Rome in the Footsteps of an XVIIIth Century Traveller

Links to this page can be found in Book 4, Map B3, Day 5, View C9, Rione Campitelli and Rione Ripa.

The page covers:
The plate by Giuseppe Vasi
Today's view
Circus Maximus
Torre della Moletta and la Vignola

The Plate (No. 61 - ii)

Giuseppe Vasi opened his Book on the Palaces of Rome with a special, not numbered plate dedicated to the "Palace" par excellence. In his introduction to the plate Vasi wrote: "(Readers) you should not think it a strange idea, if in showing you the magnificent Palaces of Rome I will start by showing first the ruins on the Palatine Hill, because from these ruins the word Palace originated." Actually Italian palazzo comes from Latin palatius a corruption of Palatinus with reference to the palaces built by the Emperors on that hill (which are covered in a special section). At the time of Vasi most of the hill was part of Orti Farnesiani.
The view is taken from the green dot in the small 1748 map here below. In the description below the plate Vasi made reference to: 1) Ruins of the old Palace and Orti Farnesiani; 2) Haylofts built on the ruins of Circo Massimo; 3) S. Maria de' Cerchi. The small map shows also 4) XVIIIth century building behind S. Anastasia; 5) Torre della Moletta; 6) La Vignola. The dotted line in the small map delineates the border between Rione Ripa (left) and Rione Campitelli (right).

Today

The view in January 2009. The image used as background for this page shows a detail of the palace

The photo was taken from the north side of the Aventine Hill (near Roseto di Roma): the view is almost the same as far as the ruins are concerned, whilst the shape of Circus Maximus, the ancient course for chariot races, is more clearly visible, owing to a wide redesign of the area which occurred in 1932-1935. The small chapel of S. Maria de' Cerchi was pulled down at the end of the XIXth century.

You may wish to see a 4430x630 image of the Palatine or see it in the moonlight.

Circus Maximus

Ruins of the eastern section of Circus Maximus

From the gate of Saint Paul we returned into the City, and under the Church of Saint Gregory, where Laundresses continually wash, they say that of old the Circus Maximus, (or greatest Theater) did lie betweene the Mount Palatine and the Mount Aventine, being more then a quarter of a mile long, and halfe a quarter broad, which was built by Tarquinius Priscus for the hunting of Buls, and running of Horses, and after was inlarged by Julius Caesar and other Emperours, so as it received 260 thousand beholders, being adorned with pillars and commodious seates, and at this day the place is called Cerchi.
Fynes Moryson - An Itinerary: Containing His Ten Years Travel Through .. Italy (in 1594)
The long and narrow valley between the Palatine and the Aventine hills provided a natural setting for races. According to Livy the first races date from the time of King Tarquin the Elder, while the last race occurred in 549 at the initiative of Totila, King of the Ostrogoths.

Musei Vaticani: left part of the front of a small sarcophagus depicting a race at Circus Maximus and monuments on the "spina" (from the Barberini Collection): 1) temple to the Sun where the god was portrayed riding his chariot; 2) obelisk brought to Rome by Emperor Augustus (today it stands at Piazza del Popolo); 3) statue of Cybele next to a lion

Circus Maximus was modified, enlarged and repaired many times. Its spina (thorn), the raised area around which the chariots raced, was embellished by a series of temples and altars. The monuments on the spina were depicted also in many floor mosaics, e.g. at Villa del Casale in Sicily and at Girona and Barcelona in Spain.

(left) Museo Nazionale Romano: mosaic depicting a charioteer found in a villa along Via Cassia (early IIIrd century AD); (right) Archaeological Museum of Merida (Spain): mosaic depicting a winning charioteer on his chariot (IVth century AD) (see other mosaics depicting chariots and races)

The agitatores (charioteers) wore a coloured costume to be more easily identifiable by the public. Eventually in the IVth century these colours acquired a political meaning; the blue charioteers were supported by the upper classes whereas the fans of the green ones came from the lower classes. Chariots raced anticlockwise so the horse on their left side was the most important one because it had a leading role at turning points. In the mosaic of Merida it was named Inluminator (light giver) because of this role.
Charioteers could earn a fortune: Publius Aelius Gutta Calpurnianus, a charioteer, was able to build a very expensive funerary monument for himself. Circus Maximus had twelve carceres (starting boxes) for a certamen ternarum, a race with three chariots per each of the four factions.

Archaeological area of Circus Maximus which was opened in 2017: marble fragments from an arch to Emperor Titus which embellished the circus

The name Ensiedlen Itinerary has been given to a summary description of Rome dating from the ninth century, which is appended to a collection of inscriptions, mostly of Roman origin, in a manuscript volume. (..) The document mentions (..) an arch built by Titus at the curved end of the Circus Maximus, the fate of which is not known.
Rodolfo Lanciani - The destruction of ancient Rome - 1899
Evidence of the arch was discovered in 2015.

Musei Capitolini: fragment of relief portraying the head of a soldier from the arch at Circus Maximus; the decoration of the helmet indicates he belonged to Legio XII Fulminata; the legion fought under Vespasian in the First Jewish Revolt and it is mentioned in a rock inscription in Azerbaijan

Tacitus says that Vitellius put the care of riders before that of the government. Caligula was such an ardent partisan and supporter of the squadron of the greens that he spent the greater portion of his time in their stables, rioting with them until a late hour of the night. Sometimes one squadron would remain popular and enjoy the favor and partiality of the turbulent crowds for a period of several years. From the time of Caligula to the end of the empire of Hadrian, the greens always maintained supremacy, never losing the confidence and affection of the public.
Rodolfo Lanciani - Ancient Rome in the Light of Recent Discoveries - 1888
Some emperors were very fond of chariot races. Caligula enlarged the imperial palace on the southern side of the Palatine in order to be closer to the circus. Other emperors were less keen on these races, but they were careful not to lose the favour of the crowds and they embellished Circus Maximus. Emperor Constantius II placed a second gigantic obelisk on the spina in the IVth century (today it stands at Piazza di S. Giovanni in Laterano).

Archaeological area of Circus Maximus and in the background Palazzo della FAO: evidence of the original street level of the circus with a public fountain and the typical Roman paved road

In 1932-1935 the site of the ancient circus was cleared of all buildings (including the gas-works of Rome) and its original shape was made more clearly visible, but the actual racecourse is some twenty feet below the current ground level as recent excavations demonstrated. Until the 1930s travellers who wanted to see a circus in Rome visited Circo di Caracalla/Massenzio.

(above) View of Circus Maximus from its western end (you may wish to see the circuses of Merida, Tyre and Constantinople; (below-first three images) XVIIIth century building which was part of Orti Farnesiani near S. Anastasia; (below-last image) Musei Capitolini: hand of a colossal statue of Emperor Constantine

The hand of a gigantic ancient statue stood for some time near S. Maria dei Cerchi which for this reason was also known as S. Maria de Manu (hand). Its memory is retained by a smaller copy of the hand at the top of a building which was part of Orti Farnesiani (the windows are decorated with fleurs-de-lis, the heraldic symbol of the Farnese, the family of Pope Paul III).

(left) A rally against Mr. Berlusconi's labour laws in March 2002; (right) celebrations for the Italian soccer team winning the 2006 FIFA World Cup

The large and empty space is usually a preferred spot for joggers, but in recent years it turned out to be perfect for very large mass gatherings such as political rallies, celebrations for victories in sport competitions or other events such as the Gay Pride Parade. You may wish to learn more on how and where the Romans voice their views.

Torre della Moletta and Casino della Vignola

Torre della Moletta, the archaeological area, Casino della Vignola and S. Gregorio Magno on the Caelian Hill

With the decline of Rome during the Middle Ages, Cloaca Massima, the sewer discharging excess water into the Tiber, was no longer maintained and small streams (marana) found their way through the abandoned parts of the city. A relatively large stream coming from the hills near Albano crossed the ruins of Circus Maximus (it is visible in the small 1748 map) and a bridge was built on it.

Torre della Moletta: (insets) Dome of S. Pietro with bell tower of S. Maria in Cosmedin; Dome of Tempio Maggiore with that of S. Carlo ai Catinari

In the XIIth century the area belonged to the Frangipane family who had turned Colosseo into their fortified residence and built other fortifications around the Palatine Hill. The stream was utilized by a small mill (moletta) and the Frangipane built a tower to protect it. Another mill on the same stream was shown by Vasi near Porta S. Giovanni. Moryson saw laundresses using the stream in 1594. It is shown on maps until the end of the XIXth century when it was channelled through underground conduits.

(left) Casino della Vignola; (right) coat of arms of Girolamo Benzoni, son-in-law of Prospero Boccapaduli

Ancient Porta Capena, the starting point of Via Appia, was located near the eastern end of Circus Maximus; in 1911 the site where the lost gate stood and nearby Valle delle Camene, the valley between the Aventine and the Caelian hills, were redesigned in order to provide an appropriate entrance to an archaeological area which included Terme di Caracalla (you may wish to see an aerial view of the 1920s - it opens in another window).
A small but elegant Renaissance building at the foot of the Aventine was pulled down and reconstructed near Circus Maximus, opposite the site of ancient Septizonium. It is called la Vignola with a reference to the XVIth century architect Jacopo Barozzi, called il Vignola, but the name is due to the fact that the building was located in a small vineyard (It. vignola) belonging to the Boccapaduli family which was situated in the western part of Terme di Caracalla.

Next plate in Book 4: Palazzo Pontificio sul Quirinale.
Next step in Day 5 itinerary: S. Gregorio Magno.
Next step in your tour of Rione Campitelli: Chiesa di S. Anastasia.
Next step in your tour of Rione Ripa: Chiesa di S. Prisca.

Excerpts from Giuseppe Vasi 1761 Itinerary related to this page:

Circo Massimo, come era anticamente Tutta la valle, che poi vediamo tra il monte Palatino, e l'Aventino ora occupata da orti, e rozzi edifizj, era il sito del famoso Circo Massimo, in cui si facevano li spettacoli, e feste di Romani. Furono queste istituite da Romolo, allora quando li suoi cittadini cercavano moglie, e però, come dicemmo, concorrendovi fra gli altri i Sabini colle loro donne, in un tratto lasciato il giuoco, ognuno de' Romani si provvide di moglie, perciò restando celebre il ratto delle Sabine appresso di loro, seguitarono in ogni anno a celebrarne con pubblici giuochi la memoria nel medesimo luogo. Tarquinio Prisco fu il primo, che ivi eresse il Circo ornato di portici, che prima facevasi ogni volta informa di semplici palchi di legno. Giulio Cesare lo ampliò, ed Ottaviano Augusto lo adornò maravigliosamente; ma poi in tempo di Trajano, essendo caduto, lo ristaurò, e fecelo maggiore, ed Eliogabalo lo arricchì di colonne, e d'indorature grandissime, facendovi ancora il pavimento di una certa sorte di arena di color d'oro, chiamata crisocolla; vi erano nel mezzo due obelischi egizj; uno è quello, che vedemmo drizzato sulla piazza del Popolo, l'altro sulla piazza di s. Gio. Laterano; ed insieme eranvi varie statue, e tempj; da capo, e da piede eranvi le mete, affinchè i cavalli e carri potessero correre con metodo; d'intorno era circondato di sedili, sopra de' quali era un portico di tre ordini con colonne, e nel difuori vi erano tutte botteghe, e scale da salire, non essendovi altro, che un solo ingresso nobile, e magnifico. Era lungo passi 375., e largo 125. e vi capivano duecento sessantamila persone, senza, che uno impedisse l'altro, e però il popolo vi andava con più desiderio di vedere la bellezza, e magnificenza del luogo, che per osservare i giuochi, che vi si facevano, tal volta con orti, leoni, e simili fiere, ed è rimarchevole, come scrive Aulo Gellio, che essendovi condannato a combattere contro un leone, un certo Androdo servo, questo in vece di essere sbranato, fu dalla fiera accolto, ed accarezzato, del che maravigliatisi gli spettatori, seppero, che Androdo in una spelonca dell'Affrica l'aveva guarito da una ferita, e per tre anni continui erano convivuti insieme; onde quì riconosciutisi rinnovarono l'amicizia: per lo che Augusto non solamente donò a Androdo la vita, e la libertà, ma ancora il leone, che egli poi conduceva per la Città legato con una piccola funicella a guisa di un ciucciarello, ed il popolo con risa diceva, questo è il leone albergatore dell' uomo, e quello è il medico del leone. Or di tanta magnificenza non rimane altro, che alcuni voltoni dalla parte del monte Palatino, ed il nome alla contrada, che corrottamente dicesi Santa Maria a Cerchi Questa piccola cappelletta fu eretta dalla famiglia Cenci in orrore della ss. Vergine, e sta in custodia di un Eremita. Quindi lasciando per il ritorno l'osservare i santuarj, che da questo luogo si vedono sul monte Aventino, passeremo a mirare le grandi macerie, che si vedono intorno a questa cappelletta. Rovine del palazzo Imperiale detto Maggiore Da quei laceri avanzi, che si vedono sulla schiena del monte Palatino, si può facilmente comprendere quanto grande sia stati la mole del palazzo de' Cesari, e a quanto sia giunto il lusso degl'imperatori Romani, specialmente di Nerone, il quale per la troppa estensione, e vastità lo rendè quasi non meno difficile ad abitarsi, che a credersi da noi le sue magnificenze. Nel vestibolo, o vogliamo dire primo ingresso vi era il colosso di metallo alto 120. piedi, i portici erano a tre ordini di logge sostenute da colonne, e si distendevano per un miglio di cammino; la sala principale, dove si cenava, era rotonda, ed il soffitto era ornato di stelle, e notte e giorno si rivolgeva, e sopra a' commensali spargeva fiori, ed acque odorifere; le tavole erano di avorio, i palchi delle stanze intarsiati di oro con lavori, e scompartimenti di gemme, e di madreperle; i marmi, i metalli, le statue, e le ricchezze delle tapezzerie di questo furono tali, che prese il nome di palazzo Aureo: nondimeno quando Nerone andò ad abitarlo, disse: io ho pure cominciato ad abitare come uomo. Eravi in particolare un tempio della Fortuna tutto costruito di alabastro di tanta chiarezza, che eziandio colle porte chiuse, riluceva come di mezzo dì. Nell'an 1720. fu scoperta una sala lunga palmi dugento, e larga cento trentadue, ed era di si superba magnificenza, e struttura, e sì ornata di statue, di colonne, di marmi,. e di tal grandezza con due altre parimente nobili, e sorprendenti, che le sole statue, che stavano nelle nicchie erano alte palmi 22., e lavorate in basalto egizio, dal che possiamo comprendere di qual pregio, e valore sia stato il resto. Ora tutte quelle superbe magnificenze sono ricoperte di orti, e giardini, come dicemmo nella prima giornata, eretti dal Pontefice Paolo III. Nel fine della valle de' Cerchi sono delle mole da macinare il grano, voltate coll'acqua della marana, la quale si crede comunemente essere l'antica calabra. Ivi presso fu il settizonio di Severo, cioè un edifizio con sette piani ornato di colonne, alcune delle quali erano di porfido, ed altre di marmo striate. Sino al tempo di Sisto V. ne stette in piedi tre ordini; ma perchè minacciavano rovina il medesimo Pontefice feceli buttare a terra, servendosi di quei marmi per altre fabbriche.