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Piazza Venezia

Italian building and structure stubsItalian history stubsLazio geography stubsPiazzas in RomeRome R. IX Pigna
Roma.Piazza Venezia
Roma.Piazza Venezia

Piazza Venezia (Italian: [ˈpjattsa veˈnɛttsja]) is a central hub of Rome, Italy, in which several thoroughfares intersect, including the Via dei Fori Imperiali and the Via del Corso. It takes its name from the Palazzo Venezia, built by the Venetian Cardinal, Pietro Barbo (later Pope Paul II) alongside the church of Saint Mark, the patron saint of Venice. The Palazzo Venezia served as the embassy of the Republic of Venice in Rome. One side of the Piazza is the site of Italy's Tomb of the Unknown Soldier in the Altare della Patria, part of the Monument to Vittorio Emanuele II, first king of Italy. The piazza or square is at the foot of the Capitoline Hill and next to Trajan's Forum. The main artery, the Via di Fori Imperiali begins there and leads past the Roman Forum to the Colosseum. Capitalizing on this modern and ancient symbolism--and the useful open space--Piazza Venezia was the location of public speeches given by the Italian dictator Mussolini to crowds of his supporters in the 1920s-1940s. In 2009, during excavations in the middle of the square for the construction of the Rome C Metro Line (station Venezia), remains of the emperor Hadrian's Athenaeum were unearthed. Most tourists visiting Rome end up spending time visiting the Piazza Venezia. The Piazza Venezia is just a quick walk to a number of Rome’s best known sights, such as the Roman Forum, Capitoline Hill, Palazzo Venezia, and the famous Pantheon.

Excerpt from the Wikipedia article Piazza Venezia (License: CC BY-SA 3.0, Authors, Images).

Piazza Venezia
Piazza Venezia, Rome Municipio Roma I

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N 41.8964 ° E 12.4825 °
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Piazza Venezia

Piazza Venezia
00186 Rome, Municipio Roma I
Lazio, Italy
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Saint Susanna (Duquesnoy)
Saint Susanna (Duquesnoy)

The Saint Susanna is a marble sculpture by François Duquesnoy. The work is one of four sculptures of Roman virgin martyrs commissioned by the Bakers' Guild to decorate the church of Santa Maria di Loreto in Rome. It was completed in the course of four years from 1629 to 1633. Giovanni Pietro Bellori, comparing Duquesnoy's achievement with the Saint Susanna to that of Polyclitus with his Doryphoros and its Kanon, commented [Duquesnoy has] left to modern sculptors the example for statues of clothed figures, making him more than the equal of the best ancient sculptor. The statue is considered by modern scholars an exemplification of Duquesnoy's 'Greek ideal,' which included an approach to drapery unpopular at the time, established through the study of antique models selected by Duquesnoy.Duquesnoy's maniera greca would later influence Johann Joachim Winckelmann, and through him the Neoclassicism movement. Jacob Burckhardt regarded the sculpture as "the best statue of the 17th century." With its clinging drapery juxtaposed to her modest gaze and clothing, Duquesnoy's Santa Susanna was considered by contemporaries an "admixture of eroticism and modesty." The figure follows the concept whereby "the drapery should not be so thick as to make it appear like stone, but must be arranged around the body in folds, so that the nude underneath is sometimes discernible but sometimes artfully concealed without any hardness which can obscure the members of the figure." Such approach was at odds with the spectrum of contemporary sculpture, specifically Bernini's expressive use of heavy, billowing drapery. Duquesnoy's St. Susanna doesn't look upwards to heaven, but down at humanity, with her hand pointing down to the altar. This, too, was at odds with Bernini's exuberance and mystification of naturalness and humanity.The Santa Susanna made a powerful impression on contemporary artists and critics, provoking "admiration as well as critical debate over its style and relation to the antique." However, the sculpture did not become widely recognized outside Rome until 18th century. In the early 18th century, Domenico de Rossi's engraving of the statue helped to initially increase its celebrity, which was consolidated internationally when a copy by Coustou was completed and sent to the Paris' academy at the Louvre in 1739.

Trajan's Column
Trajan's Column

Trajan's Column (Italian: Colonna Traiana, Latin: Columna Traiani) is a Roman triumphal column in Rome, Italy, that commemorates Roman emperor Trajan's victory in the Dacian Wars. It was probably constructed under the supervision of the architect Apollodorus of Damascus at the order of the Roman Senate. It is located in Trajan's Forum, north of the Roman Forum. Completed in AD 113, the freestanding column is most famous for its spiral bas relief, which depicts the wars between the Romans and Dacians (101–102 and 105–106). Its design has inspired numerous victory columns, both ancient and modern. The structure is about 30 metres (98 feet) in height, 35 metres (115 feet) including its large pedestal. The shaft is made from a series of 20 colossal Carrara marble drums, each weighing about 32 tons, with a diameter of 3.7 metres (12.1 feet). The 190-metre (620-foot) frieze winds around the shaft 23 times. Inside the shaft, a spiral staircase of 185 steps provides access to a viewing deck at the top. The capital block of Trajan's Column weighs 53.3 tons, and had to be lifted to a height of about 34 metres (112 feet).Ancient coins indicate preliminary plans to top the column with a statue of a bird, probably an eagle. After construction, a statue of Trajan was put in place; this disappeared in the Middle Ages. On December 4, 1587, the top was crowned with a bronze figure of Saint Peter the Apostle by Pope Sixtus V, which remains to this day.Trajan's Column was originally flanked by two sections of the Ulpian Library, a Greek chamber and a Latin chamber, which faced each other and had walls lined with niches and wooden bookcases for scrolls. The Latin chamber likely contained Trajan's commentary on the Roman-Dacian Wars, the Dacica, which most scholars agree was intended to be echoed in the spiralling, sculpted narrative design of Trajan's Column.