This concept had seemed for centuries like a sufficient enough solution, although from time to time the alternative solution was recalled, as it would give „breathing space” to the basilica. What had not been accomplished for subsequent centuries was finally put into effect by Benito Mussolini, in only a few short years, in the thirties of the XX century. Favorable conditions for this controversial decision were created by an alliance of the Holy See with Mussolini’s Italy (Lateran Accords, 1929), providing a breakthrough in the hostile relations between the papacy and the authorities of the uniting Italy, especially from the moment of taking over of Rome by the armies of the Kingdom of Italy in 1870. In the then Italian press, the Lateran Accords were compared with the Edict of Milan, while Mussolini himself to Emperor Constantine the Great, who as we know was the first Christian ruler of the empire. Duce (Benito Mussolini) as the new August, bringing peace and religious stability, became the personification of reconciliation and a new era. It was at that time that the plans of the architect and urban planner Marcello Piacentini, took shape. He had for numerous years been trying to convince Mussolini that just as other cities show off their most important structures, so should Rome make the effort to unveil its greatest treasure, which in the chaotic building arrangements of the Borgo seemed barely visible, almost unnoticeable. Piacentini received permission to create an architectural concept in a new, referencing Neoclassicism, but simplified style, while the planned broad boulevard was called “a road to reconciliation”, which was to directly correspond with the freshly penned alliance. The broad via della Conciliazione boulevard was also, in the ideological dimension, to open a new chapter in the history of Italy, while the dictator’s propaganda praised the urban arrangements as the ideal connection of the heart of Italy (Rome), with the heart of the Church, meaning Vatican.

Construction started in 1936, while Mussolini himself was the first person on the construction site. The architects were faced with an extremely difficult task – tearing down the so-called spina del Borgo, meaning a quarter in part made up of medieval buildings found between St. Peter’s Square and the Tiber. Before pickaxes were put to use, nearly five thousand inhabitants had to be displaced, moving them to newly created districts, including Garbatelli. Houses, churches and palaces were torn down with enthusiasm, removing 600 cubic meters or rubble, although some buildings such as Palazzo Torlonia, Palazzo dei Penitenzieri (della Rovere) and the Church of Santa Maria in Traspontina were integrated with the new road. Still others such as the Church of  San Lorenzo in Piscibus were absorbed by new buildings or completely changed their location (Santa Maria Annunziata Oratory). The fountain, found in the middle of the area which was torn down, designed by Carlo Maderno (Piazza Scossacavalli), was transferred to the city center, near the Church of Sant’Andrea della Valle.

Mussolini was unsuccessful in completing his project. Works on the boulevard were completed after the end of World War II, while its inauguration connected with the celebration of the Jubilee Year, took place in 1950. It was also at that time that street lamps were placed on slender, reminiscent of obelisks columns.

Let us take a closer look at some buildings found at the via della Conciliazione. Most of these were reconstructed, which is made obvious by the their close proximity. However, some were able to remain in their original location. (R – right side looking on from the Tiber River, L – left side)

• R  At the beginning of the street there are two integrated buildings, excellent examples of architecture from the end of Mussolini’s era (1943-1948), which were designed by the aforementioned Marcello Piacentini and Attilio Spaccarelli, who helped him with the task of creating the via della Conciliazione. Today they house, among others, the Auditorium della Conciliazione (no. 4), meaning a concert and theatre hall.
• R  In a tightly fitting row of buildings the thing that attracts attention is the façade of the Church of Santa Maria Traspontina. This church survived the tumultuous times of the nineteen thirties, while its interior contains several interesting artistic objects, including an original altar baldachin the work of Carlo Fontana, and also paintings of Cavalier d’Arpino  (Giuseppe Cesari) and Pomarancio (Antonio Circignani).
• R  Another building which is worth taking a look at is the Palazzo Torlonia (no. 30), which since the XIX century has been in the possession of the same family (Torlonia). Its roots reach all the way back to the XV century.
• L  On the other side of the street (no. 33) our attention is attracted to the enormous ochre-colored building, similar in form to the Palazzo Venezia, with a sign above the enterance which reads – Hotel Columbus. This is the former Palazzo dei Penitenzieri, built at the end of the XVI century. It is worth taking a look at its picturesque courtyard, from which – if we are lucky and the windows are open – it is possible to see the beautiful frescoes adorning its walls and ceilings, the works of among others Pinturicchio
• R  Slightly further away stretches the building of the Palazzo della Congregazione per le Chiese Orientali (nos. 32-36), previously known as the Palazzo dei Convertendi. Its stone front hides the chambers of another palace (Palazzo Caprini) designed by Donato Bramante, which was previously located on the Piazza Scossacavalli in the very heart of Borgo (destroyed). It was known since it was the place where the great painter Raphael lived and died.
• R  On building number 44 there is an advertisement of an old and famous café, the Antico Caffè San Pietro, found on the ground floor of the Palazzo Rusticucci. Before the spina was torn down the palace was situated closer to the basilica. After its removal it was reconstructed in this very location.
• L  Opposite the Palazzo Rusticucci is the broad body of the Palazzo Cesi (no 51), created at the beginning of the XVI century for Cardinal Francesco Armellini, who lost his rather extensive fortune acquired thanks to his service to several popes in only a few days during the Sacco di Roma.

•     Further on we will find a narrowing – a sort of propylaea, leading us onto the Square of Pius XII, preceding St. Peter’s Square. These monumental arrangements finished the work of Mussolini’s architects.

•     Today entering St. Peter’s Square from the side of the Tiber, it is impossible to imagine a different, better view. The basilica is seen from afar and outstandingly exposed thanks to the wide road leading to it. However, if we let our imagination run wild and follow the narrow, medieval streets, we will come face to face with Bernini’s colonnade, amazed at the sheer magnitude of the arrangements stretching in front of us. This is the very impression defended by those who opposed the destruction of the spina. Its taking apart still today stimulates the emotions and is one of the most controversial urban plans which were implemented in the city during the times of Mussolini.