry of Santa Maria dei Miracoli and Santa Maria di Montesanto. He also used an element of illusion, as the churches, which appear so similar from a distance, are in fact charmingly individual. Constructing the churches' two façades was no mean feat, as their areas, differed in size, hindered the all important element of symmetry. The problem was overcome using differing dome dimensions. Santa Maria di Montesanto (having a smaller area) has an oval dome, whilst the larger Santa Maria dei Miracoli is circular. The impression from the square however, is of two identical domes. On July 15 1662, the first stone of Santa Maria di Montesanto was laid. After a brief interruption in 1673, construction was continued and completed under the guidance of Bernini and then Carlo Fontana. As both churches were designed with welcoming visitors in mind, their external qualities were prioritized. As well as being monumental scenery, the porticoes of the twin churches, touched with classicism, extended onto the square, breaking with the tradition of the Baroque style, heralding a new architectural age. Fusing the churches with the surrounding square, monuments and streets, creates an harmonious effect, in which one aspect of this body of space, cannot be separated from another. The Church of Santa Maria del Popolo (one of the three churches on the square), was built on the site where, according to tradition, the Emperor Nerowas buried. The church was constructed on request of and paid for by the Roman people (hence the name Saint Mary of the People). Legend tells how Nero's damned spirit was imprisoned in a walnut tree, which had grown above the spot where his body laid. The affrighted neighborhood requested that the tree be burnt down, and a church built there. Dedicated to the Virgin in 1099, it was perceived to have effectively exorcised the area of the ancient and untoward "presences" of demons, witches and uncanny nocturnal sightings of Nero's ghost. The clean simple lines of the Augustinian order in the church's façade was the work of Bernini. Inside are precious paintings by Pinturicchio, Annibale Carracci as well as Caravaggio's moving "Conversion of St Paul" and "Crucifixion of St Peter". Santa Maria del Popolo was the first church in Rome to have a dome with an octagonal tambour. Its brick bell tower in late-Gothic style, is unique too, with a clock, four small pinnacles and characteristic tiling. The Giacomo Acqua barracks, opposite Santa Maria del Popolo were added in the 1823; the small dome was designed to reflect the one of the ancient church, to maintain the square's symmetry. The bars and restaurants on the square are not as historic, as other places of the city, but they are an integral part of Piazza del Popolo, haunted throughout the years by figures dear to Rome, such as Trilussa, Guttuso and Pasolini.”

“Via del Corso is a main street in the historical centre of Rome. Today, the Corso is a popular place for the "passeggiata", the evening stroll for the populace to be seen and to see others. It is also an important shopping street for tourists and locals alike. Here you can find the big national and international stores, as well as small shops with great bargains. Without a shadow of doubt chic shopping in Rome is traditionally done in the Tridente neighbourhood. The street itself is remarkable for being absolutely straight in an area characterized by narrow meandering alleys and small piazzas. The length of the street is roughly 1.5 kilometres. The Corso runs in a generally north-south direc”

“The Borghese Museum is probably the most elegant and refined museum in Rome. It is found inside Villa Borghese's park and with amazing pieces of art that vary from sculpture, to wall paintings and the museum beautiful architecture will make you fall in love with it. Since it is often fully booked it is better to do a reservation at least one week before you plan to go.”