Quirinal Hill - Other Monuments

Other Monuments

The hill is the site of other important monuments and buildings. Many of those built during the baroque period reflect the personal and spiritual aspirations of powerful local families:

  • The church of Sant'Andrea al Quirinale was designed by Gian Lorenzo Bernini (1658–1671), for Cardinal Camillo Pamphilii (nephew of Pope Innocent X); it is one of the most elegant samples of baroque architecture in Rome, with its splendid interior of marble, stuccoes, and gilded decorations.
  • The four fountains (Quattro Fontane) with reclining river gods (1588–93) commissioned by Pope Sixtus V.
  • Borromini's church of San Carlo alle Quattro Fontane (or San Carlino - originally Chiesa della Santissima Trinità e di San Carlo Borromeo), the first and last work of this architect (the façade was completed after his death) commissioned by the Barberini.
  • The Piazza and Palazzo Barberini, built by Bernini and Maderno, which now houses the Galleria Nazionale d'Arte Antica.
  • Palazzo Volpi di Misurata, across from San Carlino, built in the 18th century.
  • Palazzo Albani del Drago, built by Domenico Fontana and enlarged with an added belvedere, by Alessandro Specchi for the Albani Pope Clement XI; with the decline in the fortunes of Cardinal Alessandro Albani, it was sold to the del Drago, who occupy it still.
  • Palazzo Baracchini, built 1876-83, now housing the Ministry of Defense.
  • The church of San Silvestro al Quirinale, which was described for the first time circa 1000, rebuilt in the 16th century and restructured (façade) in the 19th.
  • The Palazzo Colonna (17th century), in front of Palazzo Rospigliosi, contains some remains of Caracalla's temple of Serapis
  • The Palazzo della Consulta hosts today the Constitutional Court, and was erected by Ferdinando Fuga for Pope Clement XII directly opposite Palazzo del Quirinale.

Read more about this topic:  Quirinal Hill

Famous quotes containing the word monuments:

    If the Revolution has the right to destroy bridges and art monuments whenever necessary, it will stop still less from laying its hand on any tendency in art which, no matter how great its achievement in form, threatens to disintegrate the revolutionary environment or to arouse the internal forces of the Revolution, that is, the proletariat, the peasantry and the intelligentsia, to a hostile opposition to one another. Our standard is, clearly, political, imperative and intolerant.
    Leon Trotsky (1879–1940)