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Showing posts with label Santa Bibiana. Show all posts
Showing posts with label Santa Bibiana. Show all posts

Wednesday, February 5, 2025

The Roman Temple Nobody Knows: Temple of Minerva Medica

 

Paolo Anesi, 18th century

The Temple of Minerva Medica, as it's called, is one of the most easily accessible ancient structures in all of Rome. It's right there on via Giolitti, the busy street that runs along the south side of Stazione Termini and the tracks beyond. Not far from Piazza Maggiore, and just a stone's throw from Santa Bibiana, the also-neglected baroque church whose facade was designed by Gian Lorenzo Bernini. 

A Yale University website describes the temple as "forlorn," and that description isn't inaccurate, in that the building is uncomfortably sandwiched between a streetcar line (and via Giolitti) on one side and a swarm of railroad tracks on the other. 


But it's also quite imposing, and reasonably well preserved for a 4th-century CE edifice. And it may be architecturally significant, in that (we read) its decagonal design, which included an oculus, occupies the architectural space between the octagonal dining room of the Domus Aurea--and the Pantheon. The Temple's dome collapsed in 1828, lasting only about 1400 years. The photo below makes it look like the oculus is still there--but it's only one of the arches. 


One might call it the Other Pantheon. 

So you'll want to see it, even if only through the fence by which it is surrounded. (Right, Dianne, wishing she could just walk in.)






The problem is that you won't be looking at the Temple of Minerva Medica. It's called that, yes, but only because, in the 18th century, a statue known as Athena Giustiniani (below) was presumably found there. That statue of the goddess had, and has, a snake at her feet. And because snakes were identified at the time with healing, the "Medica" name was affixed to the Temple. (Minerva is the Etruscan counterpart of the Greek Athena.) About the time the Temple was erroneously named, the artist Paolo Anesi painted the picture of it at the top of this post.

The misunderstanding all started with this statue. 

On Wikipedia and the like, the Temple of Minerva Medica is often described as a nymphaeum, or a "ruined nymphaeum" (as if there were lots of pristine ones around). Because the Temple is not mentioned (at all, apparently), in the ancient literature, no one knows for sure that the building was, in fact, a nymphaeum. That's only one theory among three. It may have housed a dining room, say some, although that seems a curiously minimal use for so large a structure. Others note that a heating system has been discovered beneath the floor, and that a sacred spring once ran under it, allowing the building to serve as a bathing facility for the elites of the day--though that use, too, is far from certain. 

In the right light and from the right angle, the Temple can look quite dramatic. 

Centrale Montemartini, the Ostiense museum that is #22 on RST's Top 40, houses two statues of Roman magistrates that were excavated from the Temple. 


Above: a recent partial restoration used a lot of new brick. 

Below: a newish storyboard, left, in English as well as Italian, provides some history of the Temple. Get there--if you can!--before the taggers render it illegible.


Bill 

Tuesday, May 14, 2019

"A Jewel of Italian Technology" pre- and post-WWII: Stazione Termini's Cabina ACE

How does one get a great photo like this - of one of the towers in the Termini train yards?  From the stairway up a contiguous building which, it turns out, is the "Roma Termini - Cabina ACE" - or the building housing a railway control system dating from 1939 and in operation for 60 years.

Anyone who has taken a train in or out of Stazione Termini (which has to be almost anyone who has been to Rome) has seen this building as the train pulls out or in. We had the rare opportunity to go inside it as part of 2018's Open House Roma, the first time it had been open to the public; OHR called it "a jewel of Italian technology of the era." ACE stands for "Apparato Centrale Electrico" - Central Electric Apparatus. And, we learned, one objective of this center was to provide a back-up method of switching the railroad tracks in case of a bombing or other failure of the train switching systems..
The great hall where the 700+ levers still exist.







 
Close-up of the manual levers.
That failure originally was foreseen by the Mussolini regime as a possible result of Allied bombing in World War II. The original project, begun in 1939, was the child of engineer and architect Angiolo Mazzoni, who designed most of Stazione Termini (although the station's front was substantially modified post-war). The work on the station, and this particular building, was interrupted in 1943 "because of the war."

The project was taken up again and completed in 1948. As the state railroad foundation (Fondazione FS Italiane) proudly stated in a news release just after our visit: this was "the control tower that regulated the railway traffic at Roma Termini. Over 40 meters long, large luminous screens, 730 levers and a breathtaking view of the station: an electro-mechanical masterpiece created in the '30s and in operation for over 60 years."


View towards Termini from Cabina ACE.
The central room we saw (photo above) has fantastic views of the tracks and their environs.

A duplicate set of machinery was set up below ground - another of Mussolini's bunkers.


The duplicate system in the "bunker."
Again, quoting from the Fondazione FS: "To manage the movement of trains, teams of more than 60 railway workers climbed every day about 20 meters high, in the tower, each positioned in front of their own 'levers' and awaiting the orders of the 'station chief' who like an orchestra director directed them to prepare the correct track layout."

And, the news release continues: "But when the sirens sounded, announcing an imminent airstrike, the whole team ran down into the bunker, ten meters deep--the "antigas" doors were hermetically sealed behind their backs-- and remained there until the danger ceased. There was no time for fear, we had to resist because our only goal was: to guarantee the movement of trains."


This board, when in use, would have the train lines lit, showing where each
train was, including (we think) trains going to and from other cities, such as Florence.




Former railway employees were among the guides
during our visit.
With respect to Mazzoni as an architect, Wikipedia (English) has a short but pithy bio of him that explains his work for the Fascist government (he was a card-carrying Fascist) and the later rehabilitation of his reputation as an architect.

And if you really want to get into the weeds, the Fondazione has Mazzoni's drawings for the building ("Fabbricato I") online - as well as hundreds of other archival materials.

More photos below. Dianne


Our OHR guide - the Cabina is the building back right.
This photo faces away from the station.
Inside the bunker, which was designed to be hermetically sealed,
and have its own air supply.


Nice views from our walk up to the Cabina of the
lovely 17th -century, Bernini-enhanced (portico,
facade, statue of the saint) church of Santa Bibiana,
totally hemmed-in by the 20th century train station
buildings and about which we've written.


Friday, January 20, 2012

Church Lady revisits the neglected

We've written a couple posts (including things to do around the train station) that have featured within them the long neglected - but still a gem - church of Santa Bibiana.  A young Bernini designed the portico, facade and sculpture of the saint on the bones of an early 5th century church.


We've bemoaned the total isolation of this church as it is now surrounded by roads, railway tracks and railway buildings - not to mention the graffiti which supposedly never is done on church property (oh, yeah).

From one of the blog's loyal followers, BT, comes this lovely engraving of Santa Bibiana as it once looked.  The print is from Rome's Palazzo Braschi collection. 

Now compare that to today's Santa Bibiana (taken from the right side, as you look at the engraving). 

This photo is too good, and we couldn't find any to include here that really show the church now hemmed in by train tracks, station buildings, and streets.  Check this link for a better (or worse, depending on one's perspective) view of Santa Bibiana's current woes.

The posts linked in the first lines above relay some comments on Santa Bibiana by church historian Glen Thompson, and a vivid description of the unusual life of this saint.
A recent painting by Anita Viola Nielsen of Denmark shows the church
 crunched in next to the modernist tower and station buildings; see
Dianne (aka Church Lady)

Monday, January 3, 2011

The hidden, hard-to-find, and worth-it churches of Rome, at least 3 of them


Recent painting of Santa Bibiana and train station tower

There’s no hard and fast count on the number of churches in Rome, and even beyond the total, there are hidden (in the sense that the guidebooks rarely get you there) churches in Rome that are real gems. Because we are Rome the Second Time, we don’t focus much on churches at all, but now and then Bill lets me be the “church lady” and point out a couple I love.


Here are 3 of my favorite “second time” churches: Santa Bibiana, Santa Sabina and San Giorgio in Velabro (note the Santa Costanza/Sant’Agnese fuori le mura complex made it into Rome the Second Time and RST's Top 40, coming in at #21 - even with Bill getting an equal vote – you can see them in our March 15, 2010 post.)

Altar with Bernini's Santa Bibiana
Santa Bibiana is the most central, yet in some ways the hardest to get to. We included it in our “10 things to do around the train station” post of August 5 of this yearSanta Bibiana is on via Giolitti – the street that runs along the south side of Stazione Termini. It sits improbably next to the station’s outer buildings (look for the adjoining tall round tower, covered in travertine with spiral staircase – a fine example of modernism, rather than “ugly” as some have said – at least in our opinion and in the opinion of a recent Rome academy painter whose painting is at the top of this post). No doubt not in Bernini’s time, but it is now dangerous to approach the church across intra-city train tracks and the entrance to the underground passageway that leads to the other side of the major tracks – these look fairly peaceful in the painting, but believe me, they’re not.  In fact the painting relocates the church past the tower from the station, which it is not (i.e., don't use this painting as a guide to getting there). 


Santa Bibiana

The photo at right is more realistic (Bernini, if you only could see your church now! - also, a counter to those who say graffiti "artists" don't touch church buildings). 


Although the first building on the site dates to the 5th century, the extant church of 1624-26 is Bernini's, his first major commission. He already was in fine form, as shown in his portico, façade and sculpture of the saint.

Glen Thompson of Wisconsin Lutheran College, a scholar of Early Church History, has an elaborate post on the church and the saint: http://blogs.wlc.edu/history/2010/03/10/two-most-unusual-saints/ He calls Bibiana or “Vivian”…one of the strangest saints around.”

In additional to general praise of Bernini and the church, Prof. Thompson recounts: “On the interior walls are a beautiful set of frescoes from the same century by Pietro da Cortona illustrating the life of St. Bibiana. Above the altar is a breathtaking marble statue of the saint carved by Bernini, and under the altar is an alabaster urn containing her remains (or relics), found under the altar of the previous church during its seventeenth century renovations.
"But who was St. Bibiana? The early medieval stories center on one Christian family in Rome in the mid-fourth century. Bibiana’s father Flavian, her mother Dafrosa, and her sister Demetria all suffered in various ways for refusing to deny their faith, and Bibiana was executed – all during the time of Julian the Apostate. Julian was emperor from 361-363, and he tried to turn the empire back to paganism 50 years after Constantine had made Christianity legal. However he died before he got his program off the ground, and there is no record of any overt persecution of Christians in Rome during Julian’s time, much less any martyrdoms! The legends about Bibiana were made up about a century later. To us,"  Prof. Thompson continues, "it seems strange that people would invent a saint for whom to dedicate their church, rather than merely choose the name of a well-documented one. My theory is that the land for the church was donated by someone, and that the story was created to give that particular spot meaning. According to the legend, the church occupies the spot where Bibiana’s house once stood.”

You may want to pray to the saint if you make it safely to her church and also hit the unusual opening hours: 7:30 - 10 a.m. and 4:30-7:30 p.m. You can’t enter as a gawker during masses (weekdays 8 a.m. and 6:30 p.m. and Sundays 8:30, 10, 11:30 in the morning and 6:30 in the evening.

Interior of Santa Sabina

Another favorite second-time church of ours, also allegedly built on a saint’s home, is Santa Sabina. It's central enough that it makes it into some guidebooks; nonetheless, it's usually not on the Rome first-timer's list.  Santa Sabina is the mother church of the Dominicans in Rome, beautifully sited atop the Aventine Hill, next to a park well-used and favored by Romans for its with views of the city and Tiber. The church also dates to the 5th century and, while modified over the years (including by Bernini), as recently as the 20th century, it was taken back to its earlier style by an architect working under the Fascists, Antonio Munez. The inside of the church is cool, open and airy. The 1st millennium artifacts are impressive and stand out in this atmosphere. For more on the church and its history, see http://www.italyguides.it/us/roma/rome/aventine/basilica-santa-sabina.htm.  Also, Bill photographed the smoking (literally) bride and groom in the park there, as shown in his blog of June 23 this year
Interior of San Giorgio in Velabro
And finally below the Aventine, swim through the crowds waiting to put their hand in Bocca della Verita' (the mouth of truth) at the Santa Maria in Cosmedin church; go behind that to the winding streets via Velabro and via di San Teodoro.

There are several churches there with impressive histories, but we suggest first stepping in San Giorgio di Velabro. Here again, one inhales the air of the first millennium (and earlier). Definitely worth taking in that whiff of history. Bear in mind, much of this was reconstructed not only during the Fascist era but also after an explosion in 1993; the reconstruction is superb and the ancient artifacts stand out.  See http://en.wikipedia.org/wiki/San_Giorgio_in_Velabro for more details.

Exterior and portico of San Giorgio in Velabro
We’ll pick up some other “hidden,” second-time churches in another post - some time in the far distant future when Bill once more unshackles church lady.
Dianne

Thursday, August 5, 2010

5 More things to do within 200 meters of Stazione Termini

6. Albergo Mediterraneo. Exiting the train station, bear left and enter via Cavour, at a right angle to the station. One block down, on the right at via G. Amendola is the hotel, Albergo Mediterraneo, built in the 1930s. Stolid on the outside (though not without interest; the travertine marble is standard-issue for many buildings of the period, and even the revolving door, with its worn brass fittings, is suggestive), exquisite on the inside. Your goal here is to nose around the lobby and adjoining rooms while looking more or less as if you belong. On our visit, the desk clerks seemed not to care about our presence, but we would recommend some attire besides shorts and tennis shoes. Among the items of interest: several ornate, inlaid wood wall sculptures and, in the sitting room to the left, a wall-size map of—you guessed it—the Mediterranean. All vintage. The roof boasts a modest but pleasant bar/restaurant, open to the public (take the elevator opposite the main desk).

7. Rambo World. From the hotel entrance, cross via Cavour and continue ahead on via G. Amendola. A couple blocks on the right, at #91/93, is Paolo Belletatti: Articoli Civili e Militari (civilian and military items), which at first struck us as the kind of right-wing place that Bruce Willis fell into in Quentin Tarantino’s 1994 classic, Pulp Fiction, with a torture chamber in the basement for anyone who doesn’t want to return to Vietnam with a bowie knife between his teeth.
To be sure, there are plenty of T-shirts with distasteful slogans (most in Italian) and metal castings of the Fascist fasci for the desktop of your favorite corporate bully. But the atmosphere is low key, there are lots of “civilian” items that would make funky gifts for that special someone (including teddy bears in military dress), and the owner—Paolo, we presume—is a peach, to the point of running a block to return our glasses case, which we (Bill) had left on the counter. Not open about 1-4, Saturday afternoons nor all day Sunday.

8. Casa dell’Architettura. Continuing down via G. Amendola, 3 blocks from via Cavour (and between via C. Cattaneo and via Ratazzi), is a lovely space of urban respite—a small park, lodged in Piazza Manfredo Fanti, with benches, the ruins of a Roman house, works of art and, incredibly, grass that gets watered and cut—and within the grounds, the 19th-century gem that houses the Casa dell’Architettura (House of Architecture), a bookstore that specializes in architecture, and a café whose tables spill out into the gardens.
As we wrote in Rome the Second Time, the Casa “inhabits an unusual 19th-century building restored to its late baroque beauty, the Aquario Romano (built to house an aquarium and fish hatchery).” It’s worth going inside and having a look (no charge); there are often exhibits.

9. Wholesale Shopping, Ethnic Style. Exit the gate at Casa dell’Architettura and turn right (yes, we’re just a trifle beyond our promised maximum of 200 yards from the front of the train station), continuing down what is now called via Filippo Turati. In the next few blocks and on adjoining streets, you’ll pass dozens of small shops selling clothes, shoes, and jewelry.
Most of the employees and owners are Chinese, though some of the stores—it depends on the street—are tended by those of mid-Eastern or south Asian descent. In the early afternoon, family, clerks, and children gather around the small display tables that center many of the stores and share lunch.

As we’ve noticed before, the shops seem to have merchandise but few customers; our theory is that they’re basically wholesale outlets, serving the area’s itinerant merchants and other establishments. Although the clerks often speak little English (and perhaps not much Italian, either), the stores are open to walk-in retail trade; we bought some inexpensive bracelets in one. As we recall, the only words that were spoken to us were the total price, in dollars. Our Italian friends claim that profits from these small businesses is essentially beside the point; big, unsavory Chinese money has selected the area for takeover—apartments, commercial establishments, everything--and the function of many of the businesses is to launder money involved in that process.

Whatever the truth of those claims, the volume of merchandise is substantial. We recommend a visit to the area’s “mall,” a square block of shops (surrounding a comfortable courtyard with benches and, when we visited, a photo exhibit). It’s located a couple of blocks down from the Casa dell’Architettura (above), just past via Mamiani.

10. Church of Santa Bibiana. This gem of a church is as far as you’ll ever want to go on via Giolitti – the street that runs along the south side of the station. It sits improbably next to the station’s outer buildings (look for the adjoining tall round tower, covered in travertine with spiral staircase – a fine example of modernism), and is now dangerous to approach across intra-city train tracks and the entrance to the underground passageway that leads to the other side of the major tracks.
The extant church of 1624-26 (the first one on the site dates to the 5th century) is by Bernini, his first major commission. He already was in fine form, as shown in his portico, façade and sculpture of the saint. Dianne will elaborate on this church in a separate post on some hidden churches of Rome. You may want to pray to the saint if you make it safely to her church and also hit the unusual opening hours: 7:30 - 10 a.m. and 4:30-7:30 p.m. You can’t enter as a gawker during masses (weekdays 8 a.m. and 6:30 p.m. and Sundays 8:30, 10, 11:30 in the morning and 6:30 p.m.).

Bill, with Dianne as church lady on #10