Today decided to walk and admire Aurelian Walls of Rome. The moment we stepped out we saw amazing view of remains of aqueduct, right next to Termini. Also, those beautiful colourful buildings were so charming with a lot of Vespas parked in front. Vespa is quite common mean of transportation within the city of Rome.
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Tempio di Minerva Medica
Very soon after we left the house we were staying, on our way to Church of Domine Quo Vadis, we saw an impressive ancient ruin in Rome known as the Tempio di Minerva Medica is actually misnamed. It is not a temple dedicated to the goddess Minerva, but was instead a large, elaborate imperial building. Most historians believe it was a luxury Nymphaeum (a monumental water fountain or grotto) or a heated dining hall (cenatio) that was part of a grand estate known as the Horti Liciniani.
This structure was built during the final stages of the Roman Empire, dating to the late 3rd or early 4th century AD (around 300–325 AD). Architecturally, it was highly innovative. The building has a unique ten-sided (decagonal) floor plan and was topped by a massive dome. This dome was one of the largest in Rome at the time, trailing only the Pantheon and the Baths of Caracalla. It’s an important example of Roman engineering, showing a transitional style that would influence later Byzantine architecture.
The confusing name came centuries later. In the 17th century, a statue of Minerva (carrying a snake, a symbol of medicine) was found in the area. People assumed the magnificent ruin must have been her temple, and the name “Minerva Medica” was mistakenly attached to the building, sticking ever since.
The massive dome of this building survived mostly intact until 1828, when it finally collapsed, leaving the striking, open brick shell that is visible today. Because it’s located right next to the railway tracks near Rome’s Termini station (along Via Giolitti, just behind Termini), it offers a dramatic view of ancient history dramatically placed against a modern backdrop. Despite its decay, it remains one of the most recognizable and historically important late-Roman structures in the city. Unfortunately, we could not enter the building as it is behind the fence and probably not safe due to the collapsed dome. Also in the picture you can see the recent concervation efforts to the remaining structure in 2011 as the brick colour is visibly lighter. These projects focus on stabilizing the surviving portion of the dome and walls and making the structure safe, but still we could not enter. Hopefully, they will open it to visitors some day.
Porta Magiore or Porta Praenestina
Just few minutes walking from Tempio di Minerva Medica we stumbled on Porta Magiore. The Porta Maggiore, originally known as the Porta Praenestina, was built in 52 AD by Emperor Claudius, this enormous structure served a dual purpose that truly showcases the practical genius of the empire. Claudius initially constructed the double-arched monument not as a defensive barrier, but as a monumental crossing point for two critical aqueducts: the Aqua Claudia and the Anio Novus. These channels, one stacked atop the other, transported massive quantities of fresh water directly into the city. Isn’t that amazing?
Even the inscription in Latin on top of the main gate mentions Aqua Claudia and Anio Novus aqueducts, which says: “IMP. CAES. CLAUDIUS. DRUSI. F. CAISAR. AUGUSTUS. GERMANICUS. PONTIF. MAX. TRIB. POT. XII. IMP. VIII. COS. V. DESIG. IIII. PATRIAE. PER. OCCID. AEDIL. Q. Q. TIBER. AQUAS. CURTIAM. ET. CAERULEAM. PERDUCTAS. A. DIVO. CLAUDIO. ET. POSTEA. A. DIVO. VESPASIANO. PATRE. SUO. URBI. RESTITUTAS. CUM. A. CAPITE. AQUARUM. A. SOLO. VETUSTATE. DILAPSAE. ESSENT. NOVA. FORMA. REDUCENDAS. SUA. IMPENSA. CURAVIT.”
Translation is: “Claudius restored the aqueducts named Curtius and Caerulea, which had been brought to the city by the deified Claudius and then later by his father, the deified Vespasian, but had fallen into disrepair from their sources.”
For over two centuries, the monument fulfilled its function as an aqueduct support. Then, in the late 3rd century AD, Emperor Aurelian dramatically changed its role. He wisely incorporated the immense stone structure into his new line of fortified city walls, transforming the aqueduct’s arches into an official city gate. This move effectively recycled a public works project into a formidable defense. Today, visitors easily observe the large inscriptions that publicly credit Claudius, as well as later emperors Vespasian and Titus, who repaired the aqueducts after their construction.
Furthermore, the gate dramatically overshadows one of Rome’s most eccentric monuments: the Tomb of Eurysaces, a wealthy baker who proudly memorialized his profession by building his tomb in the shape of a massive oven. Together, the towering gate and the unique tomb offer a condensed look at the practical, monumental, and sometimes quirky aspects of ancient Rome.
The arches of the Porta Magiore in modern times have paved roads and even tram trakcs carefully incorporated into cities public transports network. When you think this is over 2000 years old structure and still standing!
We also passed Targa in memoria dell’ampliamento dell’Acqua Pia Marcia – a stone plaque that marks a crucial modern chapter in the city’s water history. This inscription in Latin celebrates the expansion of the Acqua Pia Antica Marcia, a 19th-century aqueduct that successfully revived the route of the ancient Aqua Marcia (144 BC), famously known for providing Rome with its purest water. If you know Latin, this is a perfect place to practice it!
Named in part after Pope Pius IX (Pius in Latin), who championed its initial reconstruction, the aqueduct saw further major improvements. The plaque itself dates to around 1923 and specifically commemorates this later work that secured the water supply for the burgeoning capital of modern Italy. Located near the historic Porta Maggiore, the plaque connects ancient ingenuity with modern necessity, serving as a powerful, enduring tribute to the continuous effort required to keep Rome thriving.
We passed a beautiful park that you can freely come in and it had the ruins of what used ot be aqueduct. Also the houses with all green vegetation looked stunning.
Basilica di Santa Croce in Gerusalemme
Soon after we stumbled to Basilica di Santa Croce in Gerusalemme (Basilica of the Holy Cross in Jerusalem). The Basilica di Santa Croce in Gerusalemme has one of Rome’s most extraordinary connections to the ancient Holy Land. Unlike other basilicas that simply reference Jerusalem, this church was built in the 4th century on the foundations of the Sessorian Palace by Saint Helena, the mother of Emperor Constantine. Legend holds that she personally transported bags of soil from Mount Calvary in Jerusalem and scattered the sacred dirt across the floor, making the structure literally a piece of “Jerusalem” planted in Rome. The basilica’s true significance lies in its incredible collection of relics: a special chapel houses fragments believed to be from the True Cross, a nail from the Crucifixion, and the Titulus Crucis (the wooden plaque placed on the cross with the inscription ‘INRI’), relics Helena is said to have personally discovered. This rich history firmly establishes Santa Croce as a major pilgrimage site and a unique physical link between the Eternal City and the origins of Christianity.
It was truly beautiful frescoes and impressive grandioze entrance. Totally worth stopping by and admire that beauty and serenity.
Aurelian Walls and Giardini Viale Carlo Felice
Once we entered Giardini Viale Carlo Felice we could trully admire the Aurelian wall. The size of it is really impressive when you can see it in such an open and green space. The first thing we saw was Chiesa di Santa Maria del Buon Aiuto nell’ Anfiteatro Castrense with a bell tower, built in 1476 and commissioned by Pope Sixtus IV. What we didn’t know that just next to it was an impressive Amphitheatrum Castrense. The Amphitheatrum Castrense is the only known imperial amphitheater in Rome built entirely of brick, and it earned its name because it was constructed adjacent to the barracks (Castra) of the imperial cavalry. Due to its size and strategic location on the Esquiline Hill, a large portion of the structure was incorporated directly into the Aurelian Walls during the 3rd century AD, with its external arches sealed to serve as a defensive bastion. Maybe I will visit next time in Rome!
The Aurelian Walls (Mura Aureliane) stand today as one of the longest and best-preserved ancient city fortifications in the world. Their construction, initiated by Emperor Aurelian and completed by his successor Probus between 271 AD and 275 AD, marks a sobering turning point in Roman history. For centuries, the city of Rome had outgrown the need for powerful fortifications, relying on the symbolic and much smaller Servian Walls from the 4th century BC. However, the increasing threat of barbarian invasions—specifically from Germanic tribes like the Juthungi and Vandals who were successfully penetrating the imperial borders—necessitated an urgent and massive defensive upgrade. The walls were not just a military barrier; they also served as a visible display of the emperor’s resolve to protect the capital and may have helped mitigate internal unrest, such as the major rebellion by mint workers in 271 AD. For over 16 centuries, these imposing defenses would effectively define the boundary of the city, confining Rome’s built-up area until the 19th century.
Spanning an initial circuit of approximately 19 kilometers (12 miles), which most of it still standing, the Aurelian Walls were a colossal undertaking. To achieve rapid and economical construction, the Romans used brick-faced concrete. This necessity meant that the project was largely carried out by civilian workers, as the army could not spare its legionaries. A clever and pragmatic move to save both time and resources involved incorporating massive pre-existing structures directly into the defensive line. These integrated fortifications included significant monuments like the Pyramid of Cestius (an ancient tomb), the Castra Praetoria (the barracks of the Praetorian Guard), the Amphitheatrum Castrense, and sections of the Aqua Claudia aqueduct. The original design featured square towers placed strategically every 100 Roman feet (about 30 meters), with 18 major gates (Portae) opening the city to the outside world, often flanked by two semicircular towers. Recognizing the escalating threats, the walls were continuously maintained and strengthened throughout late antiquity. The most dramatic modification came in the early 5th century AD under Emperor Honorius, who doubled the original height of the walls from about 8 meters (26 feet) to an impressive 16 meters (52 feet) to enhance their defensive capability.
I’ve got an interesting shot where a nun was feeding pigeons and they were landing on her hands. She happily posed for photos too. She had seraphic smile – calm, serene and almost divine. The photo captured a flash of light when a pigeon was flying away from he. Who knows, maybe one day she will be pronounced as saint.
The gardens even feature a statue of St. Francis of Assisi and his followers, erected in 1927. St. Francis of Assisi was an Italian Catholic friar who famously renounced his family’s wealth to embrace a life of radical poverty and founded the Franciscan Order. He remains one of the most beloved figures in Christianity, widely known as the patron saint of animals and ecology due to his deep reverence for all of God’s creation .
Oh yes in Rome you almost never need to buy water. They have the running water nasoni (or fontanelle) fountains (map here most of them within Aurelian Walls) where you need to put a finger to plug the bigger hole and water goes up to your mouth through smaller hole. The water is absolutely safe to drink (and tastes good too!). Also, there are few water Hhuse (or Casa dell’Acqua), where you can fill up your bottle with cold still water or even with a fizzy one! It was a true salvation in 39°C weather! There is even a map of those water houses, where you can easily locate nearest one.
Porta S. Giovanni
After we left the park we passed Porta S. Giovanni. The Porta San Giovanni, or Gate of St. John, is a major gate in the Aurelian Walls of Rome that was built relatively late in the 16th century, replacing the older, medieval Porta Asinaria nearby. It takes its name from the adjacent Basilica of St. John Lateran , serving as a critical access point for pilgrims traveling to the basilica. Designed with a simpler, more monumental style compared to its ancient predecessors, the gate continues to be a crucial entryway on the southeastern side of the city.
Basilica of San Giovanni in Laterano
Right after we passed Porta S. Giovanni we saw a beautiful Basilica of San Giovanni in Laterano. Unfortunately it was all boarded up for reconstruction, so we couldn’t get in.
The Basilica of San Giovanni in Laterano is the official ecclesiastical seat of the Pope, making it the cathedral of Rome and the mother church of the entire Catholic world. Historically, it holds immense importance as the oldest and ranks first among the four major papal basilicas of Rome, as its original construction was commissioned by Emperor Constantine the Great and consecrated by Pope Sylvester I in 324 AD. Its grand architecture reflects centuries of renovations, with its current monumental façade dating primarily to the 18th century. An intriguing fact is that for over a thousand years, the Basilica served as the residence of the Popes before they relocated to the Vatican, and to this day, it maintains the title Omnium Urbis et Orbis Ecclesiarum Mater et Caput (“Mother and Head of All Churches in the City and the World”).
Right behind the Basilica you can see Lateran Obelisk, which was also boarded up for renovations for upcoming 2025 jubileum.
The Lateran Obelisk is the largest standing ancient Egyptian obelisk in the world and the oldest structure in Rome, dating back to the 15th century B.C. It stands as a testament to monumental ancient engineering, having been transported from the Temple of Amun in Karnak to Rome via a special ship with 300 rowers, only to collapse in the Circus Maximus centuries later before being excavated, restored, and re-erected in 1588 by Pope Sixtus V. More about obelisks in Rome you can read in my post about Columns and Obelisks in Rome.
Lateran Baptistery (Battistero Lateranense di San Giovanni in Fonte)
The Basilica of St. John Lateran (San Giovanni in Laterano), Rome’s cathedral, is famously accompanied by the Lateran Baptistery (Battistero Lateranense), or San Giovanni in Fonte . This octagonal structure holds the unique distinction of being the first major Christian baptistery ever built and the architectural model for nearly all subsequent baptisteries across the Western world. It was originally commissioned by Emperor Constantine the Great, possibly between 312 and 315 AD, shortly after his conversion and the legalization of Christianity. Its circular or octagonal shape—featuring an immense porphyry basin in the center—is symbolic: the eight sides are often interpreted as referencing the eight days leading to the Resurrection or the “eighth day” of eternity, marking the passage from the old life to the new life in Christ through baptism.
While the original Constantinian structure has undergone numerous reconstructions and embellishments over the centuries, its foundational layout remains intact, cementing its status as the most ancient and influential baptistery in continuous use. Successive popes and emperors added chapels, mosaics, and frescoes. For instance, the bronze doors leading into the baptistery were originally taken from the Baths of Caracalla. The current appearance, dominated by the ring of columns supporting the dome, is largely due to restorations under Popes Urban VIII and Innocent X in the 17th century. Historically, this site was critically important as it was the only place in Rome where baptism was administered until the late medieval period, symbolizing the spiritual authority of the Bishop of Rome (the Pope) and the primary gateway into the Christian community.
Basilica of San Clemente al Laterano
The Basilica of San Clemente al Laterano, located not far from the Lateran complex, is one of Rome’s most remarkable archaeological sites, often described as a “layer cake” of history. It is, in fact, three superimposed buildings, spanning nearly 2,000 years. The topmost and visible basilica, dating from the 12th century, is famed for its stunning golden apse mosaic depicting the Triumph of the Cross and the Tree of Life. This basilica is a beautiful example of Romanesque architecture, blending ancient spolia with medieval artistry.
Beneath this medieval church lie the profound foundations of the site. Descending two levels, visitors first encounter the ruins of a 4th-century basilica which functioned as the main place of worship until it was damaged in 1084. Below that, one can explore the structures of the imperial era, including a 1st-century Roman house and a 2nd-century Mithraeum—a small, dark temple dedicated to the Persian god Mithras. This unique vertical stratification makes San Clemente an unparalleled historical document, providing a tangible journey through the religious and architectural evolution of Rome, from pagan antiquity through the development of early and medieval Christianity.
Unfortunately when we passed Basilica of San Clemente it was closed, but it seems something worth visiting, especially those levels beneath.
Porta Metronia
We passed smaller city gate – Porta Metronia. The Porta Metronia is one of the original gates within Rome’s 3rd-century Aurelian Walls, situated on the southern side between the Porta San Giovanni and the Porta Latina. Unlike many larger, more famous gates, the original passage was closed and bricked up in the Middle Ages, with new openings eventually created on either side to accommodate modern traffic flow.
Villa Celimontana
Next we were heading to Villa Celimontana as I wanted to see one of the obelisks there – Obelisco Matteiano. The entrance to the villa was free. The entrance gate was impressive!
Villa Celimontana, formerly known as Villa Mattei, stands as one of Rome’s most treasured public parks, encompassing a significant portion of the tranquil Caelian Hill. The site’s history stretches back to ancient Roman times, containing archaeological remains from the Flavian and Traianean eras. Its modern transformation began in the mid-16th century when Ciriaco Mattei purchased the land, originally a simple vineyard, and commissioned its conversion into a magnificent Renaissance pleasure garden. The central building, the Casino Mattei, is traditionally attributed to Jacopo Del Duca, a student of Michelangelo, and was initially designed as a grand single-floor structure with a portico. The early gardens followed a highly formal style, rich with ancient sculptures, ornate fountains, and elaborate hedges.
One of the prminent fountains is Fontana del Fiume a Villa Celimontana. Following the winding paths of the villa’s English gardens, the descent to the Fontana del Fiume reveals a beautiful 17th-century wall fountain. This historical piece features a large, reclining marble statue representing a river deity , which is a cherished remnant of the opulent Mattei garden’s original design.
Over the ensuing centuries, the property experienced several changes in ownership, passing through the hands of European nobility, including Princess Marianne of the Netherlands. During this time, the formal landscaping gradually evolved into the more naturalistic style of an English landscape garden, shaping its appearance today. Following World War I, the Italian State seized the property, and in 1926, the grounds were opened to the public by the Municipality of Rome, ensuring this historic green space remained accessible to all. Today, the park is not only a favored spot for peaceful walks and picnics but also famously hosts a popular summer jazz festival.
Among the park’s most significant historical features is the Matteian Obelisk . This 12-meter-tall Egyptian obelisk, which dates back to the reign of Pharaoh Ramesses II in the 13th century B.C., was originally a gift from the Roman Senate to Ciriaco Mattei in 1582. A curious and dramatic legend surrounds its re-erection in 1817: it is said that a supporting rope snapped, resulting in a worker losing his arm, which is allegedly buried beneath the obelisk’s massive base. Beyond the obelisk, the Casino Mattei itself holds significance as the prestigious headquarters of the Italian Geographic Society (Società Geografica Italiana). Additionally, archaeological digs have uncovered remains of the ancient Basilica Hilariana, a sanctuary believed to be dedicated to the goddess Cybele, complete with unique floor mosaics. While many of the original 16th and 17th-century water features, some designed by Bernini, have been lost over time, the Fontana del Fiume and the beautifully decorated Nymphaeum of the Uccelliera remain as charming reminders of the villa’s opulent past.
Porta Celimontana
On our way to colisseum we passed Porta Celimontana. The historical context of the Lateran and San Clemente is closely connected to the ancient borders of the Caelian Hill (Celio), where the Porta Celimontana is located. Originally a gate in the Servian Wall, the structure is most famously preserved today as the Arch of Dolabella and Silanus. This seemingly simple brick arch, dedicated in 10 AD by the consuls Publius Cornelius Dolabella and Gaius Junius Silanus, served a crucial dual function: it was later incorporated into the massive Aqua Claudia aqueduct system, acting as a support for the distribution lines that brought water into this part of the city. Its location on the Caelian Hill placed it near military barracks and important sites like the later Basilica of Santo Stefano Rotondo, serving as a key ancient point of entry and circulation in the area that later became central to early Christian history.
Views of Colloseum
As we walked closer to Parco Del Colle Oppio we passed a charming street with restaurants and suddenly I saw the Colosseum at the end of the street, which lookd trully amazing!
Parco del Colle Oppio
Very close to Colle Oppio park there was a beautiful foutain with an unusal boat shape – Fontana della Navicella. The Fontana della Navicella (Fountain of the Little Ship) is one of Rome’s most charming fountains, located on the Caelian Hill (Monte Celio) just across from Colle Oppio. It features a beautifully sculpted marble replica of an ancient Roman ship, or navicella, set within a travertine base. The fountain’s history is fascinating because it is rooted in an actual ancient object: the Renaissance sculpture, completed in 1518 by Andrea Sansovino (or his students) for Pope Leo X, was based on an Imperial Roman boat sculpture found nearby, likely a votive offering or a decoration from an ancient Roman military barracks (the Castra Peregrinorum). This fountain sits prominently in front of the Santa Maria in Domnica Basilica, marking the boundary of the ancient complex that included the Baths of Trajan and serving as a delightful landmark and symbol of Rome’s deep maritime and military history.
Finally, we arrived to Parco del Colle Oppio, which was full of tourists and amazing ruins. Also, a stunning view of Colosseum opens up from there.
The Parco del Colle Oppio is a large, historically significant park located in the heart of Rome, spanning the Oppian Hill directly overlooking the Colosseum . Established in the 1920s and 1930s, the park is less a naturalistic green space and more an archaeological garden, as it integrates significant ruins of the ancient city into its landscape design. The park contains the remains of the Domus Aurea, Emperor Nero’s extravagant palace, as well as the monumental foundations of the Baths of Titus and the vast Baths of Trajan (Terme di Traiano), including the massive semi-circular exedra that you previously inquired about. Its elevated position offers spectacular and unique views of the Colosseum and the Roman Forum, making it a crucial spot for both relaxation and historical contemplation in the Rione Monti area.
Monument of Alfredo Oriani
As you walk in the park you will notice monument of Alfredo Oriani, Alfredo Oriani (1852–1909) was an Italian author, essayist, and social critic. While known for his literary works that explored themes of solitude and patriotism, his lasting public significance—and the reason for his monumental bronze statue in Colle Oppio Park—is entirely due to political history. During his lifetime, Oriani’s works were often considered marginal, but after his death, they were aggressively adopted and promoted by the rising Fascist regime under Benito Mussolini. Fascist leaders championed Oriani, particularly his final work, La rivolta ideale (The Ideal Revolt), proclaiming him a literary and philosophical “precursor” or “prophet” of the Fascist movement for his fervent nationalism and calls for a modern Italian rebirth.
The monument itself, sculpted by Ercole Drei, was inaugurated in 1935 during the peak of Fascist rule. Its placement in the newly redeveloped Parco del Colle Oppio was a deliberate decision to embed Fascist ideology within the heart of Rome’s ancient imperial landscape, effectively replacing the ancient narrative (Nero and Trajan) with a modern political hero.
Domus Aurea
The Domus Aurea was the sprawling, opulent palace built by Emperor Nero in the wake of the Great Fire of Rome in 64 AD, occupying parts of the Palatine, Esquiline, and Caelian Hills, including the area now known as Colle Oppio. While the Baths of Trajan now sit atop its foundations, the surviving portions of the Domus Aurea are preserved underground. It was legendary for its luxurious features, including walls adorned with precious stones and ivory, ceilings that showered flowers and perfume, and a spectacular dining room with a revolving roof (coenatio rotunda). During the Renaissance, artists like Raphael were famously lowered into the palace’s buried chambers, which they called “caves” or grotte. The fantastical, colorful frescoes discovered inside were so influential that they gave rise to a new artistic style called “grotesque,” which became immensely popular in European art. The structures were closed to tourists as it seems they are undergoing serious renovations and structural fortification, but I hope one day I can visit it!
You can trully see the grandioze of the Domus Aurea complex in ancient times by looking at those images created by Gemini AI. It probably was even more impressive than that and could have been over 300 acres (1.2 sq. km).
An interesting stone water fountain (stone nasoni) – Fontana delle maschere was standing close to the Amphorae fountain. The water is drinkable, but honestly it doesn’t look very apetizing to drink from it.
Fontana della Anfore
Located within the modern Parco del Colle Oppio, the Fontana delle Anfore (Fountain of the Amphorae) is a smaller, decorative fountain built in the late 1920s as part of the park’s landscaping plan designed by architect Raffaele De Vico. This charming fountain is characterized by its simple, elegant “Barocchetto” style, featuring a low basin and decorative elements, including the amphorae that give it its name. It is found on Viale Fortunato Mizzi, often accompanied by two smaller, nearby fountains known as the Fontanelle delle Maschere. Unfortunately, there was no watter running it.
The final accent of the park was a homeless man, you will see quite a lot of them in Rome especially around Termini, laying on the ground and admiring life, art or hot Sun. Who knows? He looked very relaxed though and next to him was a small piece of mosaic, which looked beautiful.
Cisterna delle sette Sale
Cisterna della sette Sale was close by the park, so we quickly poped in there too.
The Cisterna delle Sette Sale (Cistern of the Seven Halls) is a colossal ancient Roman reservoir located on the Oppian Hill, close to the Baths of Trajan and the Domus Aurea. Despite its common name, the structure actually comprises nine, massive, interconnected rectangular chambers built mostly from concrete and brick, showcasing the monumental scale of Roman hydraulic engineering. This cistern was absolutely essential for supplying the enormous volume of water needed for the nearby imperial bath complex, drawing its supply from the Aqua Traiana. The ingenious design allowed water to flow slowly through the multiple compartments, which helped to regulate pressure and purify the water before it was finally distributed to the public baths, cementing its place as a critical piece of infrastructure in the ancient city.
One of the most intriguing facts about the cistern is its historically misleading name. While it is universally known as the “Cistern of the Seven Halls,” modern archaeological surveys confirm the structure is actually composed of nine parallel, contiguous chambers . The reason for this discrepancy is unknown, but it is theorized that when the structure was rediscovered and named in the Middle Ages, perhaps only seven of the nine chambers were accessible or visible to early explorers. The cistern’s monumental capacity once held approximately 8 million liters (over 2.1 million gallons) of water, illustrating the sheer scale of the engineering required to support the massive Terme di Traiano.
Furthermore, the Cisterna delle Sette Sale sits atop the ruins of Nero’s infamous Domus Aurea. The decision to build the public Baths of Trajan—and its essential cistern—over the site of Nero’s private palace symbolized a powerful political message: the transition from imperial self-indulgence to structures designed for public welfare.
Baths of Trajan (Terme di Traiano)
Just accross the street from Cisterna della Sette Sale you can see another impressive building – Terme di Traiano (Baths of Trajan). I believe it is only one of the buildings according to Google maps.
The Baths of Trajan were a colossal imperial bath complex built in Rome and inaugurated in 109 AD by Emperor Trajan. Situated on the Oppian Hill (Colle Oppio), the baths were revolutionary not just for their immense size, but for their innovative and influential design. They were the first of the great imperial Roman baths built in the ‘Great Baths’ plan, which established a new standard for public leisure facilities. Unlike previous bathhouses, Trajan’s architects arranged the main rooms—such as the frigidarium (cold room), tepidarium (warm room), and caldarium (hot room)—symmetrically along a central axis, with surrounding courtyards, gardens, and gymnasia. This grand, symmetrical layout was later copied by subsequent emperors, including Caracalla and Diocletian, defining the architectural style of Roman public bathing complexes for centuries.
The decision to build the Baths of Trajan directly over the demolished portions of Nero’s Domus Aurea (Golden House) was a deliberate political maneuver. Nero’s palace had been criticized as an excessive private expense; by replacing it with a massive, free public amenity, Trajan effectively returned the land to the Roman people. This transformation of an oppressive private residence into a space for public welfare was a clear and powerful statement of good governance.
Furthermore, the entire complex of the Baths of Trajan was not just the main bath building itself, but a vast area surrounded by parkland and recreation grounds, similar to a modern campus or park. This huge perimeter wall enclosed libraries, gymnasia, and manicured gardens, making the complex the first example of a dedicated, monumental urban park in Rome. This expansive public space required engineering marvels like the Cisterna delle Sette Sale (Cistern of the Seven Halls) to supply the millions of liters of water needed daily for operation.
Piazza Vittorio Emanuele II di Savoia
On our way home we stopped at Piazza Vittorio Emanuele II di Savoia, which was normally was closed when we passed by. The park was beautiful and it had few things to see too as I really wanted to see the Alchemical Gate up close. However, it is behind another fence, which you cannot pass by. The park was full of immigrants sleeping or drinking on the grass and not a single local person could be seen there. Someone was even getting a haircut done in the middle of the park. Suddenly I felt like in Old Delhi.
Monument to the Fallen of the Districts in the First World War
The Monument to the Fallen of the Districts in the First World War (Monumento ai Caduti dei Rioni) is a significant civic and historical tribute located in Piazza dei Re di Roma. Created by sculptor Enrico Quattrini and inaugurated in 1923, the monument commemorates the Roman citizens (caduti dei rioni) who died in the Great War. It consists of an imposing travertine base supporting a bronze sculptural group that depicts a dying soldier being upheld by Winged Victory. The work is notable for its strong sense of pathos and its blend of classical elements with the emerging style of the early 20th century, serving as an important urban landmark and a collective memorial to Rome’s victims of the conflict.
Porta Alchemica (Alchemical Gate)
The Porta Alchemica, also known as the Magic Gate or Hermetic Gate, is a singular and mysterious monument situated in the gardens of Piazza Vittorio Emanuele II. It is the only surviving piece of five gates that once adorned Villa Palombara, the 17th-century residence of Marquis Massimiliano Palombara. The gate is intricately engraved with a series of esoteric symbols and Latin inscriptions that are widely believed to contain the formula for the Philosopher’s Stone, the legendary goal of alchemy. If you read the book Alchemist you will know!
The legend holds that an alchemist left the cryptic formulas behind to escape the Marquis’s fury after failing to produce gold. Although the precise meaning of the inscriptions is still debated by esoteric scholars, the Porta Alchemica remains a fascinating emblem of the mysticism and occultism that flourished in Rome during the Baroque era.
Trofei di Mario (Trophies of Marius)
The Trofei di Mario (Trophies of Marius) refers to a majestic ruin located near the Piazza Vittorio Emanuele II gardens, serving as a powerful reminder of ancient Rome’s grand water supply system. Originally known as the Nymphaeum Alexandri, it was a monumental fountain built in the 3rd century AD under Emperor Severus Alexander. It marked the terminal point (mostra) of several key aqueducts, including the Aqua Julia, Aqua Tepula, and Aqua Marcia, distributing their water into the city. The name “Trofei di Mario” comes from the misidentification of two large marble trophies that once adorned the monument; these trophies were later moved in the 16th century to the top of the Cordonata leading to the Capitoline Hill. What remains today is the grand brick and concrete shell of the nymphaeum, showcasing the impressive scale of Rome’s engineering dedicated to public water display and distribution.
The main fountain in the gardens of Piazza Vittorio Emanuele II, often referred to simply as the Fontana del Giardino di Piazza Vittorio, serves as a central decorative element of the large, porticoed square. Though not its original location, the fountain is comprised of the reused elements of the Nymphaeum Alexandri, or Trofei di Mario, which were a grand ancient mostra (terminal fountain) of a Roman aqueduct system. The remaining brick structure and basin now serve as a picturesque water display, complementing the surrounding 19th-century architecture and the esoteric mystery of the nearby Porta Alchemica.
It was a long day, with a lot of walking and a lot of Aurelian Walls. Really worth walking around and seeing all those Roman ruins, churches and beautiful parks of Rome.
Tips
Don’t miss Baths of Caracalla when exploring the area. The Baths of Caracalla (Terme di Caracalla) were one of the largest and most luxurious public bath complexes in ancient Rome, inaugurated by Emperor Caracalla around A.D. 216.
You should visit the Amphitheatrum Castrense to see one of the only two remaining Roman amphitheaters in Rome, which is uniquely preserved because its outer wall was incorporated directly into the city’s third-century Aurelian Walls, turning it into a defensive bastion.
While visiting Parco del Colle Oppio don’t miss Fontana del Ninfeo, an elaborate garden feature of the Farnese family’s aristocratic gardens in Rome, designed by Girolamo Rainaldi.
Also when passing the Porta S. Giovanni don’t miss the Porta Asinaria, which is one of the impressive gates of Arelian Walls.