Archive for October, 2007

31
Oct

Spooky Rome: The Capucin Crypt

Rome's Cappucin Cemetery

Happy Halloween! Here at Eternally Cool we’re celebrating the scariest of holidays with a series of articles on Spooky Rome. In the past days, we’ve heard about ghosts and ghost stories in the ancient city and we’ve accompanied the 16th-century artist, Benvenuto Cellini, on his mission to raise demons in the Colosseum with the help of a necromancer (who also happened to be a Sicilian priest).

Today we’re headed up the Via Veneto for a vist to the Capucin crypt beneath the church of Santa Maria della Concezione. Located just a block or so from Piazza Barberini, the Baroque facade of the church suggests nothing whatsoever about the gruesome cemetery in the crypt below.  This is a spooky site that’s not to be missed by anyone who enjoys a bit of Halloween haunting!

Rome's Cappucin Cemetery

The crypt of the church comprises five chapels, the floors of which are covered with earth brought from the Holy Land. Friars that were part of the Capucin community at this church were buried in that holy earth, but when the space was filled, bodies of the long deceased were dug up and dismantled to make room for new occupants. The bones of the disinterred – from some 4000 bodies dating between 1528 and 1870 – were then used to create intricate designs that cover the walls and the vaults of the chapels.

Though this gruesome art is no longer practiced, visitors today can admire the handiwork of past Capucin bone artists.  Piles of skulls that form the backdrop for three fully preserved skeletons still clad in their monastic robes. Vertebrae make swirling designs on a chapel vault, while stacked thigh bones form niches from which robe-wearing skeletons peer out towards onlookers. The vault of one chapel bears the image of the Grim Reaper: His face is a real human skull, while the blade of his scythe is created with a column of coccyges (see photo above). Even the chandeliers are intricately constructed of human bones!

Rome's Cappucin Cemetery

Some visitors find the crypt terrifying, while others are absolutely fascinated. And everyone asks about the purpose of this macabre display, which is to remind the living of the delicacy and tenuous nature of life. Thus, the crypt functions as a momento mori on the grandest scale and its purpose is reinforced by an inscription placed near the mummified remains of one monk, which reads:

“Quello che voi siete noi eravamo,
Quello che noi siamo voi sarete.”
[What you are now we were, What we are you will be]

Rome's Cappucin CemeteryBecause the experience of visiting the Capucin crypt is so extraordinary, an endless parade of writers have remarked on the place. Yet, no one’s musings are better than those of Nathaniel Hawthorne, who sent the protagonists of The Marble Faun on a spooky visit to this church and its crypt and offered the following commentary:

Yet let us give the cemetery the praise that it deserves. There is no disagreeable scent, such as might have been expected from the decay of so many holy persons, in whatever odor of sanctity they may have taken their departure. The same number of living monks would not smell half so unexceptionably.

Via Veneto, 27 – (Piazza Barberini). Admission by donation . Open mornings until 12pm and from 3pm to 6pm.

30
Oct

Spooky Rome: Benvenuto Cellini in the Colosseum

Scary Colosseum

We’re celebrating Halloween at Eternally Cool by featuring a series of stories on spooky places and events in Rome.  Yesterday we interviewed Dr. Debbie Felton about ancient Roman ghosts and ghost stories.  Today we travel forward in time to the Renaissance, where we encounter demons in the Colosseum alongside Benvenuto Cellini, a sixteenth-century goldsmith, painter, sculptor, soldier and musician, who also wrote a famous autobiography.

Benvenuto Cellini (who is the subject of an opera by Berloiz) was born on 3 November 1500 in Florence.  His father was a musical instrument maker and musician.  At the age of 16, Benvenuto was exiled from Florence following a brawl.  He then wandered between Bologna, Pisa, and Rome and studied in goldsmiths’ workshops.

Over the course of his long career (he lived to be 71 years old), Cellini would work for royalty as well as for high-ranking church magistrates and political leaders, with his work taking him to Rome, Florence, Pisa, Mantua, Ferrara, and Paris.

His personal life was at least as exciting as his professional undertakings.  In 1527, when Rome was brutally sacked by the troops of Charles V, Benvenuto fought  valiantly to defend the city from the ramparts of Castel Sant’Angelo.  He was arrested once for assault and once for embezzling gems from the Pope’s tiara.  In the case of the Papal jewels, he was imprisoned in Castel Sant’Angelo, then escaped but was recaptured and treated with great severity.  As well, he was charged with sodomy four times.

Cellini’s autobiographical memoirs, which he begun writing in Florence in 1558, provides a detailed account of his singular career, as well as his loves, hatreds, passions, and delights.  The memoir is written in an energetic, direct, and racy style. And certainly parts of his tale are fanciful, such as his scary story of conjuring up a legion of devils in the Colosseum in 1534.  We give you that passage today:

By unusual circumstances, I came to know a Siclian priest – a man of genius who was well-versed in the Greek and Latin languages.  Chatting with him one day, our conversation turned to necromancy, and I told him that I had a lifelong interest in this art.  The priest replied that a man who studies necromancy must have a strong and steady temper, and I confirmed my fortitude and my desire to be initiated into the art.  Thus, the priest said, “If you think you have the heart for it, I will satisfy your desire.”

We agreed to meet one evening and the priest told me to bring a companion or two.  I invited my very good friend, Vincenzio Romoli, and he brought with him a friend from Pistoia who was himself a practitioner of necromancy.  We went to the Colosseum; and the priest, following custom, began to draw circles on the ground amidst all kinds of impressive ceremonies.  He had brought with him precious perfumes and fire, including some compounds that diffused horrible orders.  As soon as he was ready to undertake the ritual, he created an opening in the circle he had drawn on the ground, and took us by the hand, ordering us to throw perfumes into the fire at the proper time, and then beginning his incantations.

The ceremony lasted more than 1 1/2 hours, and in the midst of it several legions of devils appeared in the amphitheater.  I was busy with the perfumes when the priest turned to me and said, “Benvenuto, ask them something.”  I answered, “Let them bring me into company with my Sicilian mistress, Angelica.”  The devils did not fulfill my request that evening, but my curiosity about necromancy was greatly indulged.

The necromancer told me that we must go a second time, and he assured me that my requests to the devils would be fulfilled if I brought along a virginal boy.  Thus, my 12-year old apprentice went with me, as did Vincenzio Romoli (who had been my companion the first time), and Agnolino Gaddi, a close friend whom I asked to assist at the ceremony.  When we came to the appointed place, the priest, having made the same preparations as the last time, placed us within his carefully drawn circle (it was more elaborate than the last time) and began his ritual.  This time the care of the perfumes and the fire was given over to my friend Vincenzio, who was assited by Gaddi, and the priest handed me a pinatcolo, or magical chart, and told me to turn it as he directed me, while holding my apprentice under the pintacolo.  Then, the necromancer began to call a multitude of demons by their name.  Each was the leader of a legion, and he questioned them in the Hebrew language, and also in Latin and Greece.  Soon the amphitheater was filled a hundred times more demons than on our first visit.  Once again I was asked to make a request, and once again I said that I desired to be in the company of my Angelica.  The necromancer turned to me and said, “The demons have declared that in the space of a month you shall be in her company.”

The necromancer then asked me to stand by him resolutely, because there were now a thousand more demons than he had summoned and most were dangerous.  As they had already answered  my question, he intended to be civil to them and to dismiss them quietly.  At the same time, my apprentice, under the pintacolo, was terribly frightened, and was crying that there were a million fierce men around who threatened to destroy us, and that there were also four enormous armed giants who were trying to break into our circle.  Though I was very much afraid of the demons, I did my best to conceal it; so that I greatly contributed to inspire the rest with resolution; but the truth is, I gave myself over for a dead man when I saw how frightened the necromancer was. 

My apprentice placed his head between his knees and said, “I will die in this position; surely we are all going to die.”  I told him that the demons were under us, and that what he saw was only smoke and shadow and that he should hold his head up and be brave.  No sooner did he look up then he screamed out, “The whole amphitheater is burning, and the fires is falling on us!”  Covering his eyes again, he cried that destruction was inevitable and that he could not stand to see any more.  

The necromancer implored me to have a good heart, and to burn the proper perfumes, so I turned to Vincenzio, and asked him burn the most precious perfumes that he had. At the same time I looked at Gaddi, who was terrified to such a degree that he could scarcely distinguish objects, and who seemed to be half dead.  Seeing him in this condition, I said to him, ‘Gaddi, upon these occasions a man should not yield to fear, but stir about to give some assistance; so come directly, and put on more of these perfumes.’

My apprentice then ventured to raise his head once more, and, seeing me laugh, began to take courage, and said, ‘The devils are flying away with a vengeance.’  We remained this way until the bell rang for morning prayers. The apprentice again told us, that there remained but few devils, and those were at a great distance. When the magician had performed the rest of his ceremonies, he stripped off his gown, and took up a bag full of books, which he had brought with him. We all went out of the circle together, keeping as close to each other as we possibly could, especially the boy, who placed himself in the middle, holding the necromancer by the coat, and me by the cloak.

As we returned to our houses in the quarter of Banchi, the boy told us that he could see two of the demons from the amphitheater leaping and skipping and running upon the roofs of the houses and on the ground.  And though he had entered magic circles often, the priest declared that nothing so extraordinary had ever happened to him.

Salt Cellar of Benventuto Cellini

The Salt Cellar of Benvenuto Cellini, 1539-1543, Kunsthistorisches Museum, Vienna

29
Oct

Spooky Rome: Ancient Ghosts & Ghost Stories

Skull Mosaic from Pompeii

Halloween is almost here! Last weekend’s shift to daylight savings time means that the world seems a whole lot darker than it did just a few days ago, inducing a spooky mood in all of us here at Eternally Cool. For that reason, we’ve decided to celebrate Halloween – a decidedly non-Roman holiday – by showcasing Rome’s scary side for the next few days.

We start our Haunted Rome series with an interview with Dr. Debbie Felton, a Professor of Classics at the University of Massachusetts in Amherst. A fan of ghost stories since she was child, Dr. Felton began digging into the Greek and Roman horror stories when she was working on her doctorate at the University of North Carolina at Chapel Hill. She wrote her dissertation on haunted-house stories from Rome and Greece and later revised and expanded the dissertation into a book, Haunted Greece and Rome: Ghost Stories from Classical Antiquity.

We asked Dr. Felton if she’d be willing to answer a few questions about ancient Roman ghosts and ghost stories and she was kind enough to agree. Her commentary is fascinating and so we’re excited to share this interview with our readers:

Did the ancient Romans believe in ghosts?
A very difficult question! Although the ancient Romans told ghost stories, it’s impossible to state with any certainty that they definitely believed in ghosts. Most likely some did and others didn’t, same as today. Their belief in ghosts would have been connected to their belief in a spirit world and an afterlife; if you believed in the latter, you were likely to believe in the former.

Whether individual Romans believed in ghosts or not, we do know that there were state-sanctioned holidays to honor and appease the spirits of the dead. The Roman poet Ovid, in his work the Fasti, describes the Roman festivals for the dead. There were two main festivals: the Parentalia and the Lemuria. The Parentalia refers to a period that began on February 13 (which is our equivalent date) and lasted at least ten days, during which business basically shut down—temples were closed for the festival, no fires burned on any altars, no marriages were contracted, and so on. The name of this festival indicates that this was a period to commemorate dead kinfolk, though the rituals of the Parentalia were conducted at the grave site and not at the family home.

The Lemuria took place over three days in the Roman equivalent of our month of May. This was another festival for bringing offerings to the spirits of ancestors, but it took place in people’s houses instead of in the cemeteries, because the ghosts were believed to return to their old homes for the days of this festival. The ritual to appease the ancestral ghosts involved the head of the family walking through the house in the middle of the night with bare feet (to acknowledge that corpses were buried with bare feet) and throwing black beans over his shoulders saying, “With these beans I buy back myself and my family”. Then the head of the family would clash bronze pans or cymbals together (this would drive the ghosts away) and say, “Spirits of my ancestors, depart!” Supposedly this ceremony would lay the ghosts to rest for the year.

These rituals for the dead generally also included leaving food offerings for the dead, in the hopes that the spirits would not trouble the family. Although our modern Halloween descends directly from the Celtic festival of Samhein, the idea of offering “treats” to the spirits to prevent them from harassing the living by pulling “tricks” does seem to be reflected as far back as the Roman rituals.

Was the belief in ghosts thought to be a superstitious one or did people in the Roman world commonly accept the presence of ghosts?
For this question, too, there is not a black-and-white answer. It’s difficult to say whether people who believed in ghosts were mocked for their beliefs and labeled as superstitious. There were certainly specific Greek and Roman authors in antiquity who satirized people for being overly superstitious and gullible—the authors Theophrastus and Lucian come to mind—but there does seem to have been a pervasive uncertainty, at the very least, as to whether the spirit might survive the body. The Roman writer Pliny the Younger, who was well regarded by his contemporaries, recorded several ghost stories, but does not seem to have held any strong specific religious beliefs about an afterlife. He sends some ghost stories in a letter to a friend of his, asking his friend’s opinion:

I should very much like to know whether you think there are such things as ghosts, and whether they have their own shapes and some divine existence, or whether they are unreal images that take their form from our own anxieties. (Letter 7.27)

Roman Relief Showing a Funeral

Did the Romans believe – as we often do – that ghosts were the spirits of the deceased?
Yes. Finally, a question with a definite answer! And the most frequently given reason for ghosts to appear was the lack of a proper burial for the person’s body, which tended to be the case when a person was murdered, or buried hastily, or simply died unnoticed. The person’s spirit could not rest otherwise. Many of the ancient ghost stories end with the ghost disappearing once the body is given the proper burial rituals. The spirits might even be grateful for such burial. One such story of the Grateful Dead is told by Cicero, in his work On Divination:

[The poet] Simonides, having seen the body of an unknown man lying unburied, buried him. He then planned to go on a sea voyage, but was warned not to go by a vision of the man whom he had buried. The vision told him that if he were to go on the sea voyage, he would perish in a shipwreck. And so Simonides did not go, but those who sailed perished. (1.27)

Did the Romans think of cemeteries and burial places as spirit-filled and spooky sites?
Not necessarily. There’s some indication that, in general, you wouldn’t want to hang around cemeteries at night, but because anyone buried in a cemetery had presumably been given a proper burial, they weren’t known as particularly haunted places. Very few restless spirits in a cemetery. It’s only on the days of those festivals I mentioned earlier that the spirits of those buried might come out to visit the living.

Ancient Funeral Procession
We know that you published a book called Haunted Greece and Rome: Ghost Stories from Classical Antiquity and are working on another book called Things That Went Bump in the Night: Strange Stories from Ancient Greece and Rome. Would you be willing to share with us a ghost story from the ancient Roman world?
Here’s my favorite ghost story, about a haunted house. It’s from the same Letter of Pliny the Younger I mentioned before:

In Athens there was a large and roomy house, but it had a bad reputation and an unhealthy air. Through the silence of the night you could hear the sound of metal clashing and, if you listened more closely, you could make out the clanking of chains, first from far off, then from close by. Soon there appeared a phantom, an old man, emaciated and filthy, with a long beard and unkempt hair. He wore shackles on his legs and chains on his wrists, shaking them as he walked. And so the inhabitants of this house spent many dreadful nights lying awake in fear. Illness and eventually death overtook them through lack of sleep and their increasing dread. For even when the ghost was absent, the memory of that horrible apparition preyed on their minds, and their fear itself lasted longer than the initial cause of that fear. And so eventually the house was deserted and condemned to solitude, left entirely to the ghost. But the house was advertised, in case someone unaware of the evil should wish to buy or rent it.

There came to Athens the philosopher Athenodorus. He read the advertisement, and when he heard the low price, he was suspicious and made some inquiries. He soon learned the whole story and, far from being deterred, was that much more interested in renting the place. When evening began to fall, he requested a bed for himself to be set up in the front of the house, and he asked for some small writing tablets, a stylus, and a lamp. He sent all his servants to the back of the house, and concentrated his mind, eyes, and hand on his writing, lest an unoccupied mind produce foolish fears and cause him to imagine he saw the ghost he had already heard so much about.

At first, as usual, there was only the night silence. Then came the sound of iron clashing, of chains clanking; yet Athenodorus did not raise his eyes or put down his stylus. Instead he concentrated his attention on his work. Then the din grew even louder: and now it was heard at the threshold—now it was inside the room with him! Athenodorus turned, saw, and recognized the ghost. It was standing there, beckoning to him with its finger as if calling to him. Rather than answering the summons, he motioned with his hand that the ghost should wait a while, and he turned back to his writing. The ghost continued rattling its chains right over the philosopher’s head. Athenodorus looked around again: sure enough, the ghost was still there, beckoning as before. With no further delay, the philosopher picked up his lamp and followed the phantom. The specter walked very slowly, as if weighed down by the chains. Then it walked to the courtyard of the house and suddenly vanished, abandoning its comrade. Athenodorus, now alone, plucked some grass and leaves to mark the spot where the ghost had disappeared. In the morning he went to the local magistrates and advised that they order the spot to be excavated, which they did. Bones were found, entwined with chains—bones that the body, rotted by time and earth, had left bare and corroded by the chains. These bones were gathered and given a public burial. After these rites had been performed the house was no longer troubled by spirits.

What I particularly like about this story is how timeless it really is. Take out the words “Athens” and “Athenodorus” (and, I suppose, “writing tablets” and “stylus”) and this story could have taken place anywhere at any time. Pliny actually says he heard it somewhere, so he apparently recorded a story that had been circulating in society for a while via an oral tradition. He just added a literary touch to it. And the story has a nice air of mystery about it: we never do find out exactly what happened—why or how the man died, why his skeleton was in chains, buried in the courtyard. The story leaves a lot to our imagination.

Skeleton Mosaic from Pompeii

Did the Romans live peacefully with their ghosts or did they attempt to exorcise them? If they did try to exorcise them, do we know anything about what the rituals were?
The ancient concept of exorcism was pretty specific, rather like today: an exorcism might be necessary if a person were possessed by a spirit. The Greek shaman Apollonius of Tyana (first century A.D.) was known to perform successful exorcisms. A man names Eleazar was said to have performed many exorcisms, delivering men of the spirits that possessed them, and doing so in front of the emperor Vespasian. Jesus and Paul, of course, were known for performing the occasional exorcism. But it’s always on people, not places.

Although haunted places could be purged of their ghosts by proper burial of the spirit’s corpse—a process known as “laying the ghost”—there’s virtually no information on exorcism rituals in ancient Rome being performed on places instead of on people. You can contrast this with stories from medieval times, such as that of St. Francis helping to drive demons out of the city of Arezzo during the war there. The demons flee, and the citizens can return to their business in peace.

You’ve told us that there are no known haunted sites in the ancient city of Rome. Are there any specific sites elsewhere in the ancient Roman world that were believed to be haunted? If so, could you give us an example or two?
The sites in the stories usually don’t get much more specific than “a house” or “the baths” and, interestingly, most of the locations are Greek rather than Roman: Athens, for example, or Corinth. One of the most specific references to a haunted place is the Greek writer Pausanias’s claim that the battlefield at Marathon was haunted by the ghosts of warriors who had died there. But the Roman writer Suetonius, in his biography of the emperor Augustus, says that a room in Augustus’s childhood home, a villa near Velitra, was rumored to be haunted:

“Because of an old rumor, no one dares enter the room unless it is necessary. . . . It is as if a certain horror and dread prevent those approaching casually from entering.. The reason for this dread was recently made plain: for when the new owner of the villa, whether by chance or to tempt fate, decided to sleep in the bed in that room one night, after a few hours he was thrown out of the bed by a sudden unknown force.”

Your research and writing is focused on ghost stories from all periods – not just the ancient world. Would you tell us how you became interested in ghost stories and why you find them so compelling?
I’ve been interested in ghost stories since I was very young; I think it was my father who introduced me to them, and his enjoyment of ghost stories influenced me. There’s something about the mysterious and often never entirely explained phenomena that is spookily attractive. And it’s interesting to speculate as to the existence of ghosts, and whether their existence might be proof of the survival of the spirit after death. I can’t honestly say that I believe in ghosts, but I would like to believe in them.

26
Oct

Photo Friday: Equal Opportunity Underwear

Thong Dispenser in Sperlonga, Italy

In honor of bleek, grey, and rainy Photo Friday in Rome, Susan Sanders brings us a bit of bright humor. The photo above was taken in Sperlonga, Italy and shows a bright yellow vending machine. What’s in there? Gumballs? Toys? Nope! This is not your usual kid-friendly vending machine.

Rather, this remarkable machine is stacked full of plastic capsules, each of which is filled with a silky, slinky, sexy thong! Yep! We mean undergarments. You need only slide in a euro coin and a brand new thong will be yours.

Who uses this machine? We have no idea, but we’ve managed to invent a few possible scenarios. Leave home without underwear and only realize that you’ve mis-dressed when you’re on your way to work? Stop here and get a thong for a song. You can slip it on in the bathroom of your workplace. Pick up a hot date on the beach and decide you’d like to freshen up? How convenient to be find a brand new thong waiting for you on Sperlonga’s main drag.

Susan’s got an eye for the ironic and that’s something often expressed in her photographs. We invite you to take a look at her work by visiting Rome With A View, her photo blog.

26
Oct

Eating Italy

Ad for Negroni sliced meats

Here in Rome, a plate of affettati misti of sliced coldcuts is a popular antipasto. So popular, in fact, that rare is the osteria or trattoria whose menu does not begin with words such as prosciutto, salami, or even lardo.

The popularity of such treats is being celebrated in a new ad campaign for the salumeria Negroni, a food company whose specialties include salami, mortadella, culatello, and a whole variety of other salty and delicious meat products.

Created by DDB in Milan, the ads show a world made of meat. We’re especially fond of the Tuscan landscape (above, left) with its cypress trees crafted from prosciutto and a picturesque salami road that winds its way up to a hilltop villa. Equally clever, however, is the snow scene (above, right), with mortadella drifts of snow and icy evergreens crafted of pancetta.

Agency: DDB, Milan, Italy
Creative Director: Vicky Gitto
Art Supervisor: Andrea Maggioni
Art Director: Alessandro Campani
Copywriter: Maria Chiara Alegi
Photographer: Carl Warner

These ads were showcased on the I Believe in Advertising website.

25
Oct

Exhibit: In Scaena – On Stage at the Colosseum

Roman Theater Masks

In past years, the first floor of Rome’s Colosseum has become a showcase for exhibits highlighting selected aspects of ancient Greek and Roman culture. The trend began in 2002, when a stunning show on gladiators proved to be a blockbuster hit (we wish some part of it had stayed in the Colosseum as so many visitors enjoyed learning more about the men and women who fought in the arena). Subsequent shows have highlighted such topics as Nike, the Goddess of Victory; the Mystery Cults of Greek & Roman Antiquity; the Illiad; and Eros, the God of Love.

Currently, Rome’s super-sized amphitheater is hosting an exhibit titled In Scaena (or On Stage), which showcases some 900 years of theatrical history, displaying objects that range in date from the 3rd century BC to the 6th century AD. The enlightening exhibit (which claims to be the first show dedicated solely to ancient theatrical performances) includes painted vases, marble sculptures, portraits of ancient playwrights, models of Roman theaters, and more. As a whole, the body of objects is stimulating, not least for its ability to communicate the fact that theatrical performances were common cultural currency in antiquity, with theatrical performances attended by all classes of society.

In Scaena exhibit begins by paying homage to the Greek and Italic heritage of ancient Roman theater. Visitors discover that the Romans were exposed to Greek theatrical productions right on the Italian peninsula, for starting from the eighth century BC, Greek settlers made the southern part of the boot-shaped land mass their home. The depth of the cultural exchange between Greece and Rome becomes extremely clear as one admires the numerous black- and red-figure Greek vases that were found in southern Italy and are painted with expressive theatrical scenes. Emphasizing the same point are the numerous miniature terracotta theater masks, as well as a cast of adorable clay figurines of dancers, acrobats, and comic characters, all of which were likewise recovered in southern Italy.

Though the Greek influence is clear, visitors are reminded that the Roman theatrical tradition was a hybrid one, and that the Etruscans also contributed to the creation of the Roman theater. The Roman neighbors to the north contributed words like hystrio (actor) and persona (mask) to the Latin language, and may also have influenced the development of Roman mime and comedy. This Etruscan influence on Roman performance is exemplified by a bronze lamp stand from the northern Etruscan city of Spina (now in the archaeological museum of Ferrara) that is embellished with lively figures of castanet players who seem to sway and move in time to music.

Greek Theater Model

Another section of the exhibition illustrates how the Romans employed their engineering skills to invent upon the characteristic Greek theater, thereby creating performance centers that were structurally and technologically more advanced than those of their eastern neighbors.

Rather than following the Greek model and setting their theaters on hillsides in order that the seats might be terraced down the slope, the Romans built freestanding stone theaters that could be placed anywhere, regardless of terrain. And place them everywhere is exactly what the Romans did. Photographs and models of Roman theaters on display in the exhibit convey the universality of this form of entertainment in the Roman world, reminding viewers that residents of Roman territories across the Mediterranean enjoyed the same classical tragedies and the same Roman comedies. One is rightfully left with the impression that the Romans should be cited as the inventors and exporters of mass entertainment.

Roman Theater Relief

Roman actors likewise receive attention in this exhibit and viewers learn that unlike modern-day actors, those in the ancient world wore masks that were carefully crafted to portray the nature of the character they represented on stage, from the comic slave to the satyr and from the comic old woman to the male tragic figure. Enlarged versions of such masks were commonly carved out of stone and used as embellishments in Roman theaters (see photo at the top of this article) and there are a variety of such decorative objects on display.

And, so, In Scaena continues in this way, addressing the general themes that are the stuff of textbook coverage of Roman theatrical productions, from the status of actors in Roman society and the interweaving of religion and spectacle in ancient society, and illustrating these themes with objects gathered from museums throughout Italy.

Yet, for all the wonderful objects on display in this exhibit, something is missing. Certainly In Scaena provides the general viewer with a broad and interesting overview of Roman theatrical entertainments. But, the exhibit does little to locate such entertainments in the city of Rome itself, as it fails to even mention the monumental remains of three Roman theaters that can all found less than a mile from the Colosseum.

Primary among those remains is that constructed by Rome’s celebrity general, Pompey the Great, in 55 BC (see reconstruction drawing below). As the first stone theater erected in the Eternal City, Pompey’s enormous entertainment complex broke Roman laws about the construction of permanent theaters and changed the face of the Campus Marius forever. Thanks to The Pompey Project, a series explorations led by Professor Jim Packer of Northwestern University and Richard Beacham of the University of Warwick, we know more about this opulent structure than ever before, but the structure goes unmentioned in this exhibition.

Packer reconstruction of the Theater of Pompey

And what of fascinating architectural rivalry that broke out in the Campus Martius following the construction of the Theater of Pompey, provoking Julius Caesar to begin constructing the Theater of Marcellus (see photo below) after he defeated Pompey in battle, and likewise inducing Lucius Cornelius Balbus, a general of Augustus, to construct his own opulent theater nearby in 13 BC?

Neither of these structures are mentioned, thereby creating a gap in the coverage of Roman theater that this viewer found disappointing, for without examination of Rome’s all-important theaters, the exhibit remains exceedingly general. Though interested viewers leave the exhibit with a broad knowledge of Roman theater, they have been given no tools by which to understand this subject in the context of Rome itself. Where were the theaters? Who built them and why? Can we visit them today? None of these questions are answered and so a visitor to this exhibit must be exceedingly industrious if they wish to understand how their newly gained knowledge might be applied to the city of Rome itself.

Theater of Marcellus

24
Oct

MTV in Milano

MTV Possessed by Music

MTV has taken over the entire Cardona train station in central Milan with their “Possessed by Music” ad campaign. 40 different advertising panels cover every single wall, elevator and column.

Agency: Mutado, Milan, Italy
Creative Director: Mauro Gatti

MTV Possessed by Music

24
Oct

Art of Science : Science of Art

Leonardo DaVinci's Battle of Anghiari

Via UCSD:

It could be a scene from the Da Vinci Code: A high-tech art sleuth finds a hollow space behind an Italian palazzo’s murals, and believes he may have discovered a Da Vinci masterpiece not seen since 1563.

In a case of life imitating art, Maurizio Seracini, an internationally recognized expert in high-technology art analysis, has done just that – and, in an odd twist, he does indeed appear, as himself, in Dan Brown’s popular bestseller about secrets hidden in Leonardo’s work – the book’s only non-fictional character.

(In the Da Vinci Code, Seracini uses his investigative skills to show that Leonardo’s Adoration of the Magi has been painted over by other artists and can no longer be considered a true Da Vinci.)

Seracini, 55, an alumnus of the University of California, San Diego and a native Florentine, thinks he may be close to finding the lost fresco Battle of Anghiari behind murals by Giorgio Vasari in Florence’s Palazzo Vecchio. Using radar, x-rays and other devices, he discovered a narrow cavity behind the Vasari fresco Battle of Marciano, and believes that the latter artist, an admirer of the great Leonardo, intentionally created the space to preserve the master’s work.

Art historians have known that Battle of Anghiari existed from early sketches, from the copies made by Da Vinci contemporaries, and from the writings of those who saw it – one of whom described it as “miraculous.”

“Leonardo’s Battle of Anghiari was considered the highest work of art of the Renaissance at that time,” Seracini said. “For over 50 years afterwards, documents spoke of the wonderful horses of Leonardo with the highest admiration.”

If he and other researchers can prove that the Vasari murals conceal a greater treasure, “it may be possible,” Seracini believes, “to remove the Vasari fresco and the wall behind, extract Leonardo’s mural, and finally put the Vasari back in place.”

Seracini, who heads Editech — a Florence-based company he founded in 1977 focused on the “diagnostics of cultural heritage” — estimates that he’s worked on some 2,000 paintings, including 31 works by Raphael and three others by Da Vinci. Most of his equipment, he says, has been adapted from medical devices. Infrared, thermographic, ultraviolet and other kinds of scanners allow him to see images behind a painting’s visible layers.

Now those high-tech tools have peered behind a mural, into a palazzo’s walls, to find another mural, long thought destroyed or lost to the ages.

How will he search for Leonardo’s lost painting?  A cutting-edge nuclear probe will carry out an analysis using “neutron activation and“point by point, we will get a map that will enable us to see what’s behind Vasari’s fresco,” Saraceni said.  So-called ‘georadar’ technology created at the University of Florence will also be used.

Seracini received his bachelor’s degree from UCSD’s Revelle College in 1973; he majored in applied mathematics and bioengineering, and spoke at his alma mater in April, as a Bioengineering Distinguished Lecturer, on “The Role of Science in Conservation of Cultural Heritage.” In 1975, he received a degree in electronic engineering from the University of Padua in Italy.

He credits his UCSD teachers – who had him experiment with lasers on fragments of blackened marble from Venice and Florence – with the spark that “ignited a long-lasting desire to blend art and science.”

During his time as a student in San Diego, he also traveled to UCLA to study under Carlo Pedretti, a scholar of Renaissance art and a specialist in Da Vinci. It was his mentor Pedretti, seeking a non-invasive way to search for Leonardo’s masterpiece, who steered Seracini to the murals in the Palazzo Vecchio.

Begun in 1505, the Battle of Anghari is considered by many art historians to be Leonardo’s most important – and largest – masterpiece. Vasari, commissioned by the Medici family in 1593 to remodel the palazzo’s hall, might have covered the unfinished work with a wall.

Most art historians believe, says Seracini, that even if the incomplete Da Vinci fresco is behind the wall, it may have deteriorated beyond salvation. Like the doctor he studied to be, he takes a physician’s detached approach to the prospect. “We’ll investigate,” he says, “and see.” It’s the code Da Vinci himself might have followed.

23
Oct

Rome in America: The Road Trip Becomes a Rome-Trip

Rome in the USA

If you find that your schedule simply won’t allow you to visit Rome (Italy) this year, then you might want to adopt another tactic. Fire up the chariot, call in the litter! You can visit Rome without even renewing your passport, for the United States is full of cities, large and small, that pay homage to the Eterna.

There are no less than ten American cities that bear the name Rome! (See map above.) You’ll find them in Georgia, Indiana, Ohio (2 actually), Iowa, Mississippi, New York, Oregon, Pennsylvania, and Indiana. Some such cities even bear a physical resemblance to their Italian cousin: Rome, Georgia is built on seven hills while history suggests that Rome, Oregon is so named because rock formations in the area reminded settlers of the ruins of ancient Rome.

No need to stop there, however! Make a swing through Italy, Texas or Palatine, Illinois! What fun! The trip gets more exciting if you make a special point of paying homage to ancient Rome’s founders, Romulus and Remus, by making a couple of stops in the towns that bear their names in Michigan. Though Remus, Michigan is not really named for one of the mythological babies (it takes its name from a local surveyor), local legend says that the presence of large numbers of wolves in the area of Romulus, Michigan reminded early settlers of the La Lupa, the She-Wolf who saved the lives of Romulus and Remus and thereby enabled the foundation of the city of Rome. In fact, according to the minutes of the first Township meeting, officers voted to enact a “$2 bounty on every wolf ‘catched’ in the Town of Romulus….” Yee Ha!

22
Oct

Diesel Fuel For Life: Customize!

Diesel Fuel for Life Factory

Starting today, October 22nd, Diesel’s Fuel for Life factory is open for business! By visiting the Fuel For Life Factory website, you can spice up your life (or someone else’s) by purchasing Fuel for Life for Him or Fuel for Life for Her, and you can customize the bottle in which your perfume will come!

The bottles come in leather pouches – you can choose from ten different colors! Then decide which of twelve logos is right for you. All in all, there are more than 150,000 possible ways to make the hip Diesel bottle uniquely your own.

Only 20,000 of these customized bottles will be made, so hurry to the website now and start crafting your very own olfactory experience!

Diesel Fuel for Life Factory




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