The only square in Rome that does not have a church is Campo de' Fiori. All the other squares are decorated with one or even two churches at once, so there are a great many churches in Rome.

Basilica of Santa Maria in Via Lata

Basilica di Santa Maria in Via Lata. Tradition says that the church was built on the site of the house in which the apostle Paul spent two years in custody. The basilica was rebuilt in the 15th and 17th centuries, its current façade was designed by Pietro da Cortona (1660).

In the altar of the church there is a Byzantine miraculous icon Our Lady Intercessor (XIII century), and in the crypt fragments of an ancient temple with frescoes were preserved.

Church of San Marcello al Corso

Chiesa di San Marcello al corso- dedicated to Pope Marcellus I (308-309). In the 16th century, the church was rebuilt by Antonio da Sangallo the Younger, and a century later, Carlo Fontana built the baroque façade. In the interior, the altar c mosaic XII century and coffered ceiling(XVI century). In the third chapel on the right, you can see a 14th-century fresco depicting the Madonna and Child.

Basilica of Santi Ambrogio e Carlo al Corso

(Basilica di Santi Ambrogio e Carlo al Corso) with a dome by Pietro da Cortona (1668). The church is dedicated to the main saints of Milan, Ambrose of Milan and Carlo Borromeo, whose heart is kept in the church reliquary.

Church of Trinita dei Monti

Chiesa di Trinita dei Monti, XVI c.

Basilica of Sant'Andrea delle Fratte

Basilica di Santa’ Andrea delle Fratte, XII century, later reconstructions. When the church began to be built, the city border passed in this place and the forest grew. From here comes the name of the basilica (ital. fratta- "thorny shrub"). In the 17th century, the roof, dome and bell tower were rebuilt by Francesco Borromini.

Church of Sant'Athanasio dei Greci

Chiesa di Santa’ Atanasio dei Greci, Giacomo della Porta, 1572-1585. On the facade of this Catholic church, you can see inscriptions in Greek and Latin dedicated to Athanasius the Great.

Churches of Santa Maria di Montesanto and Santa Maria dei Miracoli

The points of convergence of the avenues adorn the baroque churches Santa Maria di Montesanto(Chiesa di Santa Maria di Montesanto), located between via del Babuino And via del Corso, And Santa Maria dei Miracoli(Chiesa di Santa Maria dei Miracoli) between via del Corso And via di Ripetta. They were built in the 17th century according to the project of Carlo Rainaldi, who managed to achieve the illusion of symmetry, despite the fact that Santa Maria dei Miracoli is round in plan, and Santa Maria di Montesanto is oval, because the architect is forced en was embed building into an existing ensemble.

Church of San Carlo alle Cuatro Fontane

Square piazza delle Quattro Fontane decorates Church of San Carlo alle Cuatro Fontane (Chiesa di San Carlo alle Quattro Fontane, Francesco Borromini, 18th century), or, as the Romans call it, San Carlino.

The diminutive name reflects the size of this church - its area is no more than the area of ​​the pylon. The facade of the church is characterized by smooth lines and cut corners. The sculptures above the entrance depict St. Charles Borromeo, as well as Jean de Mata and Felix de Valois, founders of the Trinitarian order to which the church belongs.

Church of Sant'Andrna al Quirinale

Chiesa di Santa’ Andrea al Quirinale, Giovanni Lorenzo Bernini and Mattia de Rossi, 1671, belongs to the Jesuit order and is located on a hill.

They say that Bernini did not take money for this work and considered this church to be his only perfect creation.

In plan, the church is an oval, along the perimeter of which there are eight chapels. The central altar is decorated with the figure of St. Andrew the First-Called, ascending to heaven (Antonio Raggi, 1660).

In the era of the Roman Empire, the pantheon of gods recognized by the official religion expanded. It included the cults of the Egyptian gods Isis and Serapis, Asia Minor Ma-Bellona, ​​the Iranian god Mithra, especially popular among warriors, and a number of Syrian solar cults. There were other cults, among which Judaism stood out and prevailed by the 4th century. Christianity. A special place was occupied by the cult of emperors. The diversity of the religious life of the empire was reflected in religious architecture, where, along with temples to the ancient Roman gods, temples were built to deified emperors, eastern gods, mitreums and synagogues. Most of the temples I-II centuries. dedicated to the main gods of the Roman pantheon and emperors. Old temples were often rebuilt in new forms. In the imperial period, the temples basically repeated the types used under the republic - the prostyle, the Italian type and the peripter in its Roman version. Depending on the frequency of setting up the columns and, accordingly, their changing proportions, several types of peripters were distinguished. The most common were temples with intercolumnia 1.5; 2 and 2.25 column diameters, defined by Vitruvius as pycnostyle, systile and eustyle. They were distinguished from republican temples by their larger scale, the predominant use of the ceremonial Corinthian or composite order instead of the modest Doric and Ionic, the close placement of columns on the facades and the use of expensive materials - marble, porphyry and granite for wall cladding, for columns and details. Due to the traditional nature of the main types in the cult architecture of the empire, the search for architects focused mainly on the development of temple decor. The poor preservation of the temples of this era does not allow us to get a fairly complete picture of them.

The main temples of ancient Rome were concentrated in the center of the city on the Roman Forum (Fig. 33, 34).

33. Rome. The plan of the Roman Forum in the imperial period: 1 - the Basilica of Emilia; 2 - curia; 3 - Temple of Concordia; 4 - temple of Vespasian; 5 - portico; 6 - temple of Saturn (repository of the state treasury); 7 - arch of Septimius Severus; 8 - arch of Tiberius; 9 - rostra: 10 - memorial columns; 11 - Basilica Julia; 12 - lobby of the imperial palaces; 13 - Temple of the Dioscuri; 14 - arch of Augustus; 15 - Temple of Julius; 16 - temple of Vesta; 17 - vestal atrium; 18 - Regia; 19 - temple of Antoninus and Faustina; 20 - heroon Romulus; 21 - Basilica of Maxentius; 22 - lobby of the Golden House; 23 - arch of Titus; 24 - temple of Venus and Roma

Temple of Julius Caesar, the first of the temples built by Augustus, was dedicated to the deified Julius Caesar and erected in 29 BC. in the Roman Forum, limiting it from the east (Fig. 35). It was still a modest style of the Ionic order. The front of the podium receded in the center, skirting the round altar that marked the site of Caesar's cremation. The protrusions of the podium on the sides of the altar, decorated with the rostra of enemy ships, served as tribunes for speakers. They replaced the tribunal that previously existed here, located opposite the rostra in the western part of the forum and demolished during the construction of the temple.

The style of the early empire is characterized by a monumental marble altar of peace, built in 13 BC. on the occasion of the victories of Augustus in Spain and Gaul, which completed the appeasement of the empire (Fig. 36). Put near the altar of the god of war Mars, it was a rectangular fence measuring 11.63X10.62 m and 6 m high, in the center of which an altar stood on a stepped pedestal.

Openings in the western and eastern walls of the fence opened a through passage past the altar. The outer walls of the fence, marked at the corners and at the openings with ornamented pilasters, were covered at the bottom with floral ornaments. The upper parts of the southern and northern walls contained relief images of the procession of Augustus with his retinue to the altar for sacrifice. The theme of moving towards the altar was interrupted by panels on the end sides of the entrances.

37. Rome. Temple of Mars Ultor, 2 BC Modern view, detail of the cornice, profiles of the entablature: A - upper caisson cymatium; B - the second cymatium of the caisson; B - quarter shaft with ionics at the base of the caisson; G - cymatium crowning the architrave; D - beads between the fasciae of the architrave

The grandiose scale of the buildings of the Empire manifested itself in Temple of Mars Ultor at the forum of Augustus (2 BC, fig. 37). With a façade 35 m wide, the columns reached a height of about 18 m. The slender eight-column Italic type pyknostyl was supplemented by an apse located above floor level and closing the main axis of the temple and the entire forum. A feature of the interior, the wooden ceiling of which was carried by the walls of the cella, were decorative colonnades along the walls. The whiteness of the marble walls and columns, the beautiful forms of the classical Roman-Corinthian capitals, the portico coffers and the skillful cutting of the details of the entablature gave solemnity to the monumental dynastic temple of the Julii.

It was close to the temple of Mars Ultor in size (30x50 m), slender proportions, order and decor Temple of the Dioscuri in the Roman Forum, reconstructed in 6 BC. (Fig. 38, 39). Like the neighboring temple of Julius, the temple of the Dioscuri, which was a peripter, was also adapted for speeches. The front part of its podium, which did not have steps, served as a platform, which was climbed by side stairs. A wide flight of stairs led to the level of the cella. The protrusions of the podium on its sides served as pedestals for the equestrian statues of Castor and Pollux. The exquisite capitals of the temple with intertwining middle curls are peculiar.

41. Roman Forum. Temple of Concordia, early 1st c. AD Plan, profiles (according to Tebelmann): A - crowning goose; B - cymatium over a remote plate; B - remote plate; G - caisson; D - modulons; E - ionics and beads between modulons and teeth; Zh - cymatium over the frieze; 3 - top profile architrave

At the same time, the ancient Temple of Concordia(Fig. 40, 41), which repeated the republican temple of Vejova with a transverse arrangement of the cella. The cella (45x24 m) obscured the substructures of the Tabularium. The Corinthian capitals of the six-column portico are unusual - instead of volutes, they have double ram's heads. The remains of the cornice testify to its high artistic quality: the clearly expressed tectonics of the elements was combined with the picturesqueness of the juicy floral ornament animated by chiaroscuro and the excellent quality of the marble carving. The mature perfection of the decor of these temples marked the flowering of August classicism.

By the 2nd half of the 1st c. the decor has lost its classical clarity of construction. In the adjacent to the temple of Concordia prostyle Temple of Vespasian(79), which obscured the stairs from the forum to the Capitol, the cornice modules, densely covered with floral motifs, drown in the ornament and are no longer perceived as load-bearing elements. The nature of the marble carving has also changed: the ornamentation is deeply carved, but flat, and a number of priestly items on the frieze are interpreted with dry naturalism (Fig. 42, 43).

From the 2nd half of the 1st c. in some temples, a departure from traditional forms is noticed. Two places of worship in the Pompeii Forum are unusual in plan (see p. 430. Plan of the Pompeii Forum). One of them is the temple of Vespasian, which did not have a portico and was divided into three parts - a vestibule with flat aedicules on the walls, the middle part and behind it - three service rooms. The middle part played the role of a pronaos, at the back wall of which there was an aedicule on a hill, replacing the cella (Fig. 44). Located next to the temple of Vespasian, Atrium of the city lararies, apparently reproduced on a large scale the construction of private lararies. It was open towards the forum, having an altar in the center, an apse along the main axis, and two rectangular exedra near the entrance.

46. ​​Pantheon. Facade

47. Pantheon. Longitudinal section, plan

A special place in Roman and world architecture was occupied Pantheon- the temple of "all gods", in the capital of the empire. The appearance of the Pantheon and its scale sharply distinguish it from the round peripters that preceded it (Fig. 45).

Most of the Roman temples-rotundas of the era of the empire were dedicated to the imperial cult. At the end of the 1st century BC. The first Pantheon was built by the architect Valery of Ostia by order of Agrippa. The surviving remains of it are insignificant. It probably had a round shape and was dedicated to all the gods, but first of all to Mars and Venus - the patrons of the imperial family of Julius. Apparently, the desire to preserve the continuity of traditions was one of the main reasons that forced the architect of the Pantheon (he was, in all likelihood, Apollodorus of Damascus, although it is believed that the authorship belongs to Emperor Hadrian) to give it a round shape. The Pantheon was built in 118-128, the later restorations of Antoninus Pius, Septimius Severus and Caracalla did little to change its appearance. It was erected on the Champ de Mars, about the same distance from the city center as the Colosseum, and served as a kind of counterweight to it.

The building consists of three parts: a domed rotunda, a rectangular portico adjacent to it from the north, and a transitional element between them, having the height of the rotunda and the width of the portico (Fig. 46, 47). A staircase of five steps, equal in width, led to the portico. As excavations have shown, in front of the Pantheon there was a rectangular elongated paved courtyard, surrounded by porticos with propylaea on the axis of the temple portico and a triumphal arch in the center of the courtyard (Fig. 48). The giant rotunda has an internal diameter of 43.5 m and a spherical dome with a diameter of 43.2 m. The dome is larger than all such structures of antiquity, but also of the Middle Ages, Renaissance and modern times up to the 19th century. The Pantheon is the most monumental example of a domed building from the Roman era.

The development of dome building in Roman architecture was associated with the domed halls of the nymphs and thermae. The rotunda of the Baths of Mercury in Baiae (1st century AD), with a dome diameter exceeding 20 m, was in this respect the prototype of the Pantheon. But the domed halls of the thermae have always been part of the building complex, in the Pantheon, for the first time, a cylindrical domed volume of enormous size acquired independent significance.

The diameter of the rotunda is equal to its height, which is half the height of the building - the ratio recommended by Vitruvius (Fig. 48).

The rotunda rests on a circular foundation 7.3 m wide and 4.5 m deep. The spread of the dome determined the considerable thickness of the concrete wall with brick lining of 6.3 m (1/7 of the diameter of the rotunda), which is divided by large niches into eight giant pylons (Fig. 49). Eight main niches have a width of 8.9 m and a depth of 4.5 m with a thickness of their back walls of 1.8 m. The niches lighten the wall by 1/3 of its volume. In addition, eight pylons are divided by small voids (in the form of reverse closed niches) into 16 radial buttresses. This greatly lightened the volume of the wall and turned it into a rigid frame of 16 supports, alternating with thin sections of the wall.

Large niches are covered with powerful double curvature brick arches that connect the pylons to each other and create a continuous ring support for the dome. Smaller arches not only connect the larger ones, complementing the dome support system, but also unload the entablature of the order of the lower tier from the pressure of the mass of the dome. The system of arch structures also includes arches in the lower zone of the dome itself, the task of which is to transfer the pressure of the dome only to the pylons. Thanks to this, there is almost no inertial mass in the wall of the Pantheon. The wall is a multi-tiered arcade, the skillful construction of which ensured the excellent preservation of the monument in seismic conditions for millennia.

The dome is cast from horizontal layers of concrete reinforced with brick arches in the lower zone. Careful study of the structure of the dome refuted the misconception coming from Piranesi and repeated by Viollet le Duc, Choisy and others about the presence in the dome of the Pantheon of a frame of brick arches above the second row of caissons from the bottom *. The composition of the concrete varies depending on the height of the dome. In the lower parts of the dome, hard travertine chips served as a concrete filler, in the upper parts - crumbs of tuff and light pumice. An important role is played by the caissons of the dome, cast simultaneously with it. Covering its surface in five rows to a height of 60 ° from the base, they leave a smooth space around a round window - an opion, the diameter of which is 8.92 m. Corresponding to a decrease in the circumference, the upper caissons are half the size of the lower ones. The caissons divide the surface of the dome and lighten it by about 1/6 of its weight, and their perspective reduction visually increases the height of the dome. In general, the design of the Pantheon can be characterized as a dome on an arcade.

* W. Macdonald. The architecture of the Roman Empire, New Haven, 1965, p. 105

The outer articulations of the rotunda are very simple: the lower horizontal protrusion reflects the boundary between the first and second tiers of the wall, and the second one marks the beginning of the dome, i.e. boundary between load-bearing and non-bearing parts of the structure. The wall in the lower part was probably lined with marble, and in the upper part it was plastered. The third protrusion corresponds to the transition from the annular wall around the base of the dome to seven stepped ledges loading the lower part of the vault (Fig. 50). The surface of the dome was covered with gilded tiles.

Inside the building is divided into four rectangular and three semicircular niches. Against the middle semicircular niche there is a cut of the entrance arch that repeats its outlines. The lower tier of the wall is 13 m high and is decorated with columns and pilasters of the Corinthian order (Fig. 51). The second tier is an attic with a height of 8.7 m, until the 18th century. dissected by pilasters of colored marble.

The interior of the Pantheon is dominated by the hemisphere of its grandiose dome. The impression of the unity of the spatial whole is enhanced by the balance between its vertical and horizontal dimensions. A single undivided space is covered by a powerful sphere, perceived as a symbolic image of the celestial sphere. Ancient authors directly write about this understanding of the overlap of the Pantheon. This is what determined the special role of the dome in the construction of the Pantheon, different from the role that the dome played in utilitarian buildings.

An important role belongs to the order system introduced into the first tier of the temple. The columns supporting the entablature cover huge niches and thus contribute to the creation of a single internal space of the Pantheon. Without them, it would have been fragmented, the scale would have changed and the grandeur of the inner space would not have been revealed. The belt of the attic, unraveled only above the niche opposite the entrance, forms an organic transition from the wall to the sphere. The attic tier is perceived as part of the dome, further emphasizing its role in the interior of the Pantheon.

The predominance of the dome does not mean that its mass put pressure on the person inside the temple. The architect sought to create the impression of lightness of the ceiling structure. This purpose, in addition to the caissons, was served by order divisions of the wall. Obviously not designed to carry the true mass of the dome, they nevertheless gave the viewer the impression of the lightness of the sphere that rose above them. This was especially true of the small pilasters of the upper tier, which looked like a support for the dome.

A special role was assigned to the only light hole located at the highest point of the Pantheon dome. The centrality of the room, its huge size, the brilliance of the column of light in the center and the twilight on the “periphery” of the rotunda not only created the impression of peace and concentration, but also made the worshiper in the temple perceive the sky and sunlight with a special feeling. The column of light pouring from the sky through the opion, around which the inner space of the Pantheon unfolds, is the real core of the composition (Fig. 52, 53). To understand how the Roman should have perceived such a decision of the internal space of the temple, one must remember that for him the supreme deity - Jupiter - was not so much an anthropomorphic creature as the vault of heaven itself.

	51. Order of the Pantheon. Corinthian order: a - entrance portico; b - the lower tier of the interior; in - the upper tier of the interior; g - pilasters of the entrance portico

The inner space of the Pantheon is huge and, as in any centric building, from any point of view (except the central one) it seems larger than it actually is: There are no corners, no straight horizontal lines, only a huge hemisphere and a uniform rhythm of columns, piers and niches. This does not look like the solution of the internal space of the temple, which is customary for a Roman. In the Pantheon, a fundamentally new solution was given to the sacred building, which fundamentally broke with the traditions of the ancient perception of the temple. An ordinary Greek and Roman temple is the house of a deity, access to which for an ordinary person is, if not prohibited, then difficult. Only the priest entered freely. All the rest were outside at the time of the religious ceremony. The architect of the Pantheon proposed a completely different solution. The worshiper was inside, he is covered on all sides by a space that is considered sacred. Here, a different, non-ancient understanding of the inner space of the temple already appears. The growing role of religion by the end of the ancient period, its new forms forced to rethink the architectural forms of the temple. The inward movement of the believer can be seen in many mystery cult temples. The principle here is the same, the difference is only in the size and shape of the space. Reflecting new trends in the development of religious ideology, the Pantheon became one of the prototypes of Christian centric churches of the Byzantine era, the most striking example of which is the Church of Sophia in Constantinople.

The entrance to the Pantheon is a portico, 14 m deep (Fig. 54). It is covered with a gable roof on bronze rafters, it is supported by 16 columns 1.5 m in diameter, 14 m high. Eight columns stand along the facade, the rest, arranged in a row of four each, divide the space of the portico into three parts. This division of the portico corresponds to the division of the facade of a rectangular ledge, which is a transitional element from the portico to the rotunda.

The entrance to the Pantheon is flanked by two large semicircular niches, in one of which stood a statue of Augustus, and in the other - Agrippa. In general, this is extremely reminiscent of the cell divisions of an ordinary Roman temple, but the central element here is turned into a passage. Naturally, the visitor had associations connecting the architectural elements of the Pantheon with familiar and familiar images. They forced him to perceive the very inner space of the Pantheon in a new way, to see in it an exorbitantly overgrown and redesigned cella of a traditional temple.

The introduction of the portico was intended to give an axial orientation to the centric building of the Pantheon. The search for Roman architects to solve this problem is illustrated by the republican temple B on Largo Argentina. The further development of these searches was reflected in the architecture of the Pantheon. That transitional element appeared here, which made it possible to push the portico forward.

Finally, the strongest frontal axial orientation was given to the temple by a colonnaded rectangular courtyard 110 m long, which preceded a relatively high and wide portico. All these architectural elements, which narrowed the field of view when approaching the Pantheon, masked the rotunda and tuned the visitor to the usual perception. The influence of architecture and sunlight was all the stronger: from the bright sun of the colonnaded courtyard, the visitor passed to the shading of the deep portico and the semi-darkness of the passage behind it, and then again suddenly to the sun and the spaciousness of the inner space of the Pantheon.

In the Pantheon, the engineering and architectural thought of ancient Rome found its highest expression, prepared by previous searches and discoveries of Roman architects (development of the rotunda, domes of large diameter, the application of traditional axial composition to a centric building). The Pantheon was the model followed by many later built rotundas. After 35 years, a smaller temple of this type (Zeus Asklepios) was being built in Pergamon. The influence of the Pantheon is most pronounced in Ostian rotunda(dome diameter 18.35 m) of the 3rd century, dedicated to the imperial cult (Fig. 55).

	57. Rome. Temple of Venus and Roma. Plan, side facade, longitudinal section

The outbreak of eclecticism under Hadrian was especially pronounced in architecture, which combined the features of Greek and Oriental architecture with the Roman constructive basis. In this regard, erected according to the project of the emperor himself, it is characteristic Temple of Venus and Roma(121-140) at the Roman Forum, criticized by Apollodorus for the disproportion of some of its parts (Fig. 56-58). Outwardly, it is a Greek-type peripter with an elongated cella volume. But the core of the structure is made up of two identical, typically Roman temples, touching by apses, one of which housed a statue of a seated Venus, the other - Roma. The stone walls of the temple were supported by wooden rafters spanning more than 20 meters of cella. Peripter Corinthian columns (10x20) - made of white Luna marble. This most grandiose of the temples of the empire (107x55 m) was placed on a high platform (120x145 m), along the long sides of which ran colonnades of gray granite with white marble capitals. The colonnades in the center formed propylaea. Stairs adjoined the ends of the podium: the front wide one was turned to the Sacred Road, and two narrow side ones - to the Colosseum. The remains of the temple survived in the rebuilding of Maxentius, which strengthened its Roman features, when the stone walls were replaced with concrete with marble cladding, and the wooden covering with coffered vaults. The interior, with colored marble inlaid floors, with sculptures in niches framed by aedicules on brackets, with huge statues of Venus and Roma in apses framed by porphyry columns, struck with grandeur and splendor. The temple of the goddesses - the patronesses of Rome and the imperial power, compared with the temples of the ancient Roman Forum, was striking in size and scope and clearly demonstrated the power achieved by the empire.

The idea of ​​​​the military domination of Rome over the contemporary world was the basis of the Adrianeum - Temple of Hadrian in Rome, completed around 149 (Fig. 59). The temple, using the type of peripter, but in its Roman version and with a vaulted roof, was decorated inside with relief figures representing the provinces subject to Rome. The arrangement of the reliefs uses an oriental technique: they are placed on pedestals of semi-columns dividing the walls, and the gaps in the podium between them are filled with military fittings.

The peculiarity of forgiveness Temple of Antoninus and Faustina in the Roman Forum(141 AD) was a relief frieze, in which gracefully outlined images of griffins, priestly vessels and garlands were repeated (Fig. 60).

By the 3rd century the construction of new temples in Rome almost ceased. At the beginning of the III century. was rebuilt Temple of Vesta and atrium of the Vestal Virgins in the Roman Forum (Fig. 61). The round peripter with Corinthian columns on separate pedestals acquired a characteristic appearance for the buildings of the Severan time with fuzzy contours of the frieze reliefs and shallow cutting of ornamentation. The expanded atrium included, in addition to the living rooms of the vestals, a number of utility rooms around the courtyard, decorated with fountains and statues.

Along with temples to the Roman gods and emperors in the capital and a number of other cities in Italy already in the 1st century. BC. there were temples to the eastern gods.

The image of the religious ceremony of Isis has been preserved on a fresco in Herculaneum (Fig. 62).

64. Pompeii. Temple of Isis, 1st c. AD Modern view, plan

In Rome in 43 BC. on the Champ de Mars was built Sanctuary of the Egyptian gods Isis and Serapis, later rebuilt by Domitian. It was a semicircular enclosure surrounded by a portico, with an apse in the center and exedra on the sides, apparently preceded by a rectangular courtyard (Fig. 63). In Pompeii there was a temple of Isis - a kind of prostyle on a high podium with two exedra flanking the cella, a second - lateral - entrance to it and a transverse division of the interior (Fig. 64). The temple stood in the center of the peristyle fence, to the back wall of which two halls adjoined - for the initiation ceremony and for the common meals of believers - with paintings on Egyptian religious subjects. In front of the temple, to the left of the stairs, there was an altar and a reservoir with sacred water from the Nile, protected by an oriental temple with an entablature in the center, curved in the shape of an arch.

In the 1st century BC. in Rome, near Porta Maggiore, followers of one of the mystical cults built a three-nave underground basilica with an apse and vestibule (Fig. 65). The incorrect position of the pillars is caused by the unusual way the basilica was built. Deep trenches and wells filled with concrete were dug along the contour of the walls and pillars. The earth was used as a casting mold also in the construction of arches between pillars and cylindrical ceiling vaults. The interior of the basilica, then freed from the ground, illuminated by light from the vestibule, was covered with fine stucco decor and murals.

A special type of religious buildings were mitreums, which spread in the last centuries of the empire. Many mithraeums have been preserved in Rome, Ostia, Capua and other cities of Italy and the provinces. Mithraeums were underground sanctuaries of an elongated rectangular shape with a niche in the depth imitating a grotto and containing an image of Mitra killing a bull, with an altar in front of him and an elevation along the walls with beds for worshipers (mitreum in Serdika, modern Sofia, Fig. 66). Sometimes, as in the mithraeum of the terms of Caracalla, there was a pool in the center of the floor, where the blood of sacrificial animals flowed. The rites took place in darkness and by the light of torches and ended with a meal. The main center of the Mithraists of Rome was the mitreum of the imperial villa (II century), remarkable for its stucco reliefs and murals. It was excavated under the church of Santa Prisca on the Aventina.

The followers of Judaism built synagogues - buildings of the basilica type, usually three-aisled, with benches along the walls and a facade oriented towards Jerusalem. One of them has been preserved in Ostia (1st century AD, in the reconstruction of the 4th century).

In the 2nd half of the 3rd c. conditions were ripe in Roman religion for the replacement of polytheism by monotheism. The first attempt in this regard was made by the emperor Aurelian, who tried to introduce a single cult of the Sun into the empire. At this time, two temples of the Sun were built in the capital, both round periptera: one - in the Circus Maximus, the other - near the Flaminian Way, which came down in a sketch by Palladio (Fig. 67). The latter was placed in the center of a large rectangular courtyard, surrounded by a stone fence with exedra. The decorative details of the ensemble, apparently, were made by Syrian craftsmen.

In the last century of the empire in Italy, the construction of new temples almost stopped. This was caused both by the decline of the official religion and by the general catastrophic state of the state.

Religious architecture in the provinces, even deeply Romanized ones, was more closely associated than other types of buildings with local traditions. This is explained by the fact that submission to Rome had little effect on this area of ​​life, for Roman polytheism fully allowed the existence of each nation of its own gods. Of course, the introduction of the Romans and the founding of Roman cities was accompanied by the construction of Capitols, and in the worship of the inhabitants of the conquered regions to the Roman deities, their loyalty to Rome was expressed. But often the Romans themselves, who fell into one or another conquered area, also began to worship local deities in local temples. Ancient polytheism often led to the identification of local deities with Roman ones, and the syncretism that arose in this way sometimes gave rise to a mixture of Roman and local features in the architecture of temples.

Thanks to all these circumstances, the overall picture of the development of cult architecture in the provinces was rather variegated. Gaul is a typical example. The very strong Romanization of the province caused the construction of a large number of Roman temples (mainly pseudo-peripteres), the most striking example of which was the Mason carré in Nemause - a temple built in 20-19. BC. and later dedicated to Guy and Julius Caesar (Fig. 68). Another example of temples of this type is the temple of Augustus and Livia (originally the temple of Augustus and Roma) in Vienne, also dating from the August time. In addition to them, in Gaul there were many temples, in forms that had nothing to do with the Greco-Roman types. They found distribution throughout the empire, since they worshiped oriental deities who gained recognition both in Rome and in all the provinces. Finally, there were local forms of temples. These primarily include grandiose tower-shaped sanctuaries. A rotunda with an internal diameter of 21 m and a preserved height of 27 m, surrounded by a high portico and placed inside a peribolus, is the structure of a typical temple of this type (Vesunna, modern Perigueux, 2nd century AD). The dominant type was the round tower; temples that are square in plan are also less common (the so-called temple of Janus in Augustodun). Similar temples are known in Britain.

Another local type of temple was the so-called fana. This small temple was usually built in a forest and had a square cella with an entrance on the east side.

These temples are found in Gaul, Germany and Britain. Finally, there were temples that mixed local and Roman features.

The situation was similar in other provinces. So, in North Africa there were many typical Roman temples. The temple in Teveste (modern Tebesse, the beginning of the 3rd century AD, Fig. 69), is extremely close to the temple of Nemauz, but differs from it in a peculiar decorative treatment of the attic. In the architecture of some temples, not Roman, but eastern - Syro-Phoenician features were clearly visible. Such is the temple of Saturn (Baal) in Dugga (Fig. 70), which consisted of a luxurious vestibule, a peristyle courtyard and three rooms located in a row on its northern side. The cult was performed in the courtyard around the image of the deity, possibly in the form of a betil (conical stone). A peculiar combination of local and Roman features is demonstrated by the temple of Juno Celestis (Heavenly) in the same city (Fig. 70). The center of the sanctuary is a typical Roman Corinthian peripter in the middle of a semicircular peribolus.

The cult architecture of Roman Syria is peculiar; usually ant, prostyle or peripterial temples were built here, set in the back of the courtyard on a high podium with a staircase from the main facade alone. But inside, the place of the usual apse was occupied by an adyton in the form of a high podium. Among the Syrian temples stood out grandiose complexes in Baalbek (Heliopolis) and Palmyra (I-III centuries).

The grandiose ensemble of three temples - Big, Small and Round- occupied a large area in the western part Baalbek, near the intersection of two main highways (Fig. 71-73). The main one was big temple(53.3X94.4 m, see Fig. 71), which, together with the structures related to it, was erected according to the old Syrian tradition on an artificial platform (its height is 9 m). The height of the temple (about 40 m), the spatial scope of the ensemble and its orientation to the city center determined its dominance in the urban landscape.

A monumental staircase led up to the wide façade of the propylaea. The towers flanking a deep 12-column portico, the curvature of the entablature in the form of an arch over the extended middle span of the colonnade, the emphasized frontality of the propylaea - all this corresponded to the traditions of Syrian architecture. At the same time, the location along one axis of all parts of the complex - the propylaea, the hexagonal courtyard, the rectangular peristyle and the Great Temple itself - corresponded to the principle of axial symmetry adopted in Roman architecture. The centric space of the hexagonal courtyard served as a kind of transition from the frontally developed space of the propylaea to the space of the rectangular peristyle. The altar located along the axis of the peristyle and the elongated pools flanking it directed towards the Great Temple. However, the setting of the altar in the center of the temple complex, which was in keeping with the local tradition, and its grandiose dimensions, conflicted with the axial composition of this ensemble. The large temple is badly damaged: out of 54 columns of its outer porticos, six have been preserved. However, the similarity of the layout of the Great and Small churches allows us to reconstruct the interior of the Great Temple.

Its peculiarity is the assimilation of the interior of the temple to the peristyle courtyard, which gives the impression of a kind of doubling of space. In the composition of the entire complex, the Great Temple was the final element, but at the same time, its interior space, as it were, repeated the ensemble as a whole in a reduced size. The monumental staircase of the temple was likened to the stairs of the propylaea, the portico of the facade - to the propylaea proper, the pronaos - to the space of a hexagonal courtyard, the naos resembled a peristyle, and in its depths, on a high podium, there was an adyton, designed as a miniature temple.

The unity of the various parts of the ensemble was emphasized by the same decorative technique - the division into two tiers of niches and aedicules filled with sculpture, almost all internal surfaces: the walls of the propylaea, the walls of numerous exedras that overlooked the porticos of the courtyards, and the walls of the temple. The order is interpreted in general in a Roman way, although with excessively high columns. It was combined with half-figures of bulls and lions in the relief decoration of the entablature. characteristic of oriental art.

small temple(34X68.5 m, apparently dedicated to Bacchus) repeated the same compositional and decorative motifs on a smaller scale (Fig. 76, 77). Its interesting feature was the introduction of a sculptural frieze into the interior, depicting scenes of the Dionysian cult. The frieze, placed on the podium of the adyton, seemed to lead to the statue of Bacchus, which stood in a niche in the depths of the adyton.

South of the Big and Small temples was the so-called round temple(its diameter is 9 m). A four-column portico, facing the center of the ensemble, obscured the cella and gave the centric temple a frontal axial orientation, which was favored by Roman architects. A rare originality of the appearance of the temple was revealed when walking around it. The deep unraveling of the podium and entablature created an alternation of protruding and receding parts of the portico. The arcuate parts of the porticoes receding to the viewer brought the niches of the cella closer to the viewer, highlighting them with a warrant frame and focusing attention on the statues placed in them. Thus, the architectural forms of the temple communicated to the movement of the viewer perceiving them an intermittent rhythm, different from the smooth movement around the usual rotunda.

78. Palmyra (Syria). Temple of Bel, I-III centuries. Reconstruction of the temple, plan, master plan, fragment of the courtyard colonnade	79. Temple of Bel. Modern look

Architecture is also marked by a combination of Roman and local features. Temple of Bel in Palmyra(I-III centuries AD, fig. 78, 79). Like the ensemble of the Great Temple in Baalbek, the sacred site of the Temple of Bel was located on an artificial platform (its size is 210 X 205 m) and was surrounded by a wall broken from the outside with pilasters and niches. In the II century. porticoes were built along the inner perimeter of the wall. The higher portico along the western wall, unlike the others, had only one row of columns. In front of the temple, as in Baalbek, there was an altar for sacrifice and a pool for ablution. Access to the sacred area was opened by propylaea (the width of their facade is 35 m) with a monumental staircase and a three-span entrance. They were located on the western side of the site, along the axis of the entrance to the temple.

The frontal nature of the composition, characteristic of Syrian architecture, was clearly manifested in the architecture of the Temple of Bel.

The temple of Belus (55.3X30.3m) is of the pseudodipter type, the capitals of the Corinthian columns of which were decorated with bronze acanthus leaves. It had an entrance not on the short, but on the long side, slightly shifted to the south from the transverse axis of the temple and decorated with a portal covered with a flat floral ornament. There were two adytons in the temple - at the northern and southern walls of the cella. In addition to the statue of Bel, statues of the gods of the sun and moon (Yargibol and Aglibol) were also placed in the niche of the southern wall in the cell of the temple, which, together with Bel, constituted the triad of the main deities of Syria. The images in the temple of the Roman type of seven planets, accompanied by the signs of the zodiac on the ceiling of the northern niche, testify to the strength of local religious traditions with their cosmic ideas. Unusually for a Roman temple, the presence of stairs in the corners of the cella, which led to rooms above the cult niches. Apparently, the stairs also had access to a flat roof, where square turrets rose above the Syrian crenellated attic, possibly serving for astronomical observations. In the details of the ornament, and especially in the reliefs of the temple, local motifs play a prominent role.

Due to the unusualness of architectural forms, the originality of the combination of Roman and Eastern features and monumentality, the ensembles of temples in Baalbek and Palmyra were an outstanding phenomenon in the architecture of the Roman Empire.

In the south of Syria, in the areas of settlement of the Nabatean tribes, temples were spread, ascending according to the principles of their structure to the Iranian temples of fire (for example, Khirbet-Tannur, Syria), built here since the Hellenistic time. The cella, square in plan, was divided inside by four columns, forming a square in plan, in the center of which an altar was placed. Northern Mesopotamia is characterized by the revival of the most ancient local forms of the sanctuary. So, the temples of Dura-Europos repeat the scheme of the Babylonian temple with its vast courtyard, around which a group of rooms is arranged. A similar process is taking place in Egypt.

The general direction of the evolution of the religious architecture of the empire was the gradual elimination of traditional Italian types of temples. Strengthening of Eastern cults in Italy already in the II century. led to an increase in the importance of the interior of the temple and to the assimilation of a number of oriental decorative forms and compositional techniques. By the end of the empire, the construction of Roman temples ceased, and in the provinces, local types of sanctuaries began to prevail over temples with mixed Roman and local features. From the 3rd century first implicitly, and then explicitly, there is a search for a type of temple for the growing new religion - Christianity.

September 29, 2018

Rome is one of the oldest cities in the world and for many centuries it was the largest center of social and political life. Religion occupied a special place in the life of the ancient Romans. The first temples dedicated to the pagan Gods began to be erected as early as the royal period, around the 6th century BC. These most ancient temples of Rome have survived to this day - their ruins can still be seen in Rome today. Let's get to know them.

The ruins of the ancient temple of Vesta, dedicated to the Roman goddess of the hearth, are located in the oldest part of the Eternal City, in the Roman Forum. Presumably the temple appeared in the VI-V centuries BC. The building, round in plan, was surrounded on the outside by a colonnade. The sacred fire was constantly burning in the temple, which was maintained by the priestesses of the goddess Vesta - the vestals, and inside there was a cache that kept sacred relics.

Contemporaries can see only three fifteen-meter columns, an altar, as well as the source of Yuturna, whose water was considered healing.

One of the most ancient religious buildings of Ancient Rome, which was lucky enough to survive to this day, is the temple of Saturn. Its ruins can be seen in the Roman Forum. Saturn - the God of earth and fertility, in ancient times was especially revered by the Romans, temples were erected to him and new cities were named after him. According to legend, in ancient times Italy was called Saturn's land.

The Temple of Saturn was erected at the foot of the Capitoline Hill in the second half of the 5th century BC. During its history, the building burned down more than once during fires, but it was restored. Today, only a few columns of the portico and part of the foundation have survived. On the frieze you can see the inscription in Latin:

SENATUS POPULUSQUE ROMANUS INCENDIO CONSUMPTUM RESTITUIT

Which translates as: Senate and people of Rome restored destroyed by fire».

During the Republican period, the treasury was located under the temple, where not only the Roman treasury was stored, but also important state documents.

Portun's Temple is one of the few ancient buildings that managed to survive to this day. In ancient Roman mythology, Portun was considered the god of doors, keys and cattle, the guard of entrances and exits. The temple is located in the Bull Forum. In republican times, there was a small port and a market where livestock was traded.

The first temple of Portun appeared in the 3rd century BC, but the building that can be seen today dates back to the 1st century BC. From the previous building, only a part of the foundation, found during excavations, has been preserved.

The temple is the oldest surviving marble building in Rome. It was built around 120 BC. at the Bull Forum, not far from the Temple of the Portun. Dedicated to the hero of ancient Greek mythology, the deified Hercules, whose cult through the Greek colonists spread to Italy.

The legendary ancient Roman commander and statesman Gaius Julius Caesar was the second in history, after the founder of Rome, Romulus, to be deified by a Roman. Just two years after the brutal assassination of Caesar, starting in 42 BC. the construction of a temple in his honor began. Unfortunately, only a small part of it has survived to this day, but the ruins that can be seen today in its place give a good idea of ​​how impressive in size this building was more than two thousand years ago.

Three tall columns and part of the podium - this is all that has been preserved from the temple of Venus the Ancestor in the forum of Caesar. It was erected in 46 BC. at the direction of the great Julius Caesar in gratitude to Venus, fertility, beauty and love, for help in the victory over Pompey. The cult of Venus was of particular importance in the life of the ancient Romans, who considered her their patroness.

The surviving ruins of the temple are located in the Imperial Forums, or Fori imperiali, in the center of the Forum of Augustus, commissioned by the first Roman emperor in the 2nd year of our era. It was a majestic building, richly decorated with white marble, sculptures of kings and great Roman generals, sacred statues of gods and mythological characters.

In 79 AD, a temple was erected in the Roman Forum in honor of the two deified Flavian emperors - Vespasian and his son Titus. Only a few columns remained from the majestic temple, as well as some bas-reliefs, which are now kept in museums.

The temple of all the gods - the Pantheon - is located in the Rotunda Square, or Piazza della Rotonda, in the historic center of Rome. This building was built by order of Emperor Hadrian in 126 AD. e. To this day, it remains a functioning temple. The Pantheon is a unique example of ancient Roman architecture; its design features testify to the great achievements in the field of ancient engineering.

Many prominent personalities of the past are buried in the Pantheon, including the Italian kings Umberto I and Vittorio Emmanuele II, Queen Margherita of Savoy, as well as famous Renaissance painters and architects Rafael Santi, Baldassare Peruzzi and others.

According to historians, the most majestic religious building of Ancient Rome was a temple erected to the glory of the goddesses Venus and Roma, the patrons of the Eternal City. It was consecrated in 135 AD. e., during the reign of Hadrian. The emperor himself was the architect of this monumental structure.

The ruins that can be seen today near the Colosseum give an idea of ​​the size of the ancient structure. The pedestal on which the temple was erected is 145 meters long and 100 meters wide.

Modern Rome is not just a city with a long, centuries-old history, it is a real open-air museum, the exhibits of which surprisingly find a place among modern buildings. One such example is the temple of Hadrian, located on Stone Square (Piazza di Pietra). Part of the ancient Roman structure turned out to be built into a 17th-century building designed by Carlo Fontana.

The temple to the glory of the deified emperor Hadrian was erected by his adopted son and successor Antoninus Pius in 141-145 AD.

The Temple of Antoninus and Faustina is one of the few well-preserved pre-Christian temples of the Forum. By decree of Emperor Antoninus Pius, who was inherently a deeply religious person, a temple was erected in the Roman Forum in about the middle of the 2nd century in honor of his late wife Faustina. When the emperor died, an eagle was released into the sky at the farewell ceremony, which symbolized the deification of Antoninus. On the frieze of the portico you can see the Latin inscription:

DIVO ANTONINO ET DIVAE FAUSTINAE EX S(enatus) C(onsulto)

which is translated from Latin as: Divine Antoninus and Divine Faustina by decision of the Senate».

One of the largest buildings located in the Roman Forum is the basilica dedicated to the emperors Maxentius and Constantine. The height of the vaults of the basilica, built in 312, was 39 meters, and the area of ​​just one nave exceeded four thousand square meters.

The most ancient temples of Rome, preserved to this day

Traveling through the expanses of the Eternal City? Then you probably noticed that Rome is incredibly rich in its cathedrals and basilicas, which is not possible to count (according to the latest version, there are over nine hundred churches in Rome). I think you have a question: “What kind of churches do you need to visit for every self-respecting tourist?” Although each church in Rome is unique and has its own characteristics, we have compiled a list of cathedrals that will definitely turn your head.

Saint Paul's Cathedral

The most famous cathedral of the Eternal City is invariably St. Peter's Cathedral, majestically decorating the expanses of the Vatican State. The cathedral delights with its beauties not only from the outside, but also inside: one of the greatest works of art - “Pieta”, as well as the statue and the throne of St. Peter are kept here. Having enjoyed all the delights of the cathedral, do not rush to leave it without climbing onto its observation deck, which offers a stunning panoramic view of the majestic Rome.

You should be warned that entrance to the cathedral is free, but the queue of tourists eager to visit it is incredibly long. However, if you arrive early, say by 7 or 8 o'clock, you will successfully avoid this huge queue. It is also worth remembering that you should not take large bags to the Vatican, and you should also cover your knees, otherwise you simply will not be allowed to see the wealth of the capital of Catholicism. If you decide to visit the panoramic platform of St. Peter's Basilica, then the following information will be very useful for you. You can climb the observation deck in 2 ways: by paying 8 euro and having mastered 551 steps or by paying 10 euro and after passing a small part on the elevator, reduce the number of steps to 321 . In general, it is worth noting that the ascent to the panoramic platform of the cathedral is very difficult and it will not work to turn back halfway, because the steps are very narrow and will not allow you to do this, so this ascent is not recommended for elderly tourists and tourists with children.

Working hours

7:00 - 19:00 in summer

7:00 - 18:00 in winter

Wednesday morning is reserved for papal audiences.

You can get to the dome:

from October to March from 8:00 to 16:45

from April to September from 8:00 to 17:45

Address

Piazza San Pietro, 00120 Città del Vaticano

The Sistine Chapel

The magical beauty of the Sistine Chapel is difficult to convey in words, it must be seen with your own eyes: the enchanting Frescoes of Botticelli and Pinturicchio can be viewed for hours, penetrating the essence of the plot. By the way, the main highlight of the Sistine Chapel, created by the hands of Michelangelo, took its rightful place on the vault of the chapel on October 31, 1512, when the artistic genius finally decided to present it to the public.

Pantheon

The majestic ancient Pantheon... Perhaps one of the most ancient buildings that have retained their original appearance to this day. The Pantheon is the pagan temple of all Gods. It is a huge building with a convex rounded roof, in the center of which there is a hole, which is a symbol of the unity of all saints and is popularly called “oculus”. The roof of the Pantheon is incredible, no wonder that the Roman “patrons” of the Fendi fashion house were inspired by its ornament when creating their signature brand details. But seriously, the roof of the Pantheon is also unusually heavy and therefore it is fixed on the walls of 6 meters thick, which at one time served as an excellent shelter during uprisings and riots. It is also worth noting that the tomb of the great genius Raphael is kept in the Pantheon, which you can find by going deep into the temple and turning your attention to the wall on the left side. Entrance to the Pantheon is absolutely free.

Working hours

Mon - Sat: 9:00 - 18:00

Sun: 8:30 - 19:30

Address

Piazza della Rotonda

Santa Maria Maggiore

The delightful early Christian church of Santa Maria Maggiore has one of the most advantageous locations in the expanses of the Eternal City: firstly, it is located on the Esquiline hill (which allows you to add another mark on the map of the 7 hills of Rome), and secondly, this is perhaps the closest basilica located to the central station of Termini, which makes it one of the most accessible to visit.

In addition to the above, Santa Maria Maggiore is one of the 4 Great Basilicas of the Eternal City, as well as one of the 7 pilgrimage Catholic churches. Inside the Basilica of Santa Maria Maggiore are mosaics created in the 5th century, as well as the manger of the baby Jesus. To visit the museum located on the territory of the church, you need to purchase an entrance ticket for 4 euros.

Working hours

Museum opening hours: daily, from 9:30 to 18:30

Cathedral opening hours: daily, from 7:00 to 19:00

Address

Piazza di S. Maria Maggiore, 42

Santa Maria della Vittoria

The charming church of Santa Maria della Vittoria is located relatively far from the most visited places by tourists, which makes it an excellent haven for lovers of a relaxing holiday.

In addition to precious decorations in the form of many sculptures and gilding, the basilica is decorated with a fresco by Domenico Cerrini and paintings by the famous Guido Reni and Dominichino. There is also a very controversial sculpture that has repeatedly puzzled the public: of course, we are talking about the sculpture “The Ecstasy of Saint Teresa”, created by the greatest genius, in whose hands the stone seemed to be transformed into plasticine, Gian Lorenzo Bernini.

Working hours

Mon - Sun: 7:00 to 12:00 and from 15:30 to 19:00

Address

Via Venti Settembre, 17

Santa Maria della Concezione

Santa Maria della Concezione is a unique Capuchin church, behind an inconspicuous façade hiding amazing works by Caravaggio and Guido Reni. The highlight of the church of Santa Maria della Concezione is the presence of a crypt, consisting of 6 rooms. It is in it that you can see intricate baroque patterns, as well as decorations created from the bones of 4000 monks, chandeliers from vertebrae and an alcove from skulls. All these “jewels” were brought to the Basilica of Santa Maria della Concezione back in the 18th century from the cemetery of the Capuchins. The entrance fee to the basilica is 6 euros.

Working hours

Mon - Sun: 9:00 - 19:00

Address

Via Vittorio Veneto, 27

Basilica of Santa Maria degli Angeli e dei Martiri

The Basilica of Santa Maria degli Angeli e dei Martiri is a 5-minute walk from the central station of Termini and is definitely worth your attention. Let's start with the fact that at first glance, the external appearance of the basilica does not meet the standards of the construction of churches, because its facade is literally built into the ruins of Dioctelian's baths. The Baths of Dioctelian is a grandiose building that could accommodate as many as 3,000 people, built in 290-305 thanks to the sweat and blood of thousands of slaves who gave their lives to build this structure.

The church was built much later, in 1566, and was named after those same martyrs who died. The project of the church was entrusted to none other than the most talented genius of Michelangelo. A year later, before he could finish his project, he died, but the embodied idea of ​​​​Michelangelo still amazes the viewer: every centimeter of the Basilica of Santa Maria degli Angeli e dei Martiri is saturated with his spirit. In addition to the precious decorations of the church, there are also many interesting details, such as a huge amazing organ with 5400 silver pipes, or a pendulum in the form of a hand holding the globe.

Working hours

Mon - Sat: 7:00 - 18:30

Sun: 7:00 - 19:30

Address

Piazza della Repubblica

Basilica of San Giovanni in Laterano

The Lateran Basilica is not only one of the finest basilicas in Rome, it is also the world's premier cathedral. Here is a small collection of the most valuable relics: among them you can find statues of 12 holy apostles, the holy ladder on which Jesus himself climbed, the papal throne, symbolizing the power and responsibility of the chief Roman bishop, and many other treasures. It is also important to note the fact that as many as 6 popes rest within the walls of the Basilica of San Giovanni in Laterano: Sergius IV, Innocent III, Alexander III, Clement XII, Martin V and Leo XIII.

By the way, on November 7, a Catholic feast will be held in honor of the consecration of the Lateran Basilica, and if you are in the Eternal City, it will not be superfluous to visit the possessions of the Basilica of San Giovanni in Laterano.

Working hours

Mon - Sun: from 7:00 to 18:30.

Sacristy: from 8:00 to 12:00 and from 16:00 to 18:00

Baptistery: from 7:00 to 12:30 and 16:00 to 19:00

Museum: from 10:00 to 17:30.

Address

Piazza di San Giovanni in Laterano

Basilica of San Agnese in Agone

It is simply possible not to notice this beauty, because the Basilica of San Agnese in Agone is located in the heart of one of the most beautiful squares in Italy (!) - Piazza Navona. Such wonderful creators as Girolamo and Carlo Rainaldi, Francesco Barromini, Baciccio and many others worked on decorating the basilica. It was in front of the church of San Agnese that the main character Liz from the famous novel “Eat, Pray, Love” sat and ate gelato. The Church of San Agnese should definitely be on your list of attractions that you must visit, at least, because it is located in the very - very heart of the Eternal City, and its riches will definitely turn your head.

Working hours

Mon: day off

Tue - Fri: 9.30 to 12.30 and from 15.30 to 19.00

Sat - Sun: from 9.00 to 13.00 and from 16.00 to 20.00

Address

Via di Santa Maria dell "Anima, 30/A

San Paolo fuori le mura

Paradise for travelers who value peace and tranquility. In fact, the Basilica of San Paolo - fuori - le - Mura is literally like a phoenix rising from the ashes: in 1823, a fire broke out in the basilica, almost completely destroying the entire building (only the apse part remained from the remnants that survived this terrible tragedy basilicas). In general, the church of San Paolo - fuori - le - Mura is included in the UNESCO World Heritage List. Here you can find a well-groomed square where you will be met by a sculpture of St. Paul (created by Giuseppe Obici), who literally welcomes you and sees you off to your chambers. It is worth noting that in San Paolo - fuori - le - Mura are the relics of the Apostle Paul, and also here is the place of his burial.

The Basilica of San Paolo - fuori - le - Mura is located in a relative distance from the main attractions, so ordinary tourists simply do not reach this temple and are unlikely to know about its existence. Therefore, if you are looking for a place for solitude, then you will definitely like the Church of San Paolo - fuori - le - Mura.

Working hours

Mon - Sun: from 07:00 to 18:30

Monastery and cloister: from 08:00 to 18:15

Confessions: from 7:00 to 12:30 and from 16:00 to 18:30

Address

Piazzale San Paolo, 1

Church of San Ignazio di Loyola

Not far from the church of San Agnese in Agone described above, you can find the Basilica of San Ignazio di Loyola, which is located near the Pantheon. The main highlight of this church is the illusionary dome created by Andrea Pozzo: it seems that the dome has a convex shape, but the ceiling is absolutely flat - this is the optical illusion of the image. Why did the artist suddenly decide to depict an optical illusion? Because the owner did not have enough money to complete the structure of the dome, so it was decided to create such a visual “trick” that would hide this “flaw”.

Working hours

Mon - Sun: from 7.30 to 12:20 and from 15:00 to 19:20

Address

Piazza di Sant'Ignazio, 171

Il Gesu

The Basilica of Il Gesu is the most important church of the Jesuit Order, and therefore is made in accordance with generally accepted canons in austerity and without architectural frills. However, the church with perhaps the most symbolic name of Il Gesu is famous for its amazing domes, precious masterpieces and golden decorations. By the way, this church was not without the influence of Michelangelo, who, unfortunately, did not have time to bring his project to life, nevertheless managed to influence the architectural style of the building. The fact is that after Michelangelo, his talented student, Giacomo della Porta, took up the project, and therefore you can easily notice the special style and spirit of the brilliant maestro Michelangelo.

Working hours

Mon - Sun: from 7:00 to 12:30 and from 16:00 to 19:45

Address

Via degli Astalli, 16

Basilica of Santa Croce in Gerusalemme

One of the most unique basilicas in the Eternal City, built on Jerusalem soil, as you may have already guessed from the name. It is also included in the list of the seven main churches of the Eternal City, visited by pilgrims during their 20-kilometer route. Here you can find the most precious relics that have been kept here for centuries: this is the sacred nail, and part of the Crown of Thorns, and 3 fragments of the True Cross and “Titulus Crucis”.

Working hours

Mon - Sun: daily 7:00 - 12:45 and 15:30 - 19:30

Address

Piazza di S. Croce in Gerusalemme

Church of San Luigi dei Francese

One of the most adored churches of the Eternal City, if only because it is here that you can see absolutely free of charge as many as 3 works of the talented genius of realism in painting - Michelangelo Merisi da Caravaggio. In addition, the church of San Luigi dei Francesi occupies one of the most favorable geolocations, located between the Pantheon and Piazza Navona, so it will not be difficult for any tourist to visit it.

Working hours

Mon - Sun: 09:00 - 12:30 and 15:00 - 19:00

Address

Piazza di S. Luigi de Francesi

We hope our article was useful for you and you highlighted a lot of necessary information that may come in handy on your journey. We also hope that you will spend a magical holiday in the Eternal City.

If you are going to Rome, you are surely preparing for an encounter with ancient history and beautiful art. After all, in Rome, before the astonished travelers, the history of the formation of the entire European civilization comes to life. Moreover, numerous architectural, sculptural and artistic masterpieces do not necessarily “hide” in or palaces. Works of art can be found in almost any part of the city, in almost any lane! And the special "keepers" of the cultural and historical treasures of the Eternal City are the cathedrals and churches of Rome. You can find everything in them - a rich history, expressive architecture, unique paintings and sculptural masterpieces, and, of course, priceless Christian relics. We invite you to take a look at the most famous and interesting basilicas and churches of Rome with us and find out what treasures they hold.

The main cathedrals of Rome

Among the many Roman churches, the Catholic Church highlights several of the most significant. These are the so-called "papal basilicas" (Basilica Papale), which have a special status in the Catholic world and are directly subordinate to the Pope. Officially, they are part of the Vatican, wherever they are geographically located. Let's "look" into some of them - the most famous and interesting for tourists.

Basilica di San Pietro

St. Peter's Basilica in the Vatican is the largest Christian cathedral in Rome and one of the largest in the world. But he is famous not only for his grandiose size. The architectural harmony and luxury of the decoration of the temple are amazing. And this is not surprising, because such masters as Michelangelo (the author of the famous dome of the cathedral), Bernini (the creator of the amazing colonnade in the square), Raphael, Bramante and many other outstanding architects, sculptors and painters worked on the construction and decoration of the cathedral.

St. Peter's Basilica is the heart of the Vatican. And the heart of the cathedral itself is the tomb of St. Peter the Apostle. It is above it that the main altar of the basilica is located, it was because of it and for its sake that a temple was built on this site in the 4th century. In addition, St. Peter's Basilica houses many other relics and, of course, unique works of art.

The Cathedral of St. Peter is so large that, according to legend, a whole army of soldiers was somehow "lost" in it - they say that the commander who was late for the service simply did not notice them. What can we say about tourists who find it so difficult to understand all the variety of interesting artifacts of the cathedral! In order not to get lost in the cultural and historical richness of this temple, explore it with our audio guide! We have created a fascinating audio tour "" so that St. Peter's Cathedral opens up for you, reveals some of its secrets, stories and legends. Download the Travelry guide with audio guide so you don't miss out on the highlights and most important relics of St. Peter's Basilica.

Opening hours of St. Peter's Basilica: from October 1 to March 31 - 7.00-18.30 (closed on January 1 and 6); from April 1 to September 30 - 7.00-19.00.

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Basilica di San Giovanni in Laterano

The Basilica of San Giovanni in Laterano, or the Lateran Basilica of St. John, is one of the first Christian churches in the Eternal City. This majestic cathedral was founded in the 4th century, under Emperor Constantine the Great. It is also called the "archibasilica", that is, the main basilica. Yes, yes, it is this cathedral of Rome that, according to its official status, is the main one in the Catholic world, even more important than St. Peter's Cathedral in the Vatican! After all, it was here, in Laterano, that the residence of the popes was once located. And right up to 1870, the erection to the papal rank took place in this cathedral.

The interior of this grandiose basilica impresses with its grandeur and solemnity. An attentive traveler will find a lot of interesting things in it, especially if with him. Mosaic floor, beautiful statues of the apostles, a 13th century mosaic behind the central altar, a 16th century organ, magnificent reliquaries…. Important shrines are kept in the temple - the heads of the holy apostles Peter and Paul, as well as part of the table at which Christ and the apostles ate the Meal at the Last Supper.

Address: Piazza di S. Giovanni in Laterano, 4
Opening hours: 7.00 - 18.30 (without lunch).

Learn many interesting facts and stories about the Lateran Basilica with the audio tour " ”, which is available in our guide to Rome for iPhone.

Basilica of Santa Maria Maggiore

There is a beautiful legend about the construction of the Basilica of Santa Maria Maggiore. This fragment of ours is just about him:

Built in the 4th century, Santa Maria Maggiore is not only one of the oldest, but also the fourth largest church in Rome. However, despite its grandeur, the cathedral keeps very touching relics. Among them are fragments of a wooden manger, in which, according to legend, the baby Jesus lay. Another shrine of the temple is the ancient miraculous image of the Virgin. It is believed that it was written by the holy evangelist Luke. The icon is called “The Salvation of the Roman People”, which is associated with one of the many miracles - the salvation of Rome from the plague, which took place in the 6th century through prayers to the Mother of God.

The ancient mosaics of the 5th century, the luxurious decoration of the side chapels (especially the Borghese chapel), the ancient mosaic floor, the majestic coffered ceiling of the 15th century and many other amazing and beautiful details that make up the majestic appearance of the temple deserve special attention in the cathedral.

Above the cathedral rises a 75-meter Romanesque bell tower, which is considered the highest in Rome.

Address: Piazza di S. Maria Maggiore, 42
Opening hours: 7.00 - 18.45 (without lunch).

If you are going to visit the Church of Santa Maria Maggiore and are traveling around Rome with your iPhone, we recommend downloading the audio tour " ”, in which a detailed and interesting story is dedicated to this cathedral.

Basilica of St. Paul's "Behind the Walls" (San Paolo fuori le mura)

One of the main papal basilicas in Rome. The basilica was founded during the reign of Emperor Constantine in the 4th century on the resting place of the holy Apostle Paul. It is this most important Christian relic that attracts many pilgrims to this day. In the courtyard of the temple (created back in the 13th century), many other shrines are kept. And the luxurious interior of the basilica impresses with an abundance of beautiful works of art.

Address: Piazzale di San Paolo, 1
Opening hours: 7.00-18.30.

Secrets of antiquity: ancient frescoes, Byzantine mosaics and antique artifacts

Church Santa Maria in Trastevere(Basilica di Santa Maria in Trastevere)

One of the oldest Roman churches, built in the 3rd century, even before the official adoption of Christianity! This church is considered the first official Christian church in Rome. The basilica acquired its Baroque façade at the beginning of the 17th century. However, despite a number of reconstructions, the elements of medieval decoration are well preserved in the church. In particular, the beautiful mosaics of the 12th century that adorn the facade of the church, as well as the frescoes of Pietro Cavallini inside.

Address: Piazza di Santa Maria in Trastevere
Opening hours: 7.30 - 21.00, in August 8.00-12.00 and 16.00-21.00.

Church of San ClementeSan Clemente)

The Church of San Clemente is also one of the oldest in Rome. Looking around this church, you can study different eras, plunging deep into the centuries. The fact is that under the main building of the XI-XII century (which in itself deserves attention), an older church, built back in 385, has been preserved. And even lower, under the early Christian basilica, you can see a piece of antiquity! At the lowest level, the ruins of a pagan temple dating from the 3rd century and the ruins of an ancient city from the 1st century are preserved - what remains after the great fire of 64, attributed to Nero. An underground river still flows there - part of the ancient Roman aqueduct.

To descend to the lower levels, you must purchase a ticket.
Address: Via Labicana, 95
Opening hours: weekdays 9.00-12.30 and 15.00-18.00; Sundays and holidays 12.00 - 18.00.

Church of Saint Pudenziana (Chiesa di SantaPudenziana al Viminale)

Among the oldest churches in Rome, the church of St. Pudenziana also stands out. It was built on the site where once stood the house of the Roman senator Puda, the father of Saint Pudentiana. The remains of an ancient 1st century house belonging to Pud (Palazzo di San Pudente) are located under the church. It was in this house that the first Christian community of Rome gathered. Senator Pud received the apostles Peter and Paul, as well as other believers, in his house. An ancient tradition calls him "a friend of the apostles." Subsequently, Pud himself was numbered among the 70 holy apostles. And the church is dedicated to one of his daughters - St. Pudentiana.

In the second century, baths were built on the site of the Puda house. And at the end of the 4th century, after the adoption of Christianity, one of the first Roman churches appeared here. The church has been rebuilt several times over the centuries. The church is notable for the ancient mosaic above the main altar in the semi-dome - it dates from the end of the 4th - the beginning of the 5th century and is considered one of the oldest in Rome. In addition, old paintings and frescoes attract attention.

Now the Church of Santa Pudenziana is the national church of the Philippine community in Rome.

Address: Via Urbana, 160
Opening hours: 8.30 - 12.00 and 15.00 - 18.00 (break from 12 to 15.00)

Church of Saint Praxeda (Santa Prassede all'Esquilino)

The church was built in the 9th century by Pope Paschal and is dedicated to Pudenciana's sister, another daughter of Pud, Saint Praxeda. According to legend, together with her sister Pudenziana, Saint Praxeda sheltered persecuted Christians in her house (they lived during times of cruel persecution, in the 1st century), took care of them, and buried the martyrs. The relics of the holy sisters rest in the underground crypt of the church.

In this temple, one cannot pass by the amazing chapel of St. Zeno. It is decorated with amazing colorful mosaics created by Byzantine craftsmen who took refuge in Rome from iconoclastic persecution.

On the right side of the Zeno Chapel there is a great Christian relic - "Colonna della Flagellazione", the upper part of the pillar to which Jesus Christ was tied during the scourging. This relic was brought in 1223 from Constantinople. Two other parts of the same pillar are in Jerusalem and in Constantinople.

Address: Via di Santa Prassede, 9/a
Opening hours: weekdays 7.30 - 12.00 and 16.00 - 18.30, weekends 8.00 - 12.00 and 16.00 - 18.30.
http://www.romaspqr.it/

We visit all three churches mentioned above - San Clemente, Santa Praxeda and Santa Pudenziana - in an audio tour " » with travel guide for iPhone Travelry. In it, we recall both the amazing history, and the shrines of these places, and their cultural treasures.

Church of Santa Cecilia in Trasteverein Trastevere)

The church dedicated to St. Cecilia, the patroness of music, has existed since the 5th century and, according to legend, was built on the site of the house in which the saint lived. It is impossible to ignore and pass by the sculpture of Stefano Maderno, amazing in its beauty and tenderness, depicting Saint Cecilia as, according to legend, she was discovered when she was uncovered her relics.

The church is also decorated with ancient mosaics of the 9th century, frescoes by Pietro Cavallini, a Gothic canopy of the 13th century. And in the crypt of the basilica (underground part) you can see a piece of antiquity - the remains of ancient buildings have been preserved there. In addition, under the altar is a sargophagus with the relics of St. Cecilia.

Address: Piazza di Santa Cecilia, 22
Opening hours: 10.00-13.00 and 16.00-19.00.

A visit to the basilica is free, the entrance to the underground crypt is € 2.50.You can see the medieval frescoes by Pietro Cavallini from 10.00 to 12.30 (€ 2.50).

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Masterpieces of painting and sculpture in the churches of Rome

Church of Santa Maria della Victoria

The Church of Santa Maria della Victoria, built in the 17th century, houses the famous masterpieces of Baroque art. One of them is a sculptural composition by Bernini " Ecstasy of Saint Teresa". Looking at this amazing sculpture, one involuntarily recalls the words of Bernini himself: “I defeated marble and made it flexible like wax, and in this way I was able to combine sculpture with painting to a certain extent.” It sounds bold, but… look at the work of this sculptor and decide for yourself how true this statement is.

Also in the interior of the church is remarkable cornaro chapel- its design is distinguished by deliberate theatricality, characteristic of the Baroque style.

Address: Via XX Settembre, 17
Opening hours: 8.30-12.00 and 15.30-18.00

Basilica of Santa Maria del Popolo (Santa Maria del Popolo)

The Basilica of Santa Maria del Popolo, in its current form, is an example of the Roman Renaissance and modestly houses many cultural treasures. Among them - paintings by Caravaggio with scenes from the life of the holy apostles: "The Conversion of the Apostle Paul" and "The Crucifixion of St. Peter." They are in the Cherazi Chapel.

Also in the church you can see the sculptures of the Baroque master Bernini, painting according to sketches Raphael, frescoes Pinturicchio, work Sebastiano del Piombo and other famous artists.

Address: Piazza del Popolo, 12
Opening hours: all days except Friday and Saturday 7.30 - 12.30, 16.00 - 19.00, Fri. and Sat. 7.30 – 19.00 (without lunch).

We visit the Church of Santa Maria del Popolo in an audio tour " ". Exploring the city with an audio guide, you will not miss the most interesting places and learn the most interesting stories about it.

Church of San Luigi dei Francesi (Chiesa di San Luigi dei Francesi)

In the church of San Luigi dei Francesi, built in the 16th century, you can see famous paintings of mature Caravaggio. As many as three outstanding works of this master of light and shadow are in the Contarelli Chapel, in the left nave: "The Calling of the Apostle Matthew", "St. Matthew and the Angel", "The Martyrdom of St. Matthew". In addition, it is worth paying attention to the frescoes. Domenichino.

The Church of San Luigi dei Francesi is included in the route of the audio tour " » with travel guide for iPhone Travelry. In it, we will talk about the amazing canvases of the painter, and about the history and features of the church, and about many other interesting places in the center of Rome.

Address: Piazza di San Luigi dei Francesi, 5
Opening hours: 10.00-12.30, after a break 15.00-19.00, closed on Thursdays after lunch.

Church San Pietro in Vincoli(San Pietro in Vincoli)

The Church of San Pietro in Vincoli, or "St. Peter in Chains", was built in the 5th century specifically to store an important shrine - the chains of the Apostle Peter. The iron chains with which Saint Peter was bound when he was kept in custody for preaching about Christ are kept in a special reliquary under the main altar.

And in the 16th century, a masterpiece by the famous master of the Renaissance appeared here. Michelangelo – Moses sculpture. For her sake, many art lovers flock to this church. The sculptor conceived a grandiose composition, however, he failed to fully realize it, since Michelangelo was "distracted" to work on St. Peter's Cathedral in the Vatican. The project was completed by the master's students, but even one mighty sculpture of Moses, created by his hands, is worthy of attention. In addition, the frescoes of the masters of the 17th and 18th centuries are interesting in the church.

The temple is located a little away from the well-known hiking trails, and therefore not all independent tourists manage to find it. But for this purpose, it was created to help travelers quickly find their way around the city and find places of interest to them, as well as learn a lot of interesting things about them (currently the application is only available for iPhone).

We tell more about the history and treasures of this church, as well as about the famous creation of Michelangelo in the audio tour "".

Address: Piazza S. Pietro in Vincoli, 4a
Opening hours: from April to September 8.00-12.30, 15.00-19.00; from October to March 8.00-12.30, 15.00-18.00.

Basilica of Santa Maria Sopra Minerva

Jean-Christophe BENOIST , Wikimedia Commons

The Basilica of Santa Maria Sopra Minerva, built in the 13th century, is considered the only Gothic church in Rome. In the basilica you can see the frescoes by Filippo Lippi and the sculpture of Christ by Michelangelo (1521)

Address: Piazza della Minerva, 42
Opening hours: 07.10-19.00, Sun. 08.00-12.00 and 14:00-19.00

Church of Santa Maria sopra Minerva we visit on a guided tour " » with Travelry audio guide.

Churches of Rome with interesting architecture

Pantheon (Pantheon), the Church of Santa Maria "At the Martyrs" (Santa Maria ad Martyres, Santa Maria della Rotonda)

The magnificent Pantheon is not only a unique architectural and engineering monument of antiquity, but also a Christian church. Once, back in 27 BC, a pagan sanctuary was built here. The temple acquired its famous architectural appearance after perestroika in the 2nd century. It was then that an amazing dome with a hole (“eye of the Pantheon”) and a round building appeared - the rotunda. Until now, this grandiose building is considered a miracle of engineering and a masterpiece of ancient architecture.

And in 609, the pagan “temple of all gods” turned into the Church of the Mother of God “At the Martyrs” (Santa Maria ad Martyres). Probably, thanks to this, he survived to this day almost unchanged. Why "At the Martyrs"? The name is due to the fact that 28 carts with the relics of the holy martyrs were transported here from the Roman catacombs. And in later centuries, the Pantheon became the tomb of famous people, among them Raphael, the first king of United Italy, Vittorio Emmanuele II and his son Umberto I. The second name of the church, Santa Maria della Rotonda, is associated with the round shape of the building.

Address: Piazza della Rotonda

Opening hours: Mon.-Sat. 08.30-19.30, Sun. 09.00-18.00.

Tourist visits are not allowed during church services (on Sundays and holidays at 10.30, on Saturdays at 17.00)

Listen to the amazing history and unique features of the ancient Pantheon in the audio tour “ “.

Church of Sant'Ivo alla Sapienza

The Church of St. Ivo is one of the brightest examples of Baroque art and the unusual, even extravagant, architectural style of Borromini. Dynamic architecture with bizarre curves creates the impression of movement, a swift impulse, in which the building seems to freeze for a moment. The amazing graceful dome also attracts attention.

The church is located on Corso del Rinassimento, but is almost invisible from the street. In order to see it, you need to go into the courtyard.

Address: Corso del Rinascimento, 40 (entranceWithstreetsCorso del Rinasimento)

You can visit the church only on Sundays from 9.00 to 12.00. From July to August it is closed even on Sunday.

The Church of Sant'Ivo alla Sapienza is included in the route of our audio tour " ”, which is available in the Travelry mobile guide.

Church of the Gesù

The Jesuit Church, called del Gesù, is a brilliant example of Mannerism and opulent Roman Baroque. The elegant church with luxurious decoration was built in the 16th century by the architects Vignola and della Porta. Curiously, the design proposed for this building by Michelangelo was rejected by the cardinal. The architecture of Il Gesu has become canonical for Jesuit temples around the world. Churches of the so-called "Society of Jesus" are built on its model in Poland, Lithuania, Portugal, and Latin America. The founder of the Jesuit order, Ignatius Loyola, is buried in the temple.

Address: Piazza del Gesu

Opening hours: 7.00-12.30 / 16.00-19.45

Church of San Carlo "At the Four Fountains" (San Carlo alle Quattro Fontane)

The amazing Church of San Carlo, or San Carlino, is located near the intersection of the Four Fountains. Not every tourist gets to this place, and loses a lot! After all, this is one of the main masterpieces of the architect Borromini. The dynamic forms of the facade, the amazing play of light and shadow, undulating curves and other architectural features make this building an outstanding example of the Baroque style. Moreover, in the performance of the talented and unfortunate architect Francesco Borromini, this style is completely unique and original. No wonder many foreign architects, stunned by the work of Borromini, tried to get sketches and copies of the building plan.

Address: Piazza Navona - Via S.Maria dell'Anima, 30/A - 00186 ROMA

Opening hours: weekdays 9.30-12.30, after a break 15.30-19.00, weekends and holidays 9.00-13.00, after a break 16.00-20.00, closed on Sunday.

Twin churches of Santa Maria di Montesano and Santa Maria dei Miracoli (Santa Maria di Montesano e Santa Maria dei Miracoli)

On the south side of the square, opposite the arch of Porta del Popolo, two twin temples stand out: Santa Maria dei Miracoli and Santa Maria in Montesanto, built by architect C. Rainaldi in the 17th century. The buildings are mirrored and are an important part of the overall architectural ensemble of the square. They are incredibly similar, however, if you look at them very carefully (and especially if you see them in plan), you will notice that Santa Maria dei Miracoli is round, and Santa Maria in Montesanto is oval. This is due to the fact that the architect had to somehow fit the building into the complex of already existing buildings.

Address: Piazza del Popolo

We will see the twin churches at the very beginning of the audio tour " ».

Roman relics venerated by the Orthodox

Today Rome is known as the capital of the Catholic world. But this city is much older than the Catholic Church itself, and its significance for the entire Christian world is much greater and more important than it might seem. Indeed, long before the division of the churches into Catholic and Orthodox (and this tragic event took place in 1054), Rome was the ancient cradle of all Christianity. It was in Rome that the holy apostles Peter and Paul preached, it was in it that they suffered and were martyred. In times of persecution, Rome revealed to the world countless Christian martyrs. And later, after the legalization of Christianity under Emperor Constantine the Great, it was here that magnificent Christian churches and basilicas began to grow, which became models for later buildings. It is not surprising that today in Rome a great number of common Christian relics are kept, which are revered by both Catholics and Orthodox.

Holy things from Jerusalem

Many shrines came to Rome thanks to the active work of the holy Empress Helena, the mother of Emperor Constantine. Already at a very advanced age, Elena undertook a long and difficult journey to the Holy Land, to Jerusalem, in order to find the shrines associated with the earthly life of Jesus Christ. In those days, this was an incredibly difficult task, because Jerusalem was completely destroyed in the 1st century. Nevertheless, Elena was able to find and brought to Rome many important relics.

Among them - shrines associated with the crucifixion of Jesus Christ. This is a part of the Cross on which the Savior was crucified, a thorn from the crown of thorns, a nail that was used during the execution, a plate with the inscription of guilt, which was attached to the Cross. The Basilica of the Holy Cross in Jerusalem (Santa Croce in Gerusalemme) was built especially for the storage of these relics brought by Empress Helena. In addition, the finger of the holy Apostle Thomas, the cross of the “prudent robber”, as well as a full-size copy of the Shroud of Turin are kept in the cathedral.

There was also a staircase from Jerusalem to Rome, which was once in the palace of Pontius Pilate. Jesus Christ, condemned by Pilate to execution, ascended and descended several times along it. Holy Stairs (ScalaSanta) That's what they call her in Rome. It is allowed to climb these steps only on your knees. The relic is stored in a special building next to the Lateran Basilica of San Giovanni, which we mentioned above. There was also the chapel "Holy of Holies" (Sancta Sanctorum), which got its name because of the many relics that were in it.

The relics of Queen Helena rest in Basilica of Santa Maria in Aracoeli on Capitol Hill. We visit it with By the way, this basilica is also interesting in itself - the severe appearance will take you to the Middle Ages, and the interior decoration will amaze you with wealth and beauty.

The church of Santa Prassede also houses the so-called " Flagellation Column”- part of the pillar to which Christ was tied during the scourging.

And in the Basilica of San Giovanni in Laterano, high under the ceiling, you can see the tabletop on which the legendary "Last Supper" was celebrated.

Most of the shrines brought to Rome from Jerusalem, we will see on the tour “ ” with the Travelry audio guide. In this audio tour, we will visit the unique ancient churches of Rome and learn a lot of interesting things about them.

Rome - the city of the apostles

The capital of the great ancient empire at one time was the center of European civilization, and therefore Christian preachers flocked here. Many of them met their death in Rome and are still buried in the Eternal City. saint's tomb Apostle Peter(whom Catholics consider the first Pope) is located in St. Peter's Cathedral in. And above the grave apostle paul a large basilica of St. Paul "Outside the city walls" was built, which we also spoke about above.

Heads of the Apostles Peter and Paul kept separately, in a special reliquary in the church of St. John (San Giovanni) in Laterano. We talk a lot and interestingly about this church on an excursion with an audio guide ““.

Roman martyrs and early Christian saints

Ancient fresco in the Basilica of San Clemente (life of St. Alexis, Man of God)

Christian pilgrims in Rome are also attracted by churches in which the relics of early Christian martyrs and saints rest. There are a great many of them in the Eternal City. In particular, in Rome rest:

Great Martyr George the Victorious(Church of St. George in Velarbo - San Giorgio in Velarbo)

St. Alexis the Man of God and St. Boniface(Church of St. Boniface and Alexy on the Aventine Hill - SS. Bonifacio e Alessio)

St. Cosmas and Damian(under the main altar of the Church of Cosmas and Damian on Fori Imperiali - Chiesa di Santi Cosma e Damiano). This church is included in the route of the audio tour ““.

Saint Cyril, one of the creators of the Slavic alphabet and educator of the Slavs (the Basilica of San Clemente - Basilica di San Clemente, which we visit on the excursion ““)

Hieromartyr Clement(Basilica of San Clemente -)

St. Eustathius Plakida(Church of Sant'Eustakio near the Pantheon - Chiesa di S. Eustachio in Campo Marzio). We talk about this church, as well as about St. Eustathius, in the audio tour ““.

Holy Martyrs Archdeacons Stephen and Lawrence(Church of St. Lawrence "Beyond the Walls" - Basilica di S. Lorenzo fuori le mura)

St. Cyprian and Justina(Lateran Baptistery - Battistero Lateranese, which is included in the audio tour “ “)

Holy Martyrs Chrysanthus and Darius, patrons of matrimony (Church of the Twelve Apostles - Basilica dei SS. XII Apostoli, included in the free audio tour ““)

St. Eugenia and her mother Claudia(- Basilica dei SS. XII Apostoli)

Holy Martyr Agnes(The head of the saint is kept in the church of Sant'Agnese in Agone on Piazza Navona, and the body is kept in the church of St. Agnes "Behind the Walls", Chiesa di S. Agnese fuori le mura). About the church of St. Agnes on Piazza Navona and about the life of the saint herself, we tell in the excursion “” with an audio guide.

Saint Cecilia of Rome, patroness of music (Church of Santa Cecilia in Trastevere - Santa Cecilia in Trastevere)

Saint Anastasia of Sirmia(Church of Santa Anastasia al Palatino)

Saint Chrysogon(Church of St. Chrysogon in Trastevere - Basilica di San Crisogono)

St. Praxedus, Pudentianus and many martyrs(Church of St. Praxeda - Santa Prassede, which we visit on an excursion with an audio guide ““)

St. Anna(in a reliquary located in the courtyard - Chiostro - St. Paul's Cathedral "Behind the Walls", San Paolo fuori le mura).

Miraculous icons in Rome

Despite the fact that the icon-painting tradition was developed mainly in the Eastern Orthodox Church, several amazing ancient icons can be seen in the Eternal City. Some of them, according to legend, were written by the holy evangelist Luke.

One of the most famous and revered icons in Rome is the icon of the Mother of God, which is called "The Salvation of the Roman People" here. According to legend, the image was painted by the holy evangelist Luke. It is stored in Basilica of Santa Maria MaggioreSantaMariaMaggiore).

Miraculous image "Salvation of the Roman people"

About the amazing history of this icon and the miracles associated with it, as well as other relics and treasures of the church of Santa Maria Maggiore, we tell in the excursion “” with an audio guide in Rome.

And on the beautiful Aventine Hill, in Churches of Saints Boniface and Alexy (Santi Bonifacio e Alessio), the ancient miraculous icon of the Mother of God "Edessa" is kept, which came to Rome presumably in the 10th century. The Romans call her Madonna di San Alessio.

Icon of the Mother of God “Edessa” (Madonna di San Alessio)

At the top of Capitol Hill Basilica of Santa Maria in Aracoeli, above the main altar is a revered Byzantine icon of the Virgin, dating from the 10th century. You can learn about the history and features of this place in the audio tour ““.

The miraculous image of the Mother of God in the Basilica of Santa Maria in Aracoeli (Madonna Aracoeli)

The miraculous icon of the Mother of God, dating from the 10th century, is quietly kept in Church of Santa Maria in Via Lata (SantaMariainvialata) on Corso street. We visit it in the free audio tour "".

Russian Orthodox churches in Rome

Orthodox tourists and pilgrims are often interested in questions: are there Russian Orthodox churches in Rome, and how to find them. Yes, and even two! One of them - Church of St. Nicholas the Wonderworker- is located in the old building of the mansion of Princess M. A. Chernysheva (Palazzo Czernycheff), who in 1897 bequeathed her house to the Russian Church on Via Palestro. Since the church is located in a residential mansion, it is easy to miss it: there is neither a dome nor external signs characteristic of temples, only a modest sign at the entrance. But once inside, Russian visitors, no matter where they come from, feel "at home".

Another Russian church in Rome is still quite young, but you definitely won’t confuse it with any other: the characteristic “onion” domes and the general appearance of the building clearly indicate that in front of you is a Russian Orthodox church. This Church of Saint Catherine located near the Vatican.

Church of St. Nicholas the Wonderworker in Rome

Address: via Palestro, 69/71
www.romasannicola.it

Russian Church of St. Catherine

Address: Via del Lago Terrione, 77/79
www.stcaterina.com

Where and how to find all these places in Rome if you are traveling on your own?

If you are traveling with an iPhone, we recommend downloading free Where did the Byzantine mosaics come from in Rome?

Some of the ancient churches of Rome are decorated with incredibly beautiful mosaics created by Byzantine masters. How did these masters suddenly end up in Rome? It was during the time of iconoclastic persecution in Byzantium, when the creators and admirers of any iconographic images were severely persecuted. But Pope Paschal I accepted and sheltered in Rome Byzantine masters who fled from the Eastern Empire. Gathering them under his wing, he began to decorate Roman churches with Byzantine mosaics.

By Livioandronico2013 , via Wikimedia Commons

Why are some churches in Rome called basilicas? What is a basilica and why is it special?

The first basilicas appeared in ancient Rome. This was the name of the structures (in the ancient period they were administrative buildings), arranged inside in the form of a rectangular space, divided by columns into an odd number of parts. The ancient Romans, in turn, borrowed this way of organizing space from the Greeks. And later, architects began to use such a device in the construction of Christian churches. The rectangular spaces of the church, separated by rows of columns, are called naves. In Christian basilicas, the main nave is crossed perpendicularly by the so-called transept (transverse nave). Thus, a cruciform arrangement of space is formed.

Initially, the concept of "basilica" meant precisely the architectural device. But over time, this name has also turned into a special title that is given to important churches in the Catholic Church. Only the Pope can confer such an honorary title on a church.

• Keep in mind the operating hours of the basilicas. Only the largest of them work without lunch. And most close for a day break, which lasts 2-4 hours. In our free guide to Rome for iPhone You will find information on the opening hours of most Roman churches and other tourist sites.

• When visiting the cathedrals and churches of Rome, you should be aware of the dress code. In very short skirts, shorts or with bare shoulders, you may simply not be allowed in.

• In some churches, you can turn on special lighting for an additional fee in order to better view the ancient mosaics. For example, in the Basilica of Santa Maria Maggiore or in the church of Santa Prassede.

• In Roman churches, it is not customary to venerate relics or icons - there is simply no such tradition in Catholicism. As a rule, shrines are kept either very high or hidden under the altar, and therefore it is impossible to get close to them. But no one prevents believers from praying, being next to the shrine.

• Many Roman churches are "equipped" with real "time machines"! Temples with a rich history often have underground crypts where you can see the remains of older buildings, old frescoes or mosaics. Going down to the underground level, you can "look" into the first centuries of our era. Entrance to the crypt is usually paid. We also talk about some of these temples.

• Another curious "secret" of ancient Roman basilicas: some of them have a special patio called Chiostro (Chiostro). Entrance to it is usually paid. Once there, you will find yourself in a small atrium - a cozy open courtyard, which is usually decorated with flowers, greenery, often a fountain, and surrounded by an elegant colonnade. There are such courtyards, in particular, in the basilicas of San Giovanni in Laterano and San Paolo "Behind the Walls". Few tourists know about the courtyard, but meanwhile, it is often one of the most picturesque parts of the basilica.