Piazza del Popolo
It is the last and amongst the most spectacular achievements of Papal Rome, the vast space has been cleverly constructed with every aspect in mind: planning, architecture and urban design. It is connected to the Vatican via Via Cola di Rienzo, one of the most important commercial streets in the center of Rome. Besides being the monumental ‘porch’ of the city, Piazza del Popolo is one of the best expressions amongst the artistic and sacred wonders of historical Rome.
History
In the 16th century, the idea was born to create an open range in the center of Rome next to the ‘door’ of the city. In 1572 Pope Gregory VII, erected the first public fountain at the center of Piazza del Popolo, a fountain considered modern during those times.
Alexander VII sought to renew the Church of Santa Maria del Popolo, also approving the draft for the twin churches at the entrance of Via del Corso. The square was not changed until the beginning of the 19th century when the architect Valadier planned the definitive design which was modified by the prefect De Tournon. Valadier constructed buildings alongside the ‘door’ of the city and formed the base of the obelisk. The square was seen as a sort of visual and monumental representation of Rome and was dedicated to fairs, spectacles, parties and public executions.
 Churches and Monuments
Located at the center of Piazza del Popolo, is the ‘Flaminio’ obelisk, the oldest and highest obelisk in Rome after that of the Lateran. It is a tall granite monolith that was constructed by the pharoh Ramses II in 1200 B.C and was brought to the Eternal City by the Emperor Augustus. The architect Valadier decorated the base with four circular baths along with Egyptian style lions. Also located in the square are two travertine fountains in the form of shells stitched together, one representing the ‘Goddess of Rome between the Tiber and Aniene’ (direction of the Pincio), while the other represents ‘Neptune between two Tritons’(direction of the Tiber River). The syphinxes of Ceccarini found in the semi circles of the square are adorned by ‘the statues of the four seasons’. Valadier also constructed the buildings which host the celebrated caffès of Rosati and Canova.
Santa Maria Del Popolo
Pope Sisto IV oversaw the construction of the church, followed by Bernini who revamped it, by changing the style of windows and canopy, and adding to the tympanum, candelabras and mountains with the star of the Pope. A tripartite arrangement with a clear internal separation, characterizes the interior plan of the Church. The brick bell tower was constructed next to the dome, unique, due to its conical brick spire and four corner pinnacles showing original Gothic elements of the Po valley. Bernini substituted the original mullioned windows with the current ones and created in the transept two quires and large altars.
On the ledge which connects the walls, there are plaster statues of saints, while the canopy is made up of two angels designed by Ercole Ferrara.
In the right nave of the church, there is a chapel made up of an elegant balustrade designed by Andrea Bragno, along with frescoes depicting scenes from the life of St. Jerome by Pinturicchio Tiberio d’Assisi.
In the same nave, there is an oil painting ‘The Immaculate Conception and Saints’ by Carlo Maratta, while the underlying gilded bronze angels and urn are by Francesco Cavallini.
 The right nave also holds scenes from the life of Mary and saints with particular frescoes depicting the clear illusionistic intent of Antonio da Viterbo and d’Assisi.
Located in the left nave, is a chapel with a 16th century wooden crucifix, frescoes by Pieter van Lint, busts by Urbano and Mario Melini and at the very center the monument of Cardinal Garcia Mellini. In 1513 Lorenzetto began the design followed by Raphael who wanted a space of harmonic proportions, having a central plan free from external ornaments, concentrating instead on being rich on the inside. This design was clearly inspired by the Bramante style. Luigi de Pace produced the mosaics of the cupola that depict the work of God thecreator of the firmament surrounded by symbols of the Sun and the seven planets, each guided by an angel belonging to his specific order, this last undoubtedly inspired by Dante. Of particular importance are the scenes of the creation and of the original sin and the rectangular plumes representing the Seasons by Francesco Salviati in 1550. On the lateral walls are the tombs in the forms of pyramids by Agostino and Sigismondo Chigi designed by Chigi and later modified by Bernini. The main altar was created by Cardinal Antonio Sauli and has a rich gilded stucco decoration of the arch forming the legend of the founding of the church. In the left nave there is also, the Madonna del Popolo and a Byzantinian table from the beginning of the 13th century, the oldest piece within the church. The quire was transformed by Bramante in two different parts: the first and the oldest, while the second in the form of a sail, was constructed during the period of pope Giulio II between 1505 and 1509. The statues of Cardinal Ascanio and Cardinal Girolamo della Rovere by Andrea Sansovino are found on the walls in the left nave.
 The Twin Churches of Piazza del Popolo
One side of the square opens onto three streets; Via Ripetta, Via del Corso and Via del Babbuino, together representing a trident, inspired by baroque style urban planning.
From here the two apparently identical churches of Santa Maria di Montesanto and Santa Maria dei Miracoli are evident. During their construction the Pope Alessandro IV completed the baroque style modifications to the square, definitively consecrating it to the Virgin Mary.
The two basilicas were modified by Carlo Fontana and Gian Lorenzo Bernini which can be diffrentiated one from the other due to their subtle architectural differences. The first church circular with an octagonal dome, the second elliptical with a decagonal dome.
Work on Santa Maria in Montesanto was begun in 1662 and continued under the direction of the architect Carlo Fontana, monitored by Gian Lorenzo Bernini who decided the final project.
The interior of the basilica is elliptical in shape with a deep chancel. Statues of the saints created by Filippo Carcani fill the dome. On the main altar the work of Mattei -‘Virgin of Montesanto’ can be seen. The more important works of the church are ‘The Virgin with baby’, ‘the appearance of Christ to the Virgin,’ ‘St. Francis and St. James’ by Carlo Maratta. ‘The Charity of St. James’ is by Daniele Seiter and the fresco of ‘the Glory of the Virgin’ by Giuseppe Chiari.
Santa Maria dei Miracoli, instead was constructed in 1675 by Carlo Rainaldi and followed up by Carlo Fontana. Girolamo Theodoli refined the bell tower in 1600 style. The interior of the church is circular, and like its sister Church has a deep chancel and four canopies. The design of the tombs of Cardinal Girolamo Gastaldi and his brother Benedetto were entrusted to Carlo Fontana, with busts in bronze of Girolamo Lucenti.
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