Further along the Tiber

I needed Sardinian fregola. Even though Sardinia is just a ferry ride away there is only one shop where I can get it: Castroni's, a shop that caters to all international needs - mind you, at a price. This is where you'll find Branston pickle and golden syrup jostling alongside Thai curry pastes, jalapeno relishes and tamarind paste. It's a beautiful day so after work I stay on the A-line til I get to the Flaminio stop. I make my purchases and head towards the river.  The sun is hot but there's an underlying spring breeze.

I overtake three young women who are trying to follow directions on their smart phone GPS. "Are you sure this is the right direction?" asks one.
"Yes, the phone says so." They walk a few paces and stop. I realise that they are looking for the park of Villa Borghese. In the opposite direction. Should I tell them? After a brief consultation, they are striding ahead, more confidently. Still in the wrong direction. It's as good an opportunity as any for them to learn how to read a map. I don't say a word.

I reach Lungotevere, the road that runs alongside the Tiber, after a brief pause to window shop outside a home store. Lovely large plush sofa are exposed which make me wonder who has enough space to put them in their flats. Followed by, why are they all white? And who buys white sofas?

I cross the normally fast flowing Lungotevere road. As it's lunch time it's relatively quiet. My first bridge is Ponte Regina Margherita, a three-arched Travertine marble covered expanse which links Piazza del Popolo with the well-off district of Prati. I turn right and walk alongside the river towards the Vatican.

Ponte Regina Margherita

  

The next bridge I come across is Ponte Cavour, named after Camillo Benso Cavour a key figure in Italian unification. He was Italy's first Prime Minister but died shortly after taking office. He never saw the Veneto or Rome join a unified Italy.This bridge was built between 1896 and 1901 and is a five-arched construction. Unsurprisingly one artery off it leads towards Piazza Cavour where a statue of the man holds centre stage whereas the other side leads to the Museum of the Ara Pacis 

More curiously, as I turn my gaze downwards to the river I see a wooden windmill, not a construction I would associate with Rome. It belongs to the steamboat restaurant. This reminds me that I'm near the Carré Français, a popular French bistrot. I'm feeling peckish. I continue on my way beneath the sweeping branches of the riverside trees. Gulls swoop above the river and congregate on various sand bars or more exactly mud flats left behind as the waters receded. 

Maybe another day, I think, as I pass my favourite Church, a thin Gothic building which thanks to its recent renovation is blindingly white in the sun, and, as ever, closed. 

I stride on towards a far more imposing white structure, the palazzaccio (rotten palace) - the Court of Cassation. The story goes that as soon as it was built it began to sink into the marshy land it was built on. The architect in despair comitted suicide. The slow sinking was arrested in the 1970s. The name, palazzaccio, derives from the inevitable stories of bribery and corruption that surround its construction.

Il palazzaccio

Leading away from the Palazzaccio towards Piazza Navona is Ponte Umberto I a three-arched masonry bridge covered in Travertine. 

My sights are now on Castel Sant'Angelo and the Bridge of Angels. I cross Ponte Umberto and pass by some rather tacky souvenir stalls perched on the wall above the Tiber: magnets, postcards and some religious souvenirs as well as some books on Italian cookery and Rome. As I approach Castel Sant'Angelo the voice of a busker singing Coldplay's "Yellow" grows more distinct. The sound system is cranked almost to distortion level but the man can sing.

I note the European flag fluttering in the breeze over Castel Sant'Angelo and gaze up at the warrior Angel Michael , sword drawn, above the terrace from which Tosca jumped to her death in Puccini's opera.  Down at ground level a long queue of visitors has formed. 

The bridge itself was once known as Aelian Bridge (Pons Aeluis), the bridge of Hadrian. It was completed in 134AD and connected the city centre to the mausoleum. By the Middle Ages the old name had been dropped. it became known as the Bridge of St. Peter's as it was used by pilgrims to get to St. Peter's Basilica.

In the 6th Century, under Pope Gregory I both the castle and the bridge became known as Sant'Angelo. According to the legend an angel had appeared at the top of the castle and ended the plague that was ravaging the city.

During the 1450 jubilee, balustrades collapsed under the pressure of the passing pilgrims who fell to their death in the Tiber. After the 16th century the bridge was used to expose the bodies of the executed. 

In 1669 Pope Clement I commissioned Bernini to design statues of 10 statues of angels to replace the older statues on the bridge. Bernini actually sculpted two of them, the Angel with the Superscription and the Angel with the Crown of Thorns. However, those exposed on the bridge are copies, the originals which the Pope kept for himself, are in the church of Sant'Andrea delle Fratte. 

The Bridge of Angels is a pedestrian bridge and always crowded. Tourists, selfie sticks aloft as well as immigrants selling counterfeit bags mingle past buskers and street artists. I wonder what Bernini would have made of it?

 I'm almost relieved to walk away to the next bridge of Vittorio Emmanuelle II. Large sculptures adorn the bridge, allegorical representations of Liberty, Oppression defeated, Unity of Italy and Loyalty to the Constitution. The four end pillars are decorated with winged victories. I look back at the view towards Castel Sant'Angelo which is perhaps the most attractive thing about this bridge. The sculptures are heavy and unsubtle. Up head yawns the mouth of a tunnel that passes through the Gianiculum hill and dead ends at the Vatican.

Lunch time is drawing to a close and the roads are getting busier I go down the steps beside the bridge onto the banks of the Tiber. The trailing police tape is evidence that they have only recently been made re-accessible to the public. The water is still high lapping at the edges and covering steps which under normal circumstances would lead down to the water's edge. In places there is still some clayey mud and the water has left behind large and long streamers of plastic which adorn branches of trees like a mad mans Christmas streamers. Some ducks swim past easily overtaking my slow walk. I step off the cycle path as perfectly lycra clad cyclists race past. I pass under Ponte Principe Amedeo, a more recent construction made of brick and marble. Its distinguishing features are 2 single lancet windows. I look back at the view of a distant Castle Sant Angelo. I move on. 

Ponte Amedeo

The next bridge is Ponte Mazzini yet another heavy masonry bridge dedicated to yet another key player in Italian unification. 

A plaque on the wall indicates that I'm at Piazza Tevere. I'm puzzled. There is no Piazza where I stand just the banks of the river curving forwards and the walls rising up to the road. 

Quite by accident I have stumbled across the 500metre long frieze entitled 'Triumphs and Laments' by the South African artist William Kendall. It fascinates me. Some scenes are easy to recognise Anita Exberg and Marcello Mastroianni in La Dolce Vita, but in a bath tub under a pouring shower head rather than the Trevi fountain, or the Capitoline she-wolf but other images are more baffling. In all there are 80.

Once I have passed the last image I climb up onto Lungotevere and onto Ponte Sisto, a pedestrian bridge that links Trastevere to Via Giulia and thence to Piazza Farnese and Campo Dei Fiori, the touristic heartland of Rome.

For me it is the end of the walk and time to go home.