All images © by Roberto Piperno, owner of the domain. Write to email@example.com. Text edited by Rosamie Moore.
Page revised in February 2010.
Vestigie del Antico
Ponte Trionfale (Book
C2) (Day 7) (View D4) (Rione Ponte)
In this page:
The plate by Giuseppe Vasi
Today's view (including S. Orsola della PietÓ)
S. Giovanni dei Fiorentini
Palazzo del Consolato di Firenze and Renaissance buildings
Palazzo de Rossi
The Plate (No. 87)
At the time of the Roman
Empire eight bridges crossed the Tiber: only three of them have survived (Ponte Milvio,
S. Angelo and Ponte
Quattro Capi). The ruins shown in the plate by Giuseppe Vasi belonged to Pons Triumphalis, a bridge which according to Vasi was so called because it was crossed by the Roman armies returning from a victorious campaign. More specifically it is now believed that the name was due to the 396 BC seizure of Veii by Marcus Furius Camillus; the road to that town (today's Isola Farnese) started after the bridge.
The view is taken from the green dot in the small 1748 map here below.
In the description below the plate Vasi made reference to: 1) S. Giovanni de' Fiorentini;
2) Pillars of Ponte Trionfale; 3) Spedale de' Pazzi; 4) Palazzo Salviati;
5) S. Onofrio;
6) Villa Lante; 7) Villa Corsini; 8) Casino Farnese. 3), 4), 5), 6) and 8) are shown in detail in other pages.
The small map shows also 9) Collegio Bandinelli/Palazzo del Consolato di Firenze and 10) Palazzo De Rossi.
The view from Castel Sant'Angelo in September 2008; the bridge in the foreground is Ponte Vittorio Emanuele II, that behind it is Ponte Principe Amedeo di Savoia, Duca d'Aosta;
in the inset ruins of the Roman bridge; 1) Palazzo Salviati; 2) Villa Lante
Pons Triumphalis perhaps because of its location at a sharp bend of the river, was one of the first ancient bridges to collapse as early as the end of the IVth century; in summer the ruins of one of its pillars can still be seen between two modern bridges.
In the late XIXth century the river bed was enlarged and high walls were built on its banks in order to prevent floods; Spedale de' Pazzi on the right bank and many buildings near S. Giovanni dei Fiorentini were demolished. In 1888 the opening of Corso Vittorio Emanuele, a new large road leading to the Vatican caused the pulling down of other buildings near S. Giovanni dei Fiorentini, including S. Orsola della PietÓ, a small XVIth century church which was used as an oratory by St. Philip Neri in the early phase of his preaching.
The view from Castel Sant'Angelo allows seeing Villa Lante and Palazzo Salviati, whereas S. Onofrio is hidden by trees, Villa Corsini (Casino Riario) was pulled down to make room for the 1895 Monument to Giuseppe Garibaldi and Casino Farnese is too far away.
(left) S. Giovanni dei Fiorentini seen from Ponte S. Angelo; (right) fašade
The area shown on the left side of the plate was the Little Florence of
Rome (the image used as background for this page shows the fleur-de-lys which is the symbol of Florence). Here the Florentines
opened branches of their banks (in Via dei Banchi Vecchi) or were involved in manufacturing and trading woollen cloth (the proximity to the river was necessary for some phases of the process); nearby they had their hospital, their church and their mill; the streets retain
memories of their presence: Via Acciaioli (a famous Florentine family), Via delle Palle (a reference to the six balls, heraldic symbols of the Medici), Via dei Cimatori (those who combed the woven wool for imperfections).
Coat of arms of Pope Clement XII between Charity and Strength by Filippo Della Valle
The Florentines in Rome founded their brotherhood in 1448 and in 1488 they were given an existing church (S. Pantaleone) which owing to the opening of Via Giulia they were asked to partially demolish. Pope Leo X promoted the construction of a brand new church to be dedicated to St. John the Baptist, the patron saint of Florence (click here for a list of national churches in Rome). Jacopo Sansovino was asked to design the church, whilst Antonio da Sangallo the Younger was responsible for the walls needed to support the apse of the new building which ended right on the edge of the river. The construction was halted by political events in Rome and Florence; in 1543 Pope Paul III opened a new street which linked Ponte S. Angelo to the church which was still far from being completed.
The church was eventually completed between 1582 and 1614 by Giacomo della Porta (1582-98) and Carlo Maderno (1598-1614) who designed the dome. The fašade however was left unfinished and only in 1734 Pope Clement XII, the last pope
from Florence and a man of great wealth, commissioned Alessandro Galilei its construction. Galilei had won in 1732 the competition for the new fašade of S. Giovanni in Laterano.
(left) Cappella Falconieri; (right) relief/sculptures by Antonio Raggi
The Falconieri chapel (the main chapel) in S. Giovanni dei Fiorentini is the last work
by Francesco Borromini, who was buried in the church where his uncle Carlo Maderno was buried too. The Falconieri were an important Florentine family who lived in a nearby palace which Borromini modified for them.
(left) Apse of the church with the small vertical window opened to direct light towards the statues of the main altar; (centre/right) light effects
The chapel was initially designed
by Pietro da Cortona and after the changes made by Borromini it was completed by Ciro Ferri, a scholar of Pietro da Cortona. On the altar Antonio Raggi, the most
"Berninian" scholar of Bernini, made use for his Battesimo di Ges¨ of the technique devised by Bernini in some chapels and consisting in a
hidden window directing light towards some parts of the sculptures, with an effect common in paintings (Pietro da Cortona and Ciro Ferri were talented painters).
(left) Collegio Bandinelli; (right-above) inscription inside the building; (right-below) plaques on buildings belonging to Florentine institutions
Via Giulia begins in the Florentine quarter of Rome. The first two buildings of the street
were of great importance for the Florentine community: Collegio Bandinelli was an institution
founded in 1617 by Bartolomeo Bandinelli, a rich baker, for the education of the
poor. The palace was built many years later and the college started its actual activity in 1678; it was managed by Arciconfraternita della Misericordia, the main brotherhood of the Florentine community (more about it in S. Giovanni Decollato). Today the building is converted into flats but it retains an
inscription celebrating the foundation of the college.
(left) Palazzo del Consolato; (right-above) inscription above the entrance; (right-below) courtyard
The building adjoining Collegio Bandinelli was built by Antonio da Sangallo the Younger for his family; it was not his only property because his name is mentioned also in an inscription in nearby Palazzo Sacchetti. After the death of Sangallo in 1546 the building was sold to Migliore Cresci; he was married to Cornelia Strozzi, a member of a family who opposed the Medici. Migliore Cresci however preferred to support Cosimo I, the first Grand Duke of Tuscany, by placing a flattering inscription above the entrance which says: To Cosmo Medici, second duke of Florence, lover of peace and justice; the fašade was painted with (lost) portraits of members of the Medici family. The palace was acquired by the Florentine government and for some time it housed the Consulate
of Tuscany; the "Consulate" gave legal assistance to the Florentine merchants and bankers.
(left) Palazzo Sangalletti; (right-above) coat of arms of Mons. Sangalletti; (right-below) inscription mentioning
Charles IV, King of Bohemia (1346-78) and Emperor (1355-78)
The Florentine quarter retains several interesting Renaissance houses; the wide spaces between the windows were decorated with graffiti paintings.
At the border of the Florentine quarter in Via dei Banchi Vecchi there was a very ancient hospice for the pilgrims of Bohemia: in 1457 it was renovated by H. Roraw, leader of the Bohemian community; an inscription celebrates Charles IV, King of Bohemia (1346-78) and Holy Roman Emperor (1355-78), who in 1368 came to Rome for the coronation of his fourth wife.
Renaissance houses near S. Giovanni dei Fiorentini
Palazzo De Rossi Malvezzi Campeggi; (left) fašade; (centre) one of the two entrances; (right) details of the decoration
Palazzo De Rossi was built in the XVIIth century and it was spared by the redesigning of the streets near S. Giovanni dei Fiorentini.
However its ground floor with a very Florentine bugnato design is today at a level lower than that of the main street.
Excerpts from Giuseppe Vasi 1761 Itinerary related to this page:
Poco dopo segue questo collegio eretto l'anno 1678. da Bartolommeo Bandinelli Fiorentino
per la giovent¨ della Toscana,che volesse apprendere le scienze umane e divine, ed
appresso evvi la
Chiesa di s. Gio: Battista de' Fiorentini
Nel fine della strada Giulia si alza questa magnifica chiesa eretta dalla nazione Fiorentina
in onore del s. Precursore suo patrono. Era quivi un orto con una cappella dedicata a
s. Pantaleo spettante al Capitolo di s. Celso, su cui nell'anno 1488. il Buonarroti
pensava di fare una chiesa a somiglianza della Rotonda; ma perchŔ era troppo grande
la spesa, quei nazionali appigliaronsi al disegno di Giacomo della Porta, che Ŕ a
guisa di basilica a tre navi con crociata e cupola. Sono in essa nobilissime cappelle
incrostate di marmi, e ornate con pitture, metalli, e stucchi dorati, fra le quali tiene
il primo luogo la maggiore fatta con disegno del Borromini, terminata per˛ per causa
di morte da Ciro Ferri, in cui si rappresenta il s. Titolare, che battezza il Salvatore,
espresso in marmo da Antonio Raggi, ed intorno altre sculture di Ercole Ferrata, e di
Domenico Guidi, e ne' laterali due depositi con altre sculture fatte da altri. Quelle
della crociata sono ancora riguardevoli per i due depositi, uno di Monsignor Corsini
fatto dall'Algardi, e l'altro di Monsig. Acciajoli di Ercole Ferrata, col quadro de
ss. Cosimo e Damiano dipinto da Salvatore Rosa; e nella cappella della ss. Vergine,
sonovi delle pitture del Fontebuoni, e del Ciampelli. Il santissimo Crocifisso
dall'altra parte, fu gettato in metallo dal modello di Prospero Bresciano, e le
pitture a fresco sulla volta sono del Lanfranco. Altre pitture e sculture si
vedono per le navi laterali, l'ultime delle quali sono state quelle del deposito del
March. Capponi fatte da Mons¨ Slos Francese, e l'altra quella del Pontefice Clemente XII.
per benemerenza di aver compito questo tempio con farli il prospetto secondo il disegno
di Alessandro Galilei. Accanto a questa Ŕ il convitto de' Preti, fra' quali visse Cesare
Baronio, che poi fu Cardinale, con altri seguaci di s. Filippo Neri, conservandosi ancora
alcune memorie di essi. Appresso vi Ŕ lo spedale eretto l'anno 1067. da Domenico Campi
Fiorentino per li suoi nazionali, e nel vicolo incontro l'
Oratorio della PietÓ, e Consolato de' Fiorentini
Il Pontefice Leone X. oltre aver dichiarato parrocchiale la suddetta chiesa, concedŔ alla
nazione Fiorentina il privileggio, che godessero di essa, ancorchŔ stassero in altre
parocchie, e di tenere un Ospizio col proprio Notaro per le cause de' mercanti a cui
presedono tre nobili col nome di Consolato. A destra di questo Ŕ l'oratorio, eretto
l'anno 1526. sopra un'antica chiesa dedicata a' ss. Tommaso ed Orsola, dalla
Confraternita de' Fiorentini, sotto il titolo della PietÓ, ed Ŕ tutto ornato di pitture
del Sermoneta, e delli Zucchari, il quadro per˛ sull'altare Ŕ di Girolamo Sicciolante.
Or prima di terminare questa giornata sarÓ bene di fare una osservazione presso il
Passo della Barchetta
A sinistra della suddetta chiesa di s. Giovanni corrisponde il terzo passaggio sopra
il Tevere per mezzo di un scafone, o vogliamo dire barchetta, per comodo degli abitatori
della strada detta la Lungara, come dicemmo nella passata giornata.
E' notabile, che da quella parte fu trovata nel Pontificato di Clemente XI. una vena di
acqua salubre, proveniente dal vicino monte Gianicolo; perci˛ vi fu eretto un fonte,
che dicesi, l'acqua Lancisiana, perchŔ dal Lancisi medico del Papa fu trovata, e
riconosciuta leggerissima. In mezzo a quel seno di fiume si vedono le
Rovine del Ponte Trionfale
Non solamente l'arco, la porta, il campo, e la via Trionfale ebbero gli antichi Romani,
ma altresý, il ponte di cui solamente ne vediamo il residuo de' piloni fra la riferita
chiesa di s. Giovanni de' Fiorentini, e lo spedale di s. Spirito. Egli fu detto trionfale,
perchŔ sopra di esso passavano con solennitÓ per decreto del Senato gli Eroi, che venivano
in Roma trionfanti de' nemici della Repubblica, e per˛ il campo, che Ŕ di lÓ dal ponte
dicevasi similmente trionfale, perchŔ ivi si metteva in ordinanza, e si principiava
l'accompagnamento de' Trionfanti.
Next plate in Book 5: Passo della Barchetta all'Armata
You have completed Day 7 itinerary! Move to Day 8.
Next step in your tour of Rione Ponte:
Palazzo Sacchetti a Via Giulia