Inside Castel Sant’Angelo in Rome

A tour inside Castel Sant’Angelo in Rome, Italy gives visitors the clear understanding that this structure was used as a fortress, a residence, and as a prison. A passageway tall and wide enough to accommodate a horse-drawn wagon spirals from ground level to the top of Castel Sant’Angelo, allowing munitions and supplies to be brought to the upper levels. Some individual cells in the structure lent themselves to defense of Castel Sant’Angelo while other cells were more suited to penal purposes.

Spiral Passageway in Castel Sant'Angelo

Spiral Passageway in Castel Sant’Angelo

SOURCE:  Spiral Passageway in Castel Sant’Angelo (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Courtyard in Castel Sant'Angelo

Courtyard in Castel Sant’Angelo

SOURCE:  Courtyard in Castel Sant’Angelo (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Munitions and Tools in Castel Sant'Angelo

Munitions and Tools in Castel Sant’Angelo

SOURCE:  Munitions and Tools in Castel Sant’Angelo (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Guardhouse in Castel Sant'Angelo

Guardhouse in Castel Sant’Angelo

SOURCE:  Guardhouse in Castel Sant’Angelo (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Copyright © 2011 by Stephen J. Danko

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Castel Sant’Angelo in Rome

Castel Sant’Angelo began its existence as a mausoleum for the Emperor Hadrian and his family. By the 14th century, Castel Sant’Angelo was conscripted by the popes for use as a fortress and a prison. Today, the structure is used as a museum.

Castel Sant’Angelo can be seen from a distance while walking along the banks of the Tiber. The Ponte Sant’Angelo leads from the left bank of the Tiber to the castle itself. The bridge is adorned with statues of St. Peter, St. Paul, and ten angels each holding one of the instruments of Christ’s passion and death.

According to legend, the Archangel Michael appeared with a sword on top of the mausoleum, signaling the end of the plague of 590 AD. Since that time, the mausoleum has been known as Castel Sant’Angelo (Castle of the Holy Angel). The statue of the Archangel Michael atop Castel Sant’Angelo has gone through six incarnations. The fifth version, by Italian sculptor Raffaello da Montelupo, is still on display inside the castle. The sixth statue, the one currently atop Castel Sant’Angelo, was created by Flemish sculptor Pieter Van Verschaffelt.

Castel Sant'Angelo from the Left Bank of the Tiber

Castel Sant’Angelo from the Left Bank of the Tiber

SOURCE:  Castel Sant’Angelo from the Left Bank of the Tiber (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Castel Sant'Angelo from the Ponte Sant'Angelo

Castel Sant’Angelo from the Ponte Sant’Angelo

SOURCE:  Castel Sant’Angelo from the Ponte Sant’Angelo (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Ponte Sant'Angelo

Ponte Sant’Angelo

SOURCE:  Ponte Sant’Angelo (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Archangel Michael by Raffaello da Montelupo

The Archangel Michael by Raffaello da Montelupo

SOURCE:  The Archangel Michael by Raffaello da Montelupo (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Archangel Michael by Pieter Van Verschaffelt

The Archangel Michael by Pieter Van Verschaffelt

SOURCE:  The Archangel Michael by Pieter Van Verschaffelt (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Copyright © 2011 by Stephen J. Danko

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The Piazza Navona in Rome

The Piazza Navona is a public plaza located on the site of the former Stadium of Domitian, popularly known as the Circus Agonalis. The centerpiece of the square is the Fountain of the Four Rivers (Fontana dei Quattro Fiumi) by Gian Lorenzo Bernini. The Obelisk of Domitian dominates the center of the fountain. The piazza is dominated by the baroque church of Sant’Agnese in Agone. The epithet “in Agone” refers to the Circus Agonalis, the site where Saint Agnes was martyred.

The four rivers in the name of the fountain refer to great rivers in four continents:  the Nile River in Africa, the Danube River in Europe, the Ganges River in Asia, and the Rio de la Plata in the Americas. The rivers represented by each four figures on the fountain can easily be identified. The head of the figure representing the Nile is covered by a cloth because nobody at the time knew where headwaters of the Nile originated. The figure representing the Danube is touching the Papal Coat of Arms since the Danube is the river closest to Rome. The figure representing the Ganges carries an oar, showing that the Ganges is navigable. Finally, the figure representing the Rio de la Plata (River of Silver) is sitting on a pile of silver coins and cowering in fright from a snake that may want to steal the coins.

The Piazza Navonna

The Piazza Navona

SOURCE:  The Piazza Navona (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Fountain of Four Rivers - East Side

The Fountain of Four Rivers – East Side

SOURCE:  The Fountain of Four Rivers – East Side (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Fountain of Four Rivers - West Side

The Fountain of Four Rivers – West Side

SOURCE:  The Fountain of Four Rivers – West Side (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Church of Sant'Agnese in Agone

The Church of Sant’Agnese in Agone

SOURCE:  The Church of Sant’Agnese in Agone (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Copyright © 2011 by Stephen J. Danko

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More Art in the Pantheon in Rome

The Pantheon, like other Catholic Churches in Rome, Italy, is home to an impressive collection of art. Close to the entrance of the Pantheon, on the right as one enters, is a 1686 painting of The Madonna of the Girdle and St. Nicholas of Bari by an unknown artist. To the left as one enters the Pantheon is a 1638 painting of The Assumption by Andrea Camasse. In niches in the interior are sculptures of St. Anne and the Blessed Virgin by Il Lorenzone and St. Anastasio by Bernardino Cametti.

The Madonna of the Girdle and St. Nicholas of Bari

The Madonna of the Girdle and St. Nicholas of Bari

SOURCE:  The Madonna of the Girdle and St. Nicholas of Bari (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Assumption

The Assumption

SOURCE:  The Assumption (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

St. Anne and the Blessed Virgin

St. Anne and the Blessed Virgin

SOURCE:  St. Anne and the Blessed Virgin (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

St. Anastasio

St. Anastasio

SOURCE:  St. Anastasio (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Copyright © 2011 by Stephen J. Danko

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Altars, Chapels, and Art in the Pantheon in Rome

The Pantheon in Rome, Italy houses several altars and a number of paintings. Behind the high altar there is a copy of a 13th century icon of the Madonna. The altarpiece in the Chapel of the Madonna of Mercy is a 15th century painting of The Madonna of Mercy between St. Francis and St. John the Baptist. Still another chapel holds a sculpture of St. Joseph and the Holy Child by Vincenzo de Rossi. In one of the niches between the chapels, is a crumbling 15th century fresco of the Coronation of the Virgin.

The High Altar in the Pantheon

The High Altar in the Pantheon

SOURCE:  The High Altar in the Pantheon (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Chapel of the Madonna of Mercy

The Chapel of the Madonna of Mercy

SOURCE:  The Chapel of the Madonna of Mercy (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

St. Joseph and the Holy Child

St. Joseph and the Holy Child

SOURCE:  St. Joseph and the Holy Child (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Coronation of the Virgin

Coronation of the Virgin

SOURCE:  Coronation of the Virgin (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Copyright © 2011 by Stephen J. Danko

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Tombs in the Pantheon, Rome

The Pantheon in Rome, Italy has the distinction of holding three important tombs. The first is that of the Italian painter and architect Raphael. Despite what Dan Brown wrote in his book Angels and Demons, Raphael’s tomb has always been located in the Pantheon. Above Raphael’s tomb is a sculpture of the Madonna del Sasso created by Raphael’s student Lorenzetto. The other important tombs are those of Victor Emmanuel II, the first king of a unified Italy, and Umberto I, Victor Emmanuel’s successor.

Madonna del Sasso

Madonna del Sasso

SOURCE:  Madonna del Sasso (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Raphael's Tomb

Raphael’s Tomb

SOURCE:  Raphael’s Tomb (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Tomb of Victor Emmanuel II

Tomb of Victor Emmanuel II

SOURCE:  Tomb of Victor Emmanuel II (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Tomb of Umberto I

Tomb of Umberto I

SOURCE:  Tomb of Umberto I (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Copyright © 2011 by Stephen J. Danko

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The Pantheon and the Piazza della Rotonda in Rome

The Pantheon in Rome, Italy was originally built by Agrippa and rebuilt by Hadrian in 126 AD. Its name derives from the idea that it was a temple to all the gods, but that conclusion is not certain. It was converted to a Christian church by Pope Boniface IV who dedicated it to St. Mary and the Martyrs. The Pantheon is still used as a Catholic church today.

The Pantheon boasts the largest unreinforced concrete dome. A single opening in the center of the dome, the oculus, is the only opening for natural light in the structure. As the sun moves across the sky above the Pantheon, the light shining through the oculus travels like the beam of a powerful searchlight around the interior of the Pantheon.

Outside the Pantheon, in Piazza della Rotonda, stands an obelisk that was originally constructed by Ramses II in Heliopolis. It is now crowned with a cross as well as the mountains and star of Pope Clement XI.

The Pantheon

The Pantheon

SOURCE:  The Pantheon (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Oculus of the Pantheon

The Oculus of the Pantheon

SOURCE:  The Oculus of the Pantheon (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Light from the Oculus

The Light from the Oculus

SOURCE:  The Light from the Oculus (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Obelisk in the Piazza della Rotonda

The Obelisk in the Piazza della Rotonda

SOURCE:  The Obelisk in the Piazza della Rotonda (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Copyright © 2011 by Stephen J. Danko

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Chapels of the Basilica of Saint Mary Above Minerva in Rome

The Basilica of Saint Mary Above Minerva, like many Catholic Churches, contains a number of chapels and altars. In fact, the Basilica of Saint Mary Above Minerva includes at least 22 chapels and altars.

The Chapel of St. Pius V includes an altarpiece painted by Andrea Procaccini (1671-1734) that shows Pius V raising the crucifix at the Turkish defeat. The body of Pius V is entombed below the altar.

The Chapel of the Annunciation was constructed in 1637 by the Confraternity of the Annunciation. Its centerpiece is a painting of the Annunciation, flanked by paintings of Saint Dominic and Saint Hyacinth.

The Lante della Rovere Chapel includes an altarpiece depicting St. Thomas the Greater presumably painted by Marcello Venusti. The chapel has memorials to Maria Colonna-Lante, Giulio Lante della Rovere, and their daughter Carlotta.

The Carafa Chapel was constructed between 1489 and 1492 by Cardinal Oliviero Carafa in honor of St. Thomas Aquinas. The altarpiece shows St. Thomas Aquinas presenting Cardinal Carafa to the Virgin at the moment of the Annunciation. Disciples of St. Thomas Aquinas appear to the sides.

The Chapel of the Sacred Heart was built in around 1577 in honor of the Resurrection of the Lord. The altarpiece, showing the Sacred Heart flanked by St. Catherine of Siena and St. Margaret Mary Alacoque was painted in 1922 by Mezzana Conrad.

The Chapel of St. Pius V

The Chapel of St. Pius V

SOURCE:  The Chapel of St. Pius V (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Chapel of the Annunciation

The Chapel of the Annunciation

SOURCE:  The Chapel of the Annunciation (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Lante della Rovere Chapel

The Lante della Rovere Chapel

SOURCE:  The Lante della Rovere Chapel (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Carafa Chapel

The Carafa Chapel

SOURCE:  The Carafa Chapel (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

The Chapel of the Sacred Heart

The Chapel of the Sacred Heart

SOURCE:  The Chapel of the Sacred Heart (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Copyright © 2011 by Stephen J. Danko

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The Basilica of Saint Mary Above Minerva in Rome

From the outside, the Basilica of Saint Mary Above Minerva in Rome, Italy is a rather plain looking building. The basilica belongs to the Dominicans who began building the present structure in 1280 AD and completed it in 1370 AD. Despite its name, the basilica is built merely near the temple to the Roman goddess Minerva, not over it.

In the piazza in front of the basilica stands an obelisk on the back of an elephant. The obelisk was under renovation during my trip. An inscription on the pedestal says that in the same way that the obelisk is supported by an elephant, a robust mind is needed to achieve wisdom.

Inside, the basilica is full of marvels. Michelangelo’s glorious sculpture of Christ the Redeemer is here, Saint Catherine of Siena is buried under the main altar, and noted painter Fra Angelico (Brother John from Fiesole) is buried here, his life and work commemorated in a stained glass window.

The Basilica of Saint Mary Above Minerva

The Basilica of Saint Mary Above Minerva

SOURCE:  The Basilica of Saint Mary Above Minerva (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Michelangelo's Sculpture of Christ the Redeemer

Michelangelo’s Sculpture of Christ the Redeemer

SOURCE:  Michelangelo’s Sculpture of Christ the Redeemer (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Main Altar of the Basilica of Saint Mary Above Minerva

Main Altar of the Basilica of Saint Mary Above Minerva

SOURCE:  Main Altar of the Basilica of Saint Mary Above Minerva (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Tomb of Saint Catherine of Siena

Tomb of Saint Catherine of Siena

SOURCE:  Tomb of Saint Catherine of Siena (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Stained Glass Window of Fra Angelico

Stained Glass Window of Fra Angelico

SOURCE:  Stained Glass Window of Fra Angelico (Rome, Lazio, Italy); photographed by Stephen J. Danko on 12 August 2011.

Copyright © 2011 by Stephen J. Danko

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Changes to the Public Death Master File (DMF) and the Social Security Death Index (SSDI)

Effective today, 01 November 2011, the Social Security Administration (SSA) changed its policy on what records it will use as source material for adding new entries in the Public Death Master File (DMF) which, in turn, is used to create the Social Security Death Index (SSDI).

The Agency decided that it can no longer use state death records to add new entries to the DMF. Furthermore, the SSA will remove approximately 4.2 million records currently on the SSDI because those entries were made based on information from state death records. I have reproduced a fact sheet about the change later in this post.

The SSA made this decision based on the Social Security Laws, specifically those laws described in Sec. 205 [42 U.S.C. 405]. Basically, the law says that information on state death certificates may be used to correct information already in the DMF, but may not be used for any other purpose, including adding new entries to the DMF.

The SSA will continue to compile the DMF from a variety of sources including death reports from family members, funeral homes, hospitals, Federal agencies, postal authorities and financial institutions. However, state death certificates which currently generate about 1 million entries in the DMF and SSDI every year will no longer be used.

Use of Death Certificates to Correct Program Information

(r)(1) The Commissioner of Social Security shall undertake to establish a program under which:

(r)(1)(A) States (or political subdivisions thereof) voluntarily contract with the Commissioner of Social Security to furnish the Commissioner of Social Security periodically with information (in a form established by the Commissioner of Social Security in consultation with the States) concerning individuals with respect to whom death certificates (or equivalent documents maintained by the States or subdivisions) have been officially filed with them; and

(r)(1)(B) there will be (i) a comparison of such information on such individuals with information on such individuals in the records being used in the administration of this Act, (ii) validation of the results of such comparisons, and (iii) corrections in such records to accurately reflect the status of such individuals.

(r)(6) Information furnished to the Commissioner of Social Security under this subsection may not be used for any purpose other than the purpose described in this subsection and is exempt from disclosure under section 552 of title 5, United States Code, and from the requirements of section 552a of such title.

Fact Sheet: Change to the Public Death Master File (DMF)

Q: What is the Public Death Master File (DMF)?
A: The Public DMF is a file of all deaths reported to SSA from sources other than States, beginning around 1936. It is not a complete file of all deaths and we cannot guarantee the accuracy of the DMF. The absence of a particular person on this file is not proof that the individual is alive. Further, in rare instances it is possible for the record of a person who is not deceased to be included erroneously in the DMF.

Q: When and why did we create the Public DMF?
A: We created the Public DMF in 1980 as a result of a 1978 Freedom of Information Act (FOIA) lawsuit filed in the Federal District Court by Ronald Perholtz. We make the Public DMF available through an agreement with the National Technical Information Service (NTIS), which is a part of the Department of Commerce.

Q: Where does SSA get its death records?
A: We receive death reports from family members, funeral homes, hospitals, States, Federal agencies, postal authorities and financial institutions.

Q: What change is SSA making to the Public DMF?
A: We began disclosing certain state records on the Public DMF in 2002. After review of the Public DMF, we have determined that we can no longer disclose protected State records. Section 205(r) of the Social Security Act prohibits SSA from disclosing State death records we receive through our contracts with the States, except in limited circumstances. Therefore, we cannot legally share those State records on the Public DMF. (Section 205r link – http://www.ssa.gov/OP_Home/ssact/title02/0205.htm)

Q: When will this change be effective?
A: November 1, 2011.

Q: How will this change affect the size of the Public DMF?
A: In 2010, we shared approximately 2.8 million death records, including updates or changes, on the Public DMF. We expect that yearly number to decrease by approximately 1 million. In addition, our historical Public DMF contains 89 million records. We expect that number to decrease by approximately 4.2 million records.

Q: How will customers of the Public DMF be notified of the change?
A: NTIS will send a letter to their customers notifying them in advance of the change.

Q: How will the change affect Federal agencies?
A: The law allows SSA to share all death records, including State records, with agencies that pay federally funded benefits. This change will not affect the Internal Revenue Service, the Centers for Medicare and Medicaid Services and some other Federal agencies. NTIS will notify the 18 Federal agencies that currently purchase the Public DMF about the change. Those agencies, and others, may contact us to determine whether they may qualify under the law to get all SSA’s death records.

Q: Are there other ways for the public to get death data?
A: Yes, State vital statistics offices are the first point of collection for death data.

Copyright © 2011 by Stephen J. Danko

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