Archive for the 'Text & the City' Category



19
Nov

Text & the City: Writing Rome - The Romance of Ruins

John Keats, Henry James, Lord Byron

Fall has arrived and there’s no better time to be in Rome! The crisp air and the golden light of Rome of this season have inspired many writers to wax eloquently upon the beauty of the Eternal City. Visiting Rome in the nineteenth century, the American writer Henry James extolled the extraordinary quality of Rome’s atmosphere in Italian Days:

The aesthetic is so intense that you feel you should live on the taste of it, should extract the nutritive essence of the atmosphere. For positively it’s such an atmosphere! The weather is perfect, the sky as blue as the most exploded tradition fames it, the whole air glowing and throbbing with lovely color….

Of course, Henry James is just one of many American and British writers who found their muse in Rome. For centuries, writers and travelers have been coming to the Eternal City to admire its layers of history, to revel in the romance of its ruins, and to soothe their souls as they traverse the layers of time.

Here at e-Cool, we’re a bit bookish, and so we’ve decided to indulge our passion by pursuing a Text & the Eternal City theme over the course of the next week. We’ll be focusing our posts on writers and their literary achievements, and we hope that you’ll find these posts (and the books they introduce) a way to enjoy Rome even if you’re not here at the moment. We’ll aim to discuss literature inspired by the Eterna, past and present, and to pay homage to sites associated with Rome’s literary heritage.

Today, we begin in the eighteenth and nineteenth centuries, a period in which English-speaking tourists flooded Rome as part of the Grand Tour phenomena. Among the city’s visitors were writers like Lord Byron. Percy Bysshe Shelley, Nathaniel Hawthorne, Henry James, Mark Twain, Edith Wharton, Oscar Wilde, who sought to convey the experience of the Eternal City in travel journals, poetry, and fiction.

The British Romantic Poet, Lord Byron, started a fad in the early nineteenth century when he described a nocturnal foray into the Colosseum. In his poem, Manfred, Byron penned a celebrated description of the Roman arena as seen under a brightly-lit moon. From this point on, nighttime visits to the Colosseum became de rigeur for nineteenth-century travelers, many of whom had committed Byron’s lines to memory:

When I was wandering, - upon such a night
I stood within the Coliseum’s wall,
Midst the chief relics of almighty Rome!
The trees which grew along the broken arches
Waved dark in the blue midnight, and the stars
Shone through the rents of ruin; from afar
The watchdog bay’d beyond the Tiber; and
More near from out the Caesars’ palace came
The owl’s long cry…
Ivy usurps the laurel’s place of growth;-
But the gladiators’ bloody Circus stands,
A noble wreck in ruinous perfection!

Byron’s praise for the Colosseum became part of the myth of Rome. The experience of visiting the arena at night was repeatedly incorporated into Rome’s literary tradition. Most famous of late night visitors to the Colosseum is probably Daisy Miller, a character penned by Henry James in his story of the same name. A spunky and impetuous American girl who refused to conform to European social conventions or to listen to practical advice, Daisy risked all to experience the romance and mystique of the Colosseum at night. Her midnight rendezvous with the colossal ruin cost her life, for in the arena she contracted Roman Fever. She died shortly thereafter and James laid his fictional character to rest in Rome’s idyllic Protestant Cemetery.

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.

19
Oct

Asterix & Obelix

Asterix

There are millions of children in the world who first encountered the ancient Romans through the eyes of Asterix & Obelix, the stars of an ultra-popular comic book series that made its first appearance in the world 1959. Set in antiquity, the comics detail the adventures of a Gaulish hero named Asterix and his friends, all of whom live in a village surrounded by invading Romans.  Fortunately,  Asterix & Obelisk are able to keep the Romans from invading their town by means of a magic potion that gives tremendous strength.

Since the comics first appeared in 1959, some 325 million copies of the 33 Asterix books have been sold, with translations into languages as diverse as Urdu, Arabic, and even Latin. That makes for a lot of children who have spent time cheering for the Gauls as they try to defend themselves against the nasty Roman forces.

Are you one of those people who can’t think of ancient Rome without thinking of Asterix & Obelisk? Then you’ll want to read this article about the comic duo and their creators on the BBC website.

08
Oct

Praise & Blame for the Eternal City

Model of Ancient Rome

For more than two thousand years, writers have been praising Rome for its glories, blaming it for its misdeeds, or struggling to find a middle ground between the two extremes.

Among those who (rhetorically) appear to have loved the Eternal City unconditionally is Publius Aelius Aristides, a Roman citizen of Greek origin, who wrote an artful Panegyric to Rome in 144 AD. In doing so, he cast both the achievements of the Roman Empire and the benefits of Roman citizenship in the best of all possible lights:

…You sought the expansion of your Roman citizenship as a worthy aim, and you have caused the word Rome to be the mark, not of membership in the city, but of some common nationality, and this not just one among all, but one balancing all the rest. For the categories into which you now divide the world are Romans and non-Romans…

Not all ancient writers found multicultural imperial Rome so very agreeable. By means of his satirical work, On the City of Rome, the late first century-early second century AD author Juvenal complained relentlessly (and humorously) about the endless adverse conditions faced by Rome’s residents. Rome - at its height during Juvenal’s life - supported a population of some 1,000,000 people. Amidst the teeming crowds, the eyes, nose, ears, stomach, and intellect of the satirist found offense, for there was too much noise, the city stunk, the food was bad, and the divide between rich and poor was oppressive. Even worse, the streets were rough, crowded with people and animals, and filled with dirt and filth, and those who dared to walk the cobblestones risked being hit on their heads by objects lobbed out of the windows of apartment buildings:

The sick die here because they can’t sleep,
Though most people complain about the food
Rotting undigested in their burning guts.
For when does sleep come in rented rooms?
It costs a lot merely to sleep in this city!
That’s why everyone’s sick: carts clattering
Through the winding streets, curses hurled
At some herd standing still in the middle of the road,
Could rob Claudius or a seal of their sleep!
When duty demands it, crowds fall back to allow
The wealthy to pass, who sail past the coast
In a mighty litter while on the way
They read or write or even take a nap,
For the litter and its shut windows bring on sleep.
Yet he still arrives first; while we are blocked
In our hurry by a wave before us, while the great crowd
Crushes our backs from behind us; an elbow or a stick
Hits you, a beam or a wine-jar smacks you on the head;
My leg is covered in crud, from every side
I’m trampled by shoes, and some soldier spears
My foot with his spiked shoes.

Model of Ancient Rome

By the Middle Ages, the condition of Rome had changed but the variety of opinions about the city had not. Rome - which had once been the center of the western world - had been dealt an ignoble fate in the early fourth century AD when the Emperor Constantine moved the capital of the Roman Empire from Rome eastward to Constantinople. Security and basic services were compromised as Rome’s economic resources dwindled, provoking the population to leave to the urban center. By the tenth century AD, Rome had dwindled some ten thousand inhabitants, who gladly stripped the city’s most glorious ancient monuments of the columns, marbles, and metals in order to build homes and churches.

Yet, the drastic changes in Rome’s urban fabric did not lessen the admiration shown to her by at least one writer. In 1153, Benedict, a canon of St. Peter’s, composed the Mirabilia Urbis Romae or Marvels of Rome, a guidebook for the pilgrim and sightseer that documented the medieval sense of Rome’s ancient grandeur.

Benedict’s guidebook would remain the standard text for visitors to Rome until the Renaissance, when an increased interest in antiquity provoked visitors and residents to look upon the city with fresh eyes. Tourists in Rome were eager to see and to experience the splendor of the ancient capital of the Roman Empire, but they found themselves sorely disappointed. The Tiber River was polluted with dead bodies and (apparently) horrible sea monsters. Monuments were rapidly being ruined as they were stripped of recyclable building materials. The streets were as full of trash and debris as Juvenal claimed to have found them some 1300 years previous.

Even Pope Martin V (reign 1417-1431) was shocked at the general degradation he saw around him:

…it is so dilapidated and deserted that it bears hardly any resemblance to a city. Houses have fallen into ruins, churches have collapsed, whole quarters are abandoned; and the town is neglected and oppressed by famine and poverty…many inhabitants of Rome…have been throwing and illicitly hiding entrails, viscera, heads, feet, bones, blood, and skins, besides rotten meat and fish, refuse, excrement, and other fetid and rotting cadavers into the streets…and have dared boldly and sacrilegiously to usurp, ruin, and reduce to their own use streets, alleys, piazzas, public and private places both ecclesiastical and profane.

Equally disappointed with his experience of Rome was Alberto de’Alberti, who arrived in the Eternal City in 1444, fully expecting to find a city worthy of her former place at the head of the world. Instead, Alberto found the city’s state of upkeep and preservation to be abominable, and he was scandalized also by Rome’s fifteenth-century inhabitants, whom, he thought, were more worthy of keeping company with cattle than with men:

You must have heard of the condition of this city from others, so I will be brief. There are many splendid palaces, houses, tombs, and temples, and other edifices in infinite number, but all are in ruins. There is much porphyry and marble from ancient buildings, but every day these marbles are destroyed by being burnt for lime in scandalous fashion. What is modern is poor stuff, that is to say, the new buildings; the beauty of Rome lies in what is in ruins. The men of the present day, who call themselves Romans, are very different in bearing and in conduct from the ancient inhabitants. Breviter loquendo, they all look like cowherds.

Of course, Rome’s decrepitudes produced numerous city officials who tried with varying degrees of success to restore the city to its ancient glory (that, after all, is what the Renaissance in Rome is all about!) and who took no small pleasure in having themselves compared to antiquity’s greatest urban developers. Pope Sixtus IV, Pope from 1471-1484, tried to make good on the ancient title Pontifex Maximus which Christian Pontiffs had adopted from Roman high priests. Literally translated, the title means “bridge builder,” thus when undertaking urban projects meant to improve the general condition of Rome, one of those most important to Sixtus IV was the construction of the Ponte Sisto, a bridge crossing the volatile Tiber River. Of Sixtus and his efforts to improve the city, the faithful courtier, Raffaello Mattei, commented:

[Sixtus IV] made Rome from a city of bricks into a city of stone just as Augustus of old turned the stone city into marble.

Model of Ancient Rome

The dialogue of praise and blame - directed both at the city itself and at its long parade of leaders - continued through the High Renaissance: Popes and noble patrons erected buildings meant to compete with the ruins of antiquity, while Protestant Reformers like Martin Luther compared the corruption of Rome to that of ancient Babylon. And, since the adage that “everything changes while everything stays the same” is more true in Rome than anywhere else in the world, no one should be surprised to hear that the same conversations are still being held today. Do Rome’s faults outweigh its glories? Do the inefficiencies and irregularities of the modern city diminish our ability to appreciate the layers of history so overtly on view in this city? Can Rome be ruined or is its demise an anthem sung by each generation as they see its ancient, medieval, renaissance, and baroque incarnations juxtaposed (often awkwardly) with all that is new and contemporary?

Nowhere are these questions more adroitly examined than in a recent article written by the indefatigable Ingrid Rowland for the New York Review of Books. Titled Rome: The Marvels and the Menace, the article presents itself as a review of new books about the Eternal City, but Rowland, displaying her usual literary stealth, manages to wend and weave her way through topics as varied as the discovery of Etruscan tombs, the state of Rome’s cobblestone streets, Italy’s immigration policies, the subsoils of the Eternal City, Papal shoes, and the effects of global warming on ancient monuments.

To write a review of Rowland’s review perhaps seems redundant, but her article is a shining example of the best English-language writing about Rome that the twenty-first century currently has on offer. No other writer brings to the city such a broad and deep cross section of knowledge as Rowland, whose expertise is found in topics as diverse as ancient numismatics, the Etruscan language, Renaissance pornography, and Walter Veltroni, the city’s current mayor. What Rowland makes clear is that one cannot understand the Rome of today without such depth of knowledge, for ancient habits are still common cultural currency in the city called Eternal.

Aerial View of Rome

18
Sep

Private Eyes: An Interview With Steven Saylor

Steven Saylor and his novel Roma

Author Steven Saylor is perhaps best known for his highly successful series of mystery novels, ROMA SUB ROSA, set in the Rome of Caesar and Cicero. The series hit the bookshelves in 1991 when St. Martin’s Press published Roman Blood, the tale of an aspiring young lawyer named Cicero who takes on his first big murder case, attracts the wrath of the all-powerful Roman general Sulla, and turns for help to a toga-wearing sleuth named Gordianus the Finder. In order to aid Cicero, Gordianus must navigate through the complex political intrigue that characterized Rome in the first century BC, while simultaneously meeting the challenges presented by daily life in a crowded and strife-torn city.

In Roman Blood, Gordinaus cleverly solves Cicero’s problems, allowing the advocate to win his case, and provoking Saylor to craft ten more books in which the investigator proves himself to be ancient Rome’s premier private eye (another Gordianus tale, The Triumph of Caesar, will be released in May 2008). In the course of the series, the fictional detective comes face-to-face with some of Rome’s most powerful movers and shakers, investigating cases for such high ranking regents as Pompey and Caesar, and not uncommonly finding himself a witness to the extraordinary political and military events that gave shape to the Roman Empire.

The highly successful ROMA SUB ROSA books in which Gordianus is the protagonist have won Steven Saylor great acclaim for his talent in weaving a spellbinding tale, for his ability to capture the ancient world, and for skill in inventing tales that are grounded in the real history of ancient Rome. Now Saylor has used those same skills to write Roma, an epic saga of Rome that spans a thousand years and follows the shifting fortunes of two families through the ages.

The Times Literary Supplement says that with Roma “Saylor puts his finger on the very essence of Roman history” for the book draws on history, legend, and new archaeological discoveries to bring the first thousand years of Rome’s history to life. Beginning with the ill-fated twins Romulus and Remus and stretching through Rome’s astonishing ascent to become the capital of the world’s most powerful empire, Roma allows readers to witness some of history’s most important events as they look through the eyes of two early Roman families, the Potitius and the Pinarius clans. Readers follow the families from generation to generation, witnessing the founding and rise of Rome as a member of one family serves as confidant of Romulus, while another is born a slave and tempts a Vestal Virgin to break her vows. One family member becomes a mass murderer while another becomes the heir of Julius Caesar, and through the years each generation is linked to those before it by a mysterious talisman as ancient as the city itself.

We at EternallyCool love Gordianus the Finder and we’re having difficulty putting Roma down. So we were thrilled with Steven Saylor agreed to let us interview him about both his books and his interest in Rome, past and present.

Films set in Ancient Rome

How and when did your interest in the ancient past develop?
I have to credit the movies of my boyhood. When I was growing up, back in the 1960s, the cinema was obsessed with the spectacle of the ancient world. After Ben Hur won 11 Oscars in 1959, there was a huge spate of movies set in Greece and Rome — Spartacus, Cleopatra, Jason and the Argonauts, all the Hercules movies and other peplum films made in Italy, and on and on. My little Texas town was more like something out of the movie Last Picture Show, so those movies provided a very exotic and exciting escape. My imaginary journeys to the ancient past began at a drive-in theater set amid cattle pastures.

When did you take your first trip to Rome? What impressed you the most when you arrived in the Eternal City for the first time?
After all my boyhood dreams of Rome, and my history studies at the University of Texas at Austin, I didn’t actually visit Rome until my late twenties. That was my first contact with ancient ruins, and the experience was electrifying. I’ll never forget my first day in Rome, wandering about in a jet-lagged stupor, not really knowing where I was, and suddenly arriving at the Forum Romanum. My imagination was set afire. When I returned to San Francisco, I almost immediately set about writing Roman Blood, as a way to remain in Rome through my imagination.

The books in your ROMA SUB ROSA mystery series detail the adventures of an ancient detective called Goridanus the Finder, who always manages to be in the middle of the political intrigue that characterized the first century BC. How did you come up with the idea of telling Rome’s story through the eyes of such a character?
I originally intended to make Cicero the hero of Roman Blood, and to use his secretary, Tiro, as the narrator — a sort of Watson to Cicero’s Sherlock Holmes. But the more I studied Cicero, the more problematic he became; I couldn’t really see him as a hero figure. So I invented an investigator to act on Cicero’s behalf, a man allied to no particular faction and skilled at digging up the dirt. That was Gordianus. Because of his innate honesty and his craving for truth, and his ability to move among the various social classes, he turned out to be an ideal narrator for the series.

Books by Steven Saylor

Were there really private investigators in ancient Rome?
We don’ have any actual evidence of such men, but that doesn’t mean they didn’t exist. Indeed, if they did their jobs well, they would leave no trace in the historical record — the invisible men of history. Especially in the era of Gordianus, it makes sense that the powerful families of Rome would resort to spies and investigators, because they are all dragging each other through the courts, on real or trumped-up charges.

You’ve written so much about ancient Rome. Do you ever feel as if some part of you lives in antiquity or as if you’ve got one foot in the past and one in the present?
I do feel very grounded in the final century of the Roman Republic. The politics of that era are as real to me as the politics of today, and just as complex and frustrating; Caesar is as real to me as George Bush, but also as distant and inscrutable. I’m powerless to affect the actions of either man, but at least Gordianus gets to meet Caesar face and face.

If you could assume the identity of one ancient Roman (besides, of course, Goridanus the Finder) in order to really get a feel for their life and for the context in which they lived, who would would it be and why?
I think it would be fascinating to see the world though the eyes of the emperor Hadrian. He lived at the height of the empire, exercised astonishing power and wealth, traveled widely, and possessed enormous intellect and artistic sensibilities. Of course, he’s also a rather melancholy figure, with his obsession for Antinous, his young lover who died an untimely death. But I would like to know what made Hadrian tick, and I would love to see his villa outside Rome as it was in Hadrian’s lifetime. He’s a figure I haven’t yet attempted to portray in fiction.

The Roman Forum

Why do you think ancient Rome has such appeal? What inherent connections between past and present keep us so intrigued with an empire that fell 1500 years ago?
Part of the fascination springs from the fact that we have so much material to inspire us — all those surviving texts which have been translated and studied and which give us such a wide understanding of ancient Rome, from political speeches and trial orations to manuals on farming and cookbooks to erotic poetry. The literature allows us to enter ancient Rome through so many different portals. The remaining ruins and artifacts also ignite our imaginations. But ultimately I think it’s the glamour of certain historical figures, like Caesar and Cleopatra, that continually fascinates readers and audiences, beginning with Shakespeare and continuing without a break up to today.

The past year has seen a large number of articles and books comparing the United States to Rome. Do you think the comparison is an appropriate one?
I will be taking part in a panel on this very subject at the Texas Book Festival in Austin this fall, along with the authors of some of those books; hopefully we will have a lively discussion. In general, I don’t think such comparisons are valid; history is a river, and you can never enter the same spot twice. But a knowledge of the past is always useful for understanding human nature, and anything that increases our awareness of ancient Rome may lead to some insight into the present.There is certainly one great difference between the two empires, and in part it springs from the difference in their religions. The gods of the pagan Romans were delighted when their worshippers destroyed their enemies, and the hard-headed Romans had no qualms whatsoever about raping, pillaging and enslaving others; they openly boasted of it. The current Christianity of America doesn’t allow such unabashed delight in suffering and destruction, yet America’s imperial agenda entrails a lot of the same unpleasantness requisite to all imperial agendas throughout history. We have dealt with this by creating a new myth, that we are not really an empire at all. Seriously, the vast majority of Americans don’t even realize that they live in an empire. The shared fantasy is that we are naive innocents minding our own business who are repeatedly and regrettably compelled to react to external threats. This leads to a maddening disconnection from reality. Of course, the rulers at the top know exactly what they are doing, but the average American lives in a complete dream world. There was a bit of this kind of rationalization in ancient Rome — it was Carthage’s own fault that she had to be annihilated, the Gauls were just asking to be enslaved, and so on — but I suspect that the ancient Roman man in the street had a much firmer grasp of his country’s motives and aspirations than does the average American.

How much time do you spend in Rome now?
Far too little! It has been several years since my last trip. But I think I will make it back in 2008, especially since my work is finally being translated Into Italian. (Roman Blood, as Sangue su Roma, came out this year).

Can you give us a list of your favorite things to see and do when you’re in Rome?
I always head for St. Peter’s, to be awed by the magnificence of that interior space; I have seen nothing to rival it anywhere else on earth. All the ruins fascinate me, with an almost magical kind of power; many visitors never see Ostia, not realizing how easy it is to get to. And I have a rule never to pass a church without going inside, because you never know what completely unexpected treasure, beautiful or bizarre, may be inside.

04
Sep

Save the Cemetery

Pyramid of Gaius Cestius, Rome

Tucked beside an ancient gate and within a bend in Rome’s third-century Aurelian Walls are two landmarks: one is the pyramid-shaped Roman tomb of a first-century civic magistrate named Gaius Cestius; the other is Rome’s Non-Catholic Cemetery (often called the Protestant Cemetery).

The cemetery got its start in the early eighteenth century when this area of town was little more than a cow field. The cemetery was established to accommodate the graves of non-Catholic travelers and residents who died in Rome, for Papal law forbade their burial in Catholic resting places.

Rome's Protestant Cemetery

The earliest grave discovered in the Protestant cemetery dates to 1738, an era in which Roman law required that funeral services be held after dark and by torch light. Since the early eighteenth century, approximately 4000 people have been buried in this green idyll, and today, the cemetery is one of the most peaceful and beautiful places in all of Rome.

A cemetery is a must-see for any lover of literature. In the oldest section of the cemetery is the grave of the English Romantic poet, John Keats (1796-1821). Having contracted tuberculosis, Keats came to Rome in search of a healing climate. He took up residence in a pensione overlooking the Spanish Steps, but the disease took his life just three months after his arrival.

The Grave of Keats at Rome's Protestant Cemetery

After Keats’ death, the poet Percy Bysshe Shelly visited his grave in the Protestant Cemetery and wrote that “it would make one in love with death to be buried in so beautiful a place.” When Shelley himself died in a boating accident near Viareggio in 1822, his body was cremated on the beach, but his ashes were interred in this cemetery and his grave was inscribed cor cordium or “heart of hearts.”

From the early nineteenth century to the present day, the graves of Keats and Shelley have been sites of literary pilgrimage. Oscar Wilde sought to pay homage to these Romantic poets when he visited the cemetery in 1877, immediately after an audience with Pope Pius IX. Upon seeing the grave of Keats, Wilde fell to the ground and lay prone atop the plot for a long while. When he rose to his feet he declared, “this is the holiest site in Rome”.

Rome's Protestant Cemetery

Visitors to the Protestant Cemetery agree that it is one of Rome’s most extraordinary sites. But, at present, the Cemetery is at risk. It was on the World Monument Fund’s 2006 list of the 100 most endangered sites on earth. Many of the cemetery’s monuments are crumbling - they’ve been damaged by pollution and by years without maintenance. The landscape is overgrown, and the site is waterlogged by poor drainage.

To help preserve the cemetery, a new organization, Friends of the Non-Catholic Cemetery in Rome, has been founded. Monetary donations are always appreciated, and the organization is also currently in need of volunteers to help run the visitors center. If you can offer your time, please contact Heather Munro, coordinator of volunteers, at heatherm@tin.itThis e-mail address is being protected from spam bots, you need JavaScript enabled to view it or 333.3092201.

Rome's Protestant Cemetery

14
Aug

Hot Off The Press

FEFE Magazine

Browsing through magazines yesterday at the Feltrinelli Bookstore in Largo Argentina, we found ourselves intrigued by a new arrival on the newsstand. Called FEFE, the quarterly publication debuted in January of 2007 (where have we been?), and it’s chock full of eye-conic images.

Founded by a group of 25 Italian design professionals, FEFE invites readers to submit artwork illustrative of a theme chosen by the publishers, such as “I See the Light,” “I’m Not Bad, I’m Just Drawn That Way,” or “Rome + Fellini.” From the submissions, 25 are chosen and published in a full-color edition (along with one submission from a child).

FEFE Magazine

Imagine a sort of diary made only of images, intuitions, flashes… a true diary doesn’t record events, but moods… imagine a diary made of glimpses into a world created by all those who look from the south of any north. 

FEFE also releases music, as well as products, like belts and bags, that are made from MIMOs (the acronym stands for “messa in macchina occasionale”) - pages that become stuck in the press during printing and have two images that are randomly superimposed over one another.

MIMO bags from FEFE Magazine

In past months, FEFE has staged a variety of events, including musical performances (Moby seems to have been involved in one), street art, discussions about contemporary art, and public photo sets in Rome, Milan, Ostia, and Barcelona.

10
Aug

Dave King on The Beast & Beauty

Bestselling Author Dave King at the Colosseum in Rome

Best-selling author Dave King spent the past year in Rome working on a new novel - and we can’t wait to read it. His fiction debut, The Ha-Ha, hit the shelves in 2005, receiving acclaim for its sensitive portrayal of the main character, Howard Kapostash, a Vietnam veteran who sustained a head injury during his brief tour of duty and was left unable to speak, to read or to write.

The Ha-Ha was named one of the best books of 2005 by The Christian Science Monitor and The Pittsburgh Tribune-Review, and it was among eighteen books included on The Washington Post list of the season’s best novels. The Ha-Ha was a finalist for Book-of-the-Month Club’s “Best Literary Fiction” award and for the Quills Foundation “Best Debut Author” award. As well, the novel won King a 2006-07 Rome Prize Fellowship from the American Academy of Arts and Letters. The Italian translation, entitled simply Ha-ha, was released July 20 by Fazi Editore.

E-cool caught up with Dave in Rome, near the Colosseum, just days before he was scheduled to leave the Eternal City and return to his home in New York City. We asked him about his new novel and about his experiences living in Rome and he kindly granted us an exclusive preview of his work-in-progress.

When did you first visit Rome?
I traveled to Rome with a friend in 1973 after graduating from high school. Then I came back to Italy in 1978 on an undergraduate study abroad program based in Greve in Chianti. A semester in Chianti might sound like paradise to many, but I was bored living in the country and jumped a train to Rome as often as I could. I spent a tremendous part of that semester exploring the city and just hanging out.

Did those visits whet your appetite for the city’s culture and its history?
I think so. I’ve visited lots of times since the 1970s. But Roman Fever didn’t really enter my work until my partner Frank Tartaglione and I spent some weeks as visiting artists at the American Academy in the fall of 2005.
The Ha-Ha had been recently published and I was starting a new novel – the one I’m still working on. While Frank spent his time drawing, I explored the Villa Farnesina; I became completely entranced with the villa and visited every day. Of course, at that time I had no idea I’d be returning to the Academy only a year later as a Literature Fellow.

Loggia of Cupid and Psyche at the Villa Farnesina in Rome

Did the Villa Farnesina provide inspiration for your current novel?
Eventually, yes, though that wasn’t the original idea. I came to Rome in the fall of 2005 with the idea of writing a book about Americans abroad. I was inspired by a favorite Henry James novel,
The American, which is a portrait of an American in Paris. But I was more interested in setting a book in Rome, so I’d been thinking about another of James’s novels, Daisy Miller, as a model for examining Americans and the way we present ourselves to the world when we’re out of our own country.

In the end, the idea of rewriting Daisy Miller didn’t pan out. But my interest in a Roman setting led back to the Villa Farnesina and to the myth of Cupid and Psyche. Ultimately that story, as well as the Raphael frescoes that depict it in the Villa, supplanted the Henry James model as the inspiration for the new book.

Loggia of Cupid and Psyche at the Villa Farnesina in Rome

What about the myth of Cupid & Psyche do you find so interesting?
The story falls into the “beauty and the beast” genre, but it doesn’t fit the mold perfectly. Cupid is a beautiful god, and he abducts the stunning mortal girl, Psyche, and takes her to his castle in the sky. He makes conjugal visits to Psyche every night, but he also makes her promise she’ll never try to see him or to discover his real identity. As a result (and with some help from her jealous sisters), she begins to imagine that her handsome lover is in fact a vicious, violent monster.

Beauty and the Beast is a bit of a reversal, of course. In that story the beast really is physically repulsive, but we’re asked to believe he’s a prince inside. Yet both stories make us question just which lover is good and which is bad – who exactly is the beauty and who the beast.

I’m also intrigued by the element of transformation in the Cupid & Psyche story. Psyche is one of the few mortals who has an encounter with a god and comes out the better – she eventually marries Cupid and becomes a goddess herself. That’s an extraordinary outcome for a myth because in general mortals who come in contact with deities wind up incinerated or turned into plants or bugs or constellations–or they suffer fates much much worse!

Loggia of Cupid and Psyche at the Villa Farnesina in Rome

So the new novel shares a big theme with The Ha-Ha? In your first book, Howard Kapostash is a bit of a beast. He can’t speak. He’s been maimed in war. And the beautiful woman with whom he shares a house ultimately tames him.
I hadn’t thought of that. Though now that you say it I recall that in his review of T
he Ha-Ha in Time Magazine, Richard Layaco talked about the book as a reworking of the beauty-and-the-beast narrative. That’s interesting. I guess we just keep on pondering the same problems, don’t we?

Can you tell us a bit more about the new book? What’s the working title? Can you give us a plot summary?
The working title is
The Beast & Beauty. And though you’ve pointed out conceptual similarities with The Ha-Ha, it’s going to be somewhat different in tone. The Ha-Ha was serious – it was about illness - whereas The Beast & Beauty is more of a social comedy. The narrator is a Ph.D. candidate whose unfinished dissertation involves those Psyche paintings in the Villa Farnesina. She’s married to her college sweetheart, who commits a crime at the outset of the novel, and after that the two take to the road. The plot rather loosely evokes the story of Cupid and Psyche as well as providing opportunities for commentary and inquiry. (Again: can any couple really be sure which party’s the beauty and which the beast?).

Is it set in Rome?
The characters will travel to Rome, since obviously the heroine must eventually see the paintings But I’ve found it hard to do more than rough out that part of the book while I’ve been here. A lot of writers find it difficult to write about the place they’re actually living, and I guess I need a little distance. I’m looking forward to watching the dust settle once I’m home in Brooklyn

We can’t wait to read it. You’re headed home now after a year in Rome. Can you tell us what you’ve loved about the city?
I think the big discovery over the past year was a fuller awareness of the city’s long continuum. Up to this year, I’d imagined essentially two Romes: the ancient city and the Baroque city. But that perception’s changed as I’ve filled in some gaps in the time line and certain things have emerged. For example, I now see all the medieval towers that were invisible to me before. I love spotting a new tower!

Also, I’ve really come to love Renaissance Rome. When I was younger I preferred the exuberance of the Baroque, especially Caravaggio and Bernini. But now, with a bit of maturity and depth—and of course, with the ongoing research for this new novel—I’m growing much more intrigued by Renaissance Rome. I’m amazed by Raphael’s paintings in the Stanze of Julius II at the Vatican. And, of course, I love the Villa Farnesina. It’s the place I tell everyone to go when they visit Rome.

Has the Eternal City changed you?
Probably. A year after arriving here, I do feel different, though it’s hard to say precisely how. Certainly my ideas about being an American abroad have deepened. Before living in Rome I had a simpler notion of what it means to live in another culture. Being a language wonk, I think I imagined that language would be the primary issue; that everything would flow from my understanding Italian. I see now that that view was naive, and that politics, cultural custom, history, and a whole host of other factors all work together with language to make life outside American culture a kind of endless—though endlessly satisfying—series of challenges and riddles.

For more information about Dave King and The Ha-Ha, visit his website, www.davekingwriter.com or watch the video-interview that’s on the website of his Italian publisher, Fazi Editore. And, be sure to look for The Ha-Ha on the big screen late in 2008! The book was optioned by Warner Brothers Pictures in 2005. Tod Williams will direct the film from a script by Charles Leavitt, and Tom Cruise is currently slated to star as Howard Kapostash.

28
May

Shelf Life

Lateranense Library 5

As showcased on thecoolhunter.net: Marcel Breuer meets Zaha Hadid in a new library designed by King Roselli Architects for Rome’s Pontificial Lateran University. The library holds some 600,000 volumes primarily on the subjects of Philosophy, Theology, and Canon Law. The strikingly modern new library wing - commissioned by University Chancellor Msgr. Renato Fisichella - is intended to communicate the central role played by reading in a university environment.

Lateranense Library 3

Floors of book stacks are connected by sloping ramps that serve as reading rooms. The reading ramps are flooded with light thanks to dramatic cuts in the exterior facade of the building and a central light well.

Lateranense Library 1

Such a modern building may seem unusual in Rome, but over the course of the past few years King Roselli Architects have been helping update the Eterna’s image with sleek buildings like the Es Hotel (now the Radisson SAS Hotel) and the Ripa Hotel.