Things to see and do Lazio

Tuscania is a city rich in history and culture, with beautiful churches, fountains and excellent cuisine.

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The church of Sant'Andrea al Quirinale was commissioned by the Jesuits in Bernini in 1658 and completed in 1661. Having chosen to organize the space along the small axis of the ellipse, Le Bernin placed concave walls on either side of the porch, which partially hide the building's receding walls. The whole is joyful. This is the work of a single artist, brilliant in his art, executed in a single stroke and a fine example of the aesthetics of that time.

Site of the Conference of Bishops of France, extremely informative on Catholic life and all the services that animate the Christian faith in France.

A completely original site which presents the Vatican Observatory and all the research carried out by this service, between Italy and the United States.

It is also in Sixtus IV that the pavement should be paved. The study of the soil shows that the separation wall, called transenne, is not at its initial location since it is placed on one of six circles of the first part of the chapel. We must imagine the original position of the wall, a little closer to the choir. It is then better understood the ground of the paving: a walk from the main door to the choir, a square for this choir reserved for the priests. It can be interpreted as symbolizing a allée allée first, then as a break of the procession once the transenne has passed. It can also be seen as a labyrinth, which was used in the bogs of the cathedrals of the time.

According to the collective contract signed on 27 October 1481 between Sixtus IV and Giovannino di Dolci, it was known that a group of six painters had to perform for the Pope the decoration of the two side walls of the chapel, that is, twelve frescoes, of the drapes in the eye as well as a papal gallery. The benches were also of their design. That's how they delivered the two painted walls, 28 papal portraits, and a blue vault on which white wax balls were glued, giving the impression of a constellation of stars when the candles éclairaient the chapel.

Their contract was then completed with a decoration project of the two remaining walls, that of the choir and that of the main door. The same group of artists devoted themselves to it, but 2 frescoes, The Discovery of Moses and The Nativity of Jesus, and 4 papal portraits disappeared under the last judgment of Michelangelo.

The Dispute around the body of Moses. Painted by Matteo da Leccia. This stage was originally painted by Luca Signorelli, but it was destroyed, like the Resurrection of Christ, in 1532, by the fall of the marble architrave of the main door.

The Resurrection of Christ. Painted by Hendrick Van den Broeck. Domenico Ghirlandajo painted the original fresco. There is less force in this fresco than in the previous one, and both do not reach the level of other paintings in the chapel. Michel-Ange, who was to paint this part, was prevented from doing so when he devoted himself to Pauline Chapel.

For a logical reading, we're starting from the choir to return to the main door.

The Baptism of Jesus. Painted by Le Perugino. The main stage is represented at the centre: Jesus is baptized in the waters of the Jordan by his cousin, Jean the Precursor, clothed with beast skin. The Holy Spirit, symbolized by a dove, then descended on him, under the gaze of God the Father inserted into a circle representing perfection. On the right, Jesus is a little above a group that listens to him preaching. On the right, it is Jean Baptiste who says that it is not he to hear, but «The one who comes».

The Temptations of Jesus. Painted by Sandro Botticelli. Christ appears four times on this fresco and is symbolized by a fifth stage. At the top, on the left, Satan disguised as religious seeks to try Jesus. Having failed, he found himself in the middle, on the temple of Jerusalem represented in the form of a hospital that the Pope had just built. Having failed again, he takes Jesus to the top of the mountain, but his last attempt is a failure; He discovers and runs away. In his purity by the angels, Jesus now appears left. First, the representation of a ritual sacrifice, the figure of a great priest, probably Melchisédec, is a symbol of Christ who is priest, prophet and king.

The Vocation of the Apostles. Painted by Domenico Ghirlandajo. The painter represented Jesus, choosing twice the apostles. On the top left, he calls Pierre and his brother André, just fishermen. He gives them his blessing in the foreground, where we see the apostles on his knees. These are the same as he takes to his suite, and they are found all three on the right bank, talking to John and Jacob, who follow Christ by letting their father, Zébédée, escape his oars.

The Sermon on the Mountain. Painted by De Rosselli. Jesus, in the middle, surrounded by the twelve apostles, descends from the mountain. In the foreground, always accompanied by his disciples who, sitting or standing, listen to his speech on the mountain in which he sets out the Beatitudes. The crowd on the left is amazed. Likewise, another crowd, on the right, expresses admiration for the healing of a lepers that Jesus also achieved in descending a mountain.

The Handing Over of keys to Pierre. Painted by Le Perugino and Luca Signorelli. The main stage is a representation that does not really exist in the Gospels. Indeed, if it is in Pierre that he claims to want to base his Church and to whom he gives the power to bind and surrender, no key has ever been exchanged in the Scriptures. On the left, we guess the scene that pits the pharisees to Jesus, in which he will reply: «Give unto Caesar what amounts to Caesar and God what comes to God. He therefore escapes what is represented on the right: stoning. On the right, the painter paid tribute to Giovanni de Dolci, architect of the Sistine Chapel, which saw him with a hand by hand, in conversation with Baccio Pontelli who holds a compass, and who built the chapel.

The Supper. Painted by De Rosselli and Biagio di Antonio Tucci. Sat, the twelve apostles share the bread and wine that Christ offers them, in the beginning of the sacrifice of his death that he will deal with a few hours later. The apostles are under discussion, probably evoke Easter and the agitation of Jerusalem. All are on the same side of the table, Jean on his left and Peter on his right, except Judas, who is in front of him. The nimbes are significant: Jesus wears a spring halo, the apostles a golden disc and Judas un unity under the action of Satan, which is represented in his neck. The three scenes in the background represent the prayer of Jesus to Gethsemane, the arrest of Christ and his crucifixion on Mount Golgotha, in the middle of the two oysters. John supports Mary, fainted.

For a logical reading, we're starting from the choir to return to the main door.

The Return of Moses to Egypt. Painted by Le Perugino. Three events in the life of Moses are represented here on one fresco. In the middle and background, we see Moses, dressed in yellow, farewell to his father-in-law Jéthro. In the first instance, Moses is arrested by an angel: he must not leave before he circumcised his son. On the right, under a beautiful palm tree, Moses attends the circumcision of his son who represents the consecration to God of his offspring.

The Statues of Moses. Painted by Sandro Botticelli. Moses is represented seven times on this fresco and is recognizable to the same yellow tunic. Reading is done from right to left. Moses kills an Egyptian and has to escape. On the way, he hunts a shepherd with his stick and helps the girls of Jéthro give to their rams. While he paître his flock, he defeated his shoes and found himself facing God who appeared to him in the ardent bush. Finally, he leads his family in Egypt, holding with one hand the stick given by God.

The Red Sea Passage. Painted by Biagio di Antonio Tucci. You can see Moses only once. It stands on the left and looks on the shore of the Egyptian army drowning in the red waters of the eponymous sea. On the right, hail and storm are raging on the capital of pharaoh, while it, sitting under a canopy, gets the council to chase the Hebrews into their flight. Left, the people continue their exodus through a parade in the mountains.

The Presentation of the Tables of the Act. Painted by De Rosselli. Moses appears four times in this scene. At the top, he received the Tables of the Act, while Joshua fell asleep. Income in the valley, it breaks the Tables of Rage, seeing the statue of the calf of gold and the cult that we are dedicated to. On the right, he orders the killing of those who have» against God. Left, it goes down with the new Tables and is transformed, as you can see from the unity that surrounds its head.

The Punishment of Korea, Datan and Abiram. Painted by Sandro Botticelli. Moses appears three times on this fresco. He is enjoyed with glory received after the Tables of the Act are handed over. On the right, the three rebels seek to stone Moses. He defends himself and a force throws them back. On the left, the ground opened under their feet and the land swallowed them, but Moses expresses his sorrow at this heavy punishment. In the background lies Constantine's bow, and it is noted that it is both the gesture of the baton of Moses and the rocking of Aaron's censer that put the rebels in failure.

The Last Acts of the life of Moses. Painted by Luca Signorelli and Bartolomeo della Gatta. Moses is represented five times on this stage. On the right, he reads his will to the twelve tribes of Israel and that of Levi is represented by the young naked man. The Tables of the Act are in the ark, at its feet. At the top, while it is on Mount Nébo, the angel of the Lord shows him the promised Earth; He then went back to help an invisible character. Left, he puts his baton of patriarch to Joshua who is standing in front of him. In the upper left, his shroud is not yellow but white, and even a unity li her head.

As its name indicates, this agency offers visits from the historic centre of Rome completely free! Only tips are left to the customer's discretion. It is a boon for small budgets with little time in town. The towers are open every day and, whatever the time, from Piazza di Spagna (next to metro) at 17 am. They go through the Trevi Fountain and the Pantheon and join Piazza Navona in about two hours. Visits are made in English, but all guides are made redundant. There is no need to book. Visits, pay this time, museums of the Vatican or the Coliseum are also offered. All details are given on the site.

The former slaughterhouse in Rome, opened in 1887 and abandoned in 1975. Since then, Mattatoio has been considered one of the pieces of Roman industrial architecture and has undergone several renovations before becoming a cultural centre. Today, it is divided into different pavilions where there is the Faculty of Architecture, a cultural laboratory where courses and conferences are organised and a vast exhibition space which hosts festivals such as the Romaeuropa Festival in October/November, where the best in contemporary artistic production takes place.

In front of the curia, there is an arched platform called rostra. This Latin term refers to the spurs of enemy ships that the Romans obtained after each naval victory and proudly hung on the first platform as early as the 3rd century BC. It was here that the Republic's speakers, senators, magistrates and tribunes delivered their great speeches and defended their projects before the assembled people to listen to them. Stop for a moment and imagine Cicero pleading....

The "cour de la pomme de pain" (pigna) is the first courtyard to be accessed at the beginning of the visit. Michelangelo created the niche that houses the famous giant bronze bread apple. This one, monumental, dates from the 1st or 2nd century. It was a fountain from which water flowed through the holes in the gables. In the centre of the Pigna courtyard, we see a modern work, Sphere with sphere, by Arnaldo Pomodoro, created in 1990. It replaces the statue of Saint Peter, now visible in the gardens of the City. All around the courtyard, Roman antiquities.

The cult of Cybele came from the East and was introduced to Rome in 200 BC. Considered the mother of the gods or the great goddess, she was the goddess of fertility and her symbol was the betyl, a black stone with a phallic shape. The construction of this temple began in 204 and was completed in 191 BC. It was damaged several times in the course of history, notably during two devastating fires: in 111 BC and in year 3 of our era. Augustus had it restored.