19th Century, View Of The Piazza Del Popolo

19th century
View of the Piazza del Popolo with the colonnade of Santa Maria dei Miracoli
Oil on canvas, cm 55 x 110
With frame cm 56,5 x 110,5

Among the most famous and beloved places in Rome, Piazza del Popolo owes its name, despite the double hypothesis, to the zeal of Pope Pasquale II in protecting the citizens of Rome. Nearby stood the sacello of Domizi Enobarbi with the tomb of Nero, surrounded, according to the funeral costume, by poplars, in Latin populus, where the first toponomastic reconstruction. But as tradition has it, in order to prevent a return of Nero in the form of the Antichrist, in fact to incorporate an additional territorial piece to papal jurisdiction, ordered in 1099 that the mausoleum of the Domizi be razed to the ground to build a chapel, modernized over the centuries in the features of the current church of S. Maria del Popolo. The religious nucleus was given the name of the People because the construction had taken place through a subscription of the citizens who had drawn, more or less voluntarily, Own pecunia from the pockets. The painting offers a suggestive low view taken from the steps of S. Maria in Montesanto, one of the "twin" churches with S. Maria dei Miracoli, whose colonnade is observable. Located at the entrance of the so-called Tridente zone, constituted by the main route of Via del Corso on which are inserted the straight lines Ripetta and Babuino, the two churches were born to replace a pair of pyramidal funerary monuments, on the type of the tomb of Gaius Cestius, already monumental entrance to the Field Marzio. Designed at the request of Alessandro VII Chigi, the basilicas were built in two phases (the one in Montesano from 1675, the Miracoli from 1678), presenting respectively elliptical and circular plant. The delicate sunset, coloristically secant, for horizontal, in two parts, the painting focuses on the Fountain of Neptune by Valadier, framed by a ring of plants with very thin fronds. It continues with the obelisk Flaminio, so called by the homonymous consular road that started from there, dating back to the thirteenth century BC; ordered by Seti and finished by his son Ramesses II, the obelisk was transported from the temple of Ra and Heliopolis (Egypt) by the will of Augustus, who wanted to place it on a spine of the Circus Maximus. Porta del Popolo, which encloses the painting, was commissioned on the external façade by Pius IV to Michelangelo, who refused the commission, The interior facade, which can be seen here, was designed by Gian Lorenzo Bernini, commissioned by Alexander VII, to celebrate the arrival of Christina of Sweden. 

The object is in good condition

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