The Gregorian Etruscan Museum was the first museum dedicated solely to artifacts found in ancient Etruria (modern-day Tuscany, Lazio, and Umbria).
Etruscan cities were prosperous, independent city-states that were linked by culture, religion, and language. Because of their prosperity, trade flourished in this area, leaving many artifacts for archeologists to find and study. Etruria remained a dominant force in central Italy until the Etruscans supported the Roman Marius in Rome’s civil war and the region was fully incorporated into the burgeoning Roman Empire.
By far the most interesting room of this museum is Room IX, which houses imported Greek ceramics found in the ancient city of Vulci. Before we dive into the artwork, it is probably helpful to explain the different types and uses of each vessel.
The first ceramic depicted above, the Amphora, was used to hold both wine and oil. Its name was derived from the Greek word amphí, which means “on both sides” (a reference to the double handle), and the Greek word phérō, which means “carry.” Victors of the Panathenaic Games would receive so-called Panathenaic amphora filled with oil made from sacred olives.
The next ceramic, the Kantharos, was a deep vessel with a tall foot and two handles that rose above the lip of the cup. It was closely linked to the God Dionysus, who would typically be depicted with a Kantharos.
The Kyathos was a deep vessel with a low foot and a single handle that rose above the lip of the cup. It was used as a ladle, and in fact, the word “Kyathos” was a term of measurement, meaning 0.136 litres.
A Kylix was a wide vessel with two handles and was used during symposia (drinking parties). It was also used in a game known as kottabos, where a player would attempt to fling wine from a whirling kylix into a small container.
The Oinochoe was used in conjunction with the Kylix during symposia. It was the vessel which transported wine from a krater to the kylix. Its name was derived from the Greek word oînos, which means “wine,” and the Greek word chéō, which means “I pour” – pretty literal those Greeks, even if they did have awesome drinking parties.
Finally, the Hydria was used to hold and transport water. Its name was derived from the Greek word hydōr, which means “water.” This particular vessel had three handles, two on either side and a third protruding from the lip, which was used while carrying the vessel on one’s head.
Now that we have the types of ceramics straight, let’s dig into the actual works located in this room. The first major work is known as the Attic black figure Amphora by the Ptoion Painter, which juxtaposes a banquet scene, representing the world of man, with a scene depicting the Judgment of Paris, representing the world of the gods. The Ptoion Painter was well known for his depictions of this juxtaposition of the two universes. In fact, similar juxtapositions are also found painted in Etruscan tombs; these paintings are believed to have been done by Greek immigrant artists.
The Attic black figure Amphora of the E Group has been identified as being part of the “E Group,” a classification of amphorae that are thought to have been created by the Attic potter Exekias, who was active during the 6th century BC. This particular amphora depicts a victorious athlete lifting a large tripod on one side while on the other depicts a charioteer. Exekias was known to be fond of depicting horses, four of which appear on this amphora.
The Etruscan black figure Amphora by the Micali Painter is decorated with a battle between Iolaus, Athena, Heracles, Cycnus, Ares, and Phobos, among others. It has been attributed to the Painter of Micali, who was known for his disproportionate figures, reduced spaces, marked gestures, approximate anatomies, and ornamental details.
Rooms XVII and XVIII of the Gregorian Etruscan Museum house what were thought to be Etruscan, but were re-identified as Roman or Greek vases.
For instance, the Laconic Kylix with Prometheus and Atlas was made in Sparta during the early 6th century BC. It depicts Atlas, whose punishment for helping his brother Prometheus is to keep heaven and earth separated. Prometheus, on the other hand, was tied to a pole and presented as food for an eagle, who ate his liver every day, only for it to regrow every night. Comparatively, Atlas sounds like he got off lightly.
Room XIX of the Museum is dedicated to Attic ceramics ranging from 560 to 460 BC, which reached Etrusia via trade routes from Athens. In this room is the Panathenaic Attic Amphora of the Michigan Painter, which is typical of panathenaic amphorae. As mentioned above, panathenaic amphorae were given to the winners of the Panathenaic games. All such Amphorae were decorated with the goddess Athena, flanked by two small columns topped with a cockerel, a symbol of combative temperament, and the inscription “ton Athenethen athlon,” meaning “of the Athens contests.”
During the 6th century BC, ceramicists moved away from the traditional black-figure style in favor of the red-figure method, which allowed ceramicists to better define the figure’s details, since the details were now painted on instead of scratched into the ceramic. The “Bilingual” Attic Kylix shows the transition towards fully adopting the red-figure style, combining both methods into the single work. Indeed, the figure on the inside of the kylix was done in the black-figure style, while the figures on the outside surface are done in the red-figure style on a painted black background.
Attic black figure Amphora signed by Exekia is one of the most famous amphorae. The ceramicist Exekia, as mentioned above, was rather prolific, and this amphora is considered his masterpiece. It depicts Achilles and Ajax playing dice on one side and Castor and his horse Kyllaros and Pollux playing with his dog on the other.
For those unfamiliar with the Trojan War myth, Achilles is the Greek’s greatest fighter and is nearly invincible, save for his ankle (thus, our expression “Achilles’ heel”). Ajax is a fellow Greek warrior in the fight against Troy; in fact, it was said that he was second in bravery and strength only to Achilles. He is known for recovering Achilles’ body from the Trojans and for committing suicide after Achilles’ armor is awarded to Odysseus rather than to him. This scene obviously takes place before the tragic ending of these two mythical heroes. Castor and Pollux, depicted on the reverse, are mythical twins of Leda and Zeus, the father of the Gods, who had seduced Leda while he was in the guise of a swan. (Although according to some versions of the story, Pollux is the son of Zeus and Castor is the son of Leda’s husband, the King of Sparta.) The Greek gods had very messy love lifes.
Another famous ceramic is the Attic Kylix in the style of Douris, which depicts Heracles floating along inside a golden goblet (yes, a golden goblet) on his way to the island of Erytheia, where he will face the Geryon, the herdsman Eurytion, and the dog Orthros on his quest to capture a herd of cattle (his 10th labor). Heracles is shown in his usual iconography: the Nemean lion skin, the cub, and the bow.
The Attic Kantharos of the Vatican Class also uses Heracles’ life as its inspiration. This kantharos is a janiform with the face of Heracles on one side and the face of an African King on the other.
Historians believe that the King is a depiction of Busiris, the mythical Egyptian king who sacrificed any foreigner that came to Egypt in exchange for the total avoidance of famine. Heracles was such a foreigner who was captured and brought to the sacrificial altar, which turned out to be a disatorious mistake on the part of the Egyptians. Heracles escaped his bindings and massacred the entire Egyptian court.
The final vessel that I want to talk about is the Attic Kylix of the Painter of Oedipus. On the inside of the ceramic, Oedipus is depicted seated listening to a riddle put to him by the Sphinx of Thebes. To enter the city, Oedipus must answer the riddle correctly, which he is indeed able to do. Upon entering the city, however, Oedipus unwittingly married his mother, recently widowed Jocasta, Queen of Thebes. Giving Sigmund Freud the name for his famous “Oedipus Complex.”
The Octagonal Court was once known as the Cortile delle Statue because it was here that Pope Julius II displayed his collection of antique sculpture. Major works here include The River God (Arno), which dates from the age of Hadrian.
It is thought to be a personalization of the River Arno because the sculpture has a carving of a lion’s head, which possibly alludes to the Medici. (The lion’s head is hiding within the vase; see the picture below for a better view.) The Arno River is the river running through Florence, the city that the Medici unofficially ruled until they were formally invested as the Grand Dukes of Tuscany.
Another famous statue is the Lacoön, depicted below.
Laocoön depicts the moment when the priest Lacoön and his sons are killed by serpents after they tried to warn the Trojans about the wooden horse. According to Roman historian Pliny the Elder, this statute once graced the halls of Emperor Titus. The sculpture was rediscovered in 1506 and immediately acquired by Pope Julius II. It was during this time that Michelangelo was painting the Sistine Chapel, and its influence can been identified in his depiction of the human body.
The Renaissance artists were also captivated by the Belvedere Apollo.
Apollo Belvedere (mid 2nd century A.D.) was considered to be bodily “perfection” by the Renaissance thinkers. It is believed to be a Roman copy of an earlier Greek bronze from 330 BC, but the decision to make the copy in marble presented structural problems, most significant of which was that statues made of bronze were hollow and therefore much lighter than statutes made of marble. To compensate for the weight, the sculptor placed a wedge of marble underneath Apollo’s left foot and added the support of a tree trunk behind the statue. Apollo came to the Vatican without hands, but – on the advice of Michelangelo – Pope Clement VII commissioned sculpture Giovanni Agnolo Montorsoli to restore the statue. Unfortunately, rather than simply sculpt hands for Apollo, Montorsoli cut off Apollo’s forearm and replaced it with his own design. This “restoration,” being made of marble, also needed support for its added weight, and Montorsoli inserted the block of marble that sits atop the tree trunk.
Another statue named for its location in the Papal Palace is the Belvedere Hermes. Hermes is depicted in his role of Psychopompos (if anyone watches Netflix’s Sabrina, the term should be familiar), the leader of souls to the underworld. He is identifiable via his travelling cloak, which has been thrown over his shoulder, then wrapped around his forearm, typical iconography for Psychopompos.
The last major masterpiece in the courtyard is Perseus Triumphant.
Perseus Triumphant is a relatively recent work, comparatively speaking. It was carved by renowned sculptor Antonio Canova in late 1800/early 1801. Perseus is shown holding Medusa’s severed head, dressed in Hermes’ winged cap, which he had borrowed for his adventure. Pope Pius VII Chiaramonti bought the statue, which he displayed on the pedestal that once held the Apollo Belvedere, but was currently unoccupied due to Napoleon’s forced art acquisition. Luckily, Perseus was of the same dimensions, weight, and proportions of the Apollo, as it was that piece of art that inspired Canova.
While stands the Coliseum, Rome shall stand; When falls the Coliseum, Rome shall fall; And when Rome falls—the World.
Rome is a huge city, packed with tourists – even in the off months – and in light of that, today’s post is simply about “Ancient Rome.”
The most iconic attraction in the old part of the city is the Colosseum, which is actually not the building’s true name. The real name of the Colosseum is the “Flavian Amphitheatre,” but it became known as the Colosseum due to the giant statue of Roman Emperor Nero that stood next to it (Colossus is derived from the Greek word for “giant statue”).
The Colosseum was commissioned in AD 72 by Emperor Vespasian (the first of the Flavian Emperors), who had no blood right to the throne, and his son, Emperor Titus. As part of their campaign for legitimacy, they built the Colosseum on the former Emperor Nero’s private boating lake. Thus, the Flavians could boast that they were “reclaiming” the land for the people by giving the people bread and circuses. The Colosseum is 160 feet high, almost a third of a mile around, and could accommodate 50,000 people. This amphitheatre was unique in that it was round, rather than the traditional semi-circles used by Greek theatres. It was possible to build a round structure because of the use of Roman concrete, an innovation not known to the Greeks. Silly Greeks. The vestal virgins (see, infra) actually got their own special box so that they could come and watch the games. Although one would think watching half naked men fight to the death would not be considered virginal.
Gladiators occupied a blurred social space in the Roman hierarchy. Typically from the lower classes, gladiators were revered by the Romans for their “Roman-like” qualities and became celebrities. Some gladiators would eventually win or earn enough money to buy their freedom, thereby achieving the “rags to riches” archetype. Giving slaves and lower classes this hope helped to keep them in line. Basically, this process was the predecessor to the myth of the “American Dream.” But, in AD 404 gladiatorial games were banned, then in AD 523 wild animal fighting was banned. Thus, ending (without answering) the hard question of gladiatorial social status.
Located nearby the Colosseum is the Arch of Constantine (AD 312), which was built to commemorate Emperor Constantine’s victory over Maxentius (a “pretender” Emperor). Before the final battle against Maxentius, Constantine converted to Christianity allegedly due to a vision. The Arch was hastily built, and in fact incorporates multiple statues from other earlier buildings, including part of a battle frieze as well as figures of prisoners from the Forum of Trajan, several Hadrianic roundels, and eight Aurelian panels.
The next major site that people typically want to see is known as the Forum. The Forum was originally used as a necropolis (i.e. cemetery), and subsequently was the site of the Battle of Lake Curzio, a battle between the Romans and the Sabines, before it became the center of Roman life. It was eventually abandoned and buried, becoming a grazing area known as Campo Vaccino and then a quarry, although some temples were saved from dereliction because they were repurposed as Churches. It was during the beginning of the Republic that the Temple of Saturn and the Temple of the Dioscuri were built (509 BC), and during the 2nd century, the four basilicas were built, including the Basilica Aemilia, which was built by Marcus Aemilius Lepidus and Marcus Fulvius Nobilior in 179 BC, but burned down during the sack of Rome in AD 410. It is possible to still see melted coins in the pavement from when it burned. Also here is the Basilica of Constantine, only one third of which remains today (it once spanned a space the size of a football stadium), and at the far west end stood a huge statue of Emperor Constantine (the first Christian Roman Emperor), the remains of which are now housed in the Capitoline Museum.
Several temples dedicated to past emperors remain in the Form. For instance, the Temple of Antoninus Pius & Faustina was built to honor Emperor Antoninus Pius and his wife, Faustina.
The Temple of Romulus was probably dedicated to the son of Emperor Maxentius (and not the mythical founder of Rome). It was a circular brick building with bronze doors. In the 6th century, it was converted into a church of Santi Cosma e Damiano, which likely is why it survives to this day, and it now houses an 18th century Neapolitan presepio (the nativity scene). Also located here is the Temple of Julius Caesar, which was built on the spot where Caesar was cremated in 44 BC.
The temples not dedicated to former emperors include: the Temple of Vesta, Ancient Rome’s most sacred temple. This temple was circular to mimic a farmer’s hut (typical of where the “ideal” Roman and his family would live), and it housed a fire (Vesta was the goddess of fire), which was tended by the Vestal Virgins. It was said that if the flame ever went out, Rome would fall. The six Vestal Virgins lived in The House of the Vestal Virgins. The virgins were chosen from noble families before they reached the age of 10, and each served 30 year terms. The Vestals were so revered that they got their own box seats at the Colosseum, and those virgins who successfully fulfilled their terms were given a huge dowry and allowed to marry. Those who dared to break their vow of chastity were buried alive, which seems to me like an overreaction. But, you know, gotta make sure that those girls tend to that fire.
The Temple of Saturn now stands as the most prominent of the ruins in a fenced off area between the Forum and the Capitoline Hill. The ruins date from 42 BC, but historians think there was a temple on this sport as early as 497 BC. Saturn was the mythical King God of Italy, who ruled over an Italy in which there was no slavery, personal property or war. Every year between December 17th and 23rd, the Romans celebrated Saturnalia, where the social order was turned upside down to recreate this fantasy world. (Sounds eerily similar to England’s May day.)
Meanwhile, the three slender fluted columns are now what is left of the Temple Of Castor and Pollux. It is one of the city’s oldest, built in the 5th century BC to commemorate the Roman victory over the Tarquins. According to legend, after the final battle against the Tarquins, the twin brothers Castor and Pollux, Jupiter’s sons, watered the horses at this spot. As a symbol of Rome’s republic, The temple was often used as a meeting place of senators, and its front steps served as a podium for free speech.
The Temple of Venus and Rome was designed by Emperor Hadrian and was purportedly the largest and grandest in Rome. It was dedicated to Roma (the personification of the city) and to Venus Felix (who was thought to be the ancestor of Rome, through her son Aeneas). [There are excellent views of the Colosseum from this Temple]
Also located in the Forum is the Arch of Titus, which commemorated the AD 70 Roman victory over Judea. It was during this war that the Romans burned the Temple down and enslaved over 50,000 Jewish people, who were forced to build this arch as well as the Colosseum, a reminder of the dark underbelly of the Roman Empire. If you look closely, you can see the Jerusalem Menorah carved into the Arch.
This Menorah was stolen during the war and taken back to Rome as a “trophy.” Although usually tolerant of other cultures and religions, the Romans were unable to cope with the Jewish religion due, in part, to what the Romans saw as secretive rituals. The so-described secretive rituals bred suspicions of sedition and dissension, especially when the Jewish religion preached of a coming apocalypse that would overthrow the world powers. This, obviously, did not sit well with the current world powers. Even more troubling to the Romans, however, was the “new Judaism” that had recently begun springing up around the Roman Empire. This new religion was more threatening to the Romans because it allowed non-Jews to convert and join, which meant that distinguishing the converts from typical Romans would be impossible. This new phenomenon was later coined “Christianity.”
The Curia is a 1937 restoration of Diocletian’s Curia. Diocletian changed the way the role of emperor worked by ritualizing imperial power. It was he who divided the cities into units called “dioceses,” which the Church later adopted.
The Rostra is best known for being the site of Marc Antony’s “Friends, Romans, Countrymen” speech after the assassination of Caesar. It was a dais where speeches were given to the public. Its name comes from its decoration with ship’s prows, known as “Rostra” in Latin.
The Arch of Septimius Severus was built in AD 203 to celebrate the 10th anniversary of good ole Septimius Severus; the reliefs depict the emperor’s victories in Parthia and Arabia. Originally the inscription across the top was dedicated to Septimius and his sons, Caracalla and Geta, but Caracalla murdered Geta and removed his name (what is it with Romans killing their brothers??). You can still see the holes where the name was removed.
Trajan’s Market was a complex of shops on five levels (with the 5th level acting as a welfare office that delivered the corn dole). The street that ran through the market, Via Biberatica, was named after the drinking inns that had lined it. The market was built by Emperor Trajan and his architect, Apollodorus of Damascus, in the 2nd century AD.
The next major location to see is The Palatine Hill was the home of the wolf that saved Romulus and Remus. She lived in a cave that became known as the Lupercal. In 2007, archaeologists found a vaulted sanctuary that is thought to be the cave that the early Romans believed was the Lupercal, and traces of mud huts have been found that date back to the 8th century BC. The Palatine became the place to live during the Imperial Era; in fact, Augustus was both born on the Palatine (63 BC) and established his imperial residence there. We get the Italian word “palazzo” and the English word “palace” from this Hill. Interestingly, it was on the Palatine and during the 16th century, that the Farnese family built the first private botanical gardens in Europe. The Imperial Forums were built between 46 BC and AD 113. The Forum of Caesar, was built as part of Julius Caesar’s massive building campaign, which was eventually finished by Emperor Augustus. Part of the building included a temple to the goddess Venus Genetrix (from whom Caesar claimed descent). The temple contained statues of Caesar and Cleopatra as well as of Venus, but all that remains now is a platform and three Corinthian columns. The Forum of Augustus was built by Emperor Augustus, in conjunction with the temple of Mars Ultor (Mars the Avenger), which he had promised to build if he won the Battle of Philippi against Brutus and Cassius in 41 BC. As a clever propaganda move, the statue of Mars that was placed in the temple resembled Augustus. At least half of this Forum is hidden below Mussolini’s Via dei Fori Imperiali.
Other emperors imitated the Caesars and built their own shrines to themselves. A Temple of Peace was built in honor of Emperor Vespasian, but was destroyed by a fire and rebuilt during the 3rd century as the Forma Urbis Romae. Later, the Emperor Domitian built a piazza to connect the Forums with the Temple of Peace, but he died before he could complete the work, and his successor, Nerva, turned it into the Forum of Nerva. The Forum of Trajan was used for military encampments and to perform judicial procedures. Trajan’s Column stands behind his Forum. The column was inaugurated in AD 113 to celebrate two campaigns in Dacia, (modern day Romania) and is decorated with scenes from the campaigns. Trajan’s ashes were placed in an urn in the hollow base of the column. Allegedly, Pope Gregory the Great prayed to God to release Trajan’s soul from hell because he had been moved by a scene on the Column depicting Trajan helping a woman whose son had been killed. God appeared to the Pope, telling him that the Emperor had been rescued from hell, but that the Pope was not to pray for any more pagans. When Trajan’s ashes were exhumed, his skull and tongue had remained intact and proceeded to tell those who had exhumed him that he had been released from Hell. Due to this miracle, the land surrounding the column was declared scared and the column was spared from destruction. The statue of Trajan at the top, however, was replaced with one of St. Peter in 1587.
The last major site that I’m going to talk about is the Capitoline Hill. Allegedly, Saturn founded a settlement on this hill before the foundation of Rome, and interestingly, archeological evidence does indeed suggest that the hill was inhabited before the traditional date of the founding of Rome (753 BC – a date most historians also find fault with…). Because of its steep incline, it was chosen as the city’s main stronghold despite the fact it is the smallest hill. The Hill is now home to the Capitoline Museum, which is located in the Piazza del Campidoglio. In 1536, Pope Paul III commissioned Michelangelo to design the Piazza del Campidoglio because of an upcoming visit from the Holy Roman Emperor Charles V, but the piazza wasn’t actually finished until the 17th century.
Also located on this Hill is the Temple of Capitoline Jupiter, which was dedicated to Optimus Maximus Jupiter, Juno, and Minerva (the “Capitoline triad”). Construction began during Tarquinius Priscus’ rule, but was not completed until the reign of the last king of Rome, Tarquinius Superbus. It was rebuilt in marble after the fires of 83 BC, 69 BC, and AD 80. The square in front of the Temple was known as the Area Capitolina, where a number of temples dedicated to minor deities, as well as other religious buildings, statues, and trophies were placed.
The Temple of Juno Moneta was built in 344 BC in fulfillment of a promise made by L. Furius Camillus during the war against the Auruncii. According to Legend, Juno’s sacred geese warned the Romans against a Gallic siege, inspiring the temple’s moniker “Moneta,” from the Latin word “to warn.” The name began to be associated with the nearby mint, and as a result, the term “money” was coined. HA! I really didn’t mean for that to be a pun, but bravo, Haley, bravo. My subconscious has bested me yet again.
The Temple of Veiovis was discovered in 1939 during an excavation under the Piazza del Campidoglio. Veiovis was the youthful God of the underworld derived from the ancient Italic version of Jupiter. The temple is located in the same area where Romulus allegedly extended hospitality to fugitives from the greater Latin area in an effort to boost Rome’s population. It was consecrated in 196 BC by Consul Lucius Furius Purpurio during the war against the Gauls, and it was dedicated four years later, in 192 BC, by Quintus Marcius Ralla.
The Capitoline Museum is housed in two palazzi, dei Conservatori and Nuovo (façades designed by Michelangelo). The Museum was founded in 1471, when Pope Sixtus IV donated several bronze statues to the Roman people. During the mid 16th century, other works of sculpture were placed in the Campidoglio, and in 1538, Pope Paul III requested that the Lateran (the first Roman Church) buy the equestrian statue of Marcus Aurelius. During the second half of the 16th century, Pope Pius V decided to “free the Vatican from ‘pagan’ images” and donated works deemed pagan to the Museum. The Museum was not opened to the public until 1734, when Pope Clement XII inaugurated it following his acquisition of the collection of statues and portraits of Cardinal Albani, making the Capitoline Museum, the world’s first public museum. Be sure to check out the view from the Caffetteria dei Musei Capitolini (apparently they have really good coffee as well, which I think we will absolutely need to get through this day without drifting off; also when do we say no to coffee).
The Palazzo dei Conservatori’s first floor houses classical statues, the second floor houses the Renaissance paintings, and on the ground floor there is a room just off the courtyard that houses a collection of Egyptian statues found where there was once a temple to Isis. A tunnel links the Palazzo with the Palazzo Nuovo, where more classical sculptures are on the two main floors, and it takes you past the 2nd Century BC temple dedicated to Veiovis and the Tabularium, the Roman public record office, built in 78 BC by Consul Quintus Lutatius Catulus. [One of the best views of the Forum is from a window in the Tabularium]. The most notable statues in the dei Conservatori are:
The Bronze of Marcus Aurelius, which was probably commissioned in AD 176 as a tribute to the Emperor’s triumphs over the Germanic people. It was forced inside after the City noticed serious corroding issues and a copy was made to stand in the original’s place. Unlike other statues of Roman emperors, which typically were idealized, this statue is very lifelike.
The Lupa Capitolina: The twins Romulus and Remus were added later (probably in the 15th century) by Antonio Pollaiuolo. The wolf itself can be traced back to Etruscan or Mango-Greek workshops in the 5th century BC, and therefore, originally the wolf had nothing to do with the Roman Foundation Myth.
Spinario: a 1st century bronze of a young boy removing a thorn from his foot.
Bernini’s Bust of Medusa: based on Ovid’s descriptions of Medusa, Bernini captures Medusa during the transitory moment of her own metamorphosis into marble after she was tricked into looking into a mirror. Ugh. Gives me the heebeegeebees just thinking about having snakes as hair. I know I’m a Slytherin and should be super cool about snakes, but no. Just no. And we all know how Bryan feels about snakes…It’s like dealing with Indiana Jones over here.
The Pinacoteca is home to two Caravaggio’s:
St. John the Baptist (1602), which was commissioned by the Mattei, a noble Roman family and supposedly inspired by the Ignudi of the Sistine Chapel; and
Gypsy Girl, which legend has it that Caravaggio painted this girl as a statement that art could depict real life, not simply copy classical models.
Most of the works in the Palazzo Nuovo are Roman copies of Greeks. Romans did not have very active imaginations, as is evident from their appropriation of Greek gods, art, scholarship, and pretty much everything else. These works include:
Capitoline Venus: a sculpture of Venus emerging from a bath;
The Faun: found at Hadrian’s villa at Tivoli, the work is sculpted in marble and is a copy of a Greek original. (Emperor Hadrian had a thing for anything and everything Greek);
The Foot of Constantine I was once part of a 40 foot (no pun intended) tall statue of Emperor Constantine I, but only it, a hand, and a few other body parts have survived;
Wounded Warrior (Monnot, 18th century); and
The Gaul: this sculpture is of a wounded Gaul and was probably commissioned to celebrate the Roman victories over the Galatians. It was thought that it was a sculpture of a gladiator, and as such, it inspired Lord Byron’s “The Coliseum”:
AND here the buzz of eager nations ran, In murmur’d pity, or loud-roar’d applause, As man was slaughter’d by his fellow-man. And wherefore slaughter’d? wherefore, but because Such were the bloody Circus’ genial laws, And the imperial pleasure.—Wherefore not? What matters where we fall to fill the maws Of worms—on battle-plains or listed spot? Both are but theatres where the chief actors rot.
I see before me the Gladiator lie: He leans upon his hand—his manly brow Consents to death, but conquers agony, And his droop’d head sinks gradually low— And through his side the last drops, ebbing slow From the red gash, fall heavy, one by one, Like the first of a thunder-shower; and now The arena swims around him—he is gone, Ere ceased the inhuman shout which hail’d the wretch who won.
He heard it, but he heeded not—his eyes Were with his heart, and that was far away: He reck’d not of the life he lost nor prize, But where his rude hut by the Danube lay, There were his young barbarians all at play, There was their Dacian mother—he, their sire, Butcher’d to make a Roman holiday— All this rush’d with his blood—Shall he expire And unavenged?—Arise! ye Goths, and glut your ire!
But here, where Murder breathed her bloody steam; And here, where buzzing nations choked the ways, And roar’d or murmur’d like a mountain stream Dashing or winding as its torrent strays; Here, where the Roman millions’ blame or praise Was death or life, the playthings of a crowd, My voice sounds much—and fall the stars’ faint rays On the arena void-seats crush’d—walls bow’d— And galleries, where my steps seem echoes strangely loud.
A ruin—yet what ruin! from its mass Walls, palaces, half-cities, have been rear’d; Yet oft the enormous skeleton ye pass, And marvel where the spoil could have appear’d. Hath it indeed been plunder’d, or but clear’d? Alas! developed, opens the decay, When the colossal fabric’s form is near’d: It will not bear the brightness of the day, Which streams too much on all years, man, have reft away.
But when the rising moon begins to climb Its topmost arch, and gently pauses there; When the stars twinkle through the loops of time, And the low night-breeze waves along the air The garland forest, which the gray walls wear, Like laurels on the bald first Cæsar’s head; When the light shines serene but doth not glare, Then in this magic circle raise the dead: Heroes have trod this spot—’tis on their dust ye tread.
“While stands the Coliseum, Rome shall stand; When falls the Coliseum, Rome shall fall; And when Rome falls—the World.” From our own land Thus spake the pilgrims o’er this mighty wall In Saxon times, which we are wont to call Ancient; and these three mortal things are still On their foundations, and unalter’d all; Rome and her Ruin past Redemption’s skill, The World, the same wide den—of thieves, or what ye will.
Also located on the Hill is the Tarpeian Rock, which is named after Tarpeia, the daughter of Spurius Tarpeius, a Roman soldier who defended the Capitol in the 8th century BC Sabine War. The Sabines bribed Tarpeia to let them up on the Capitol, claiming that they would give her “what they wore on their shield-arms.” Typically, Sabines wore gold bracelets and jewelled rings on their left hands. True to their word, the Sabines crushed Tarpeia with their shields, literally giving her what they wore on their shield-arms. They were unsuccessful in overrunning the Capitol though because the Sabine women interceded. From then on, the Tarpeian Rock was used as a place of execution – traitors and other criminals were thrown over the sheer face of the rock.
Santa Maria in Aracoeli (at least the 6th century) is the church of the Roman Senate. It occupies the space that was once the Temple to Juno, and its 22 columns were taken from various other ancient buildings. The Church’s ceiling commemorates the Battle of Lepanto (1571), and the frescos in the first chapel on the right were painted by Pinturicchio and depict St. Bernardino of Siena. The church is most famous for an icon, known as Santo Bambino, that is made from olive wood and said to have healing powers, but the original was actually stolen in 1994, and a replica is now in its place.
Finally, the Mamertine Prison is located beneath the San Giuseppe dei Falegnami church, this was (according to legend) where St. Peter was imprisoned. Also, the valiant and resilient King Vercingetorix was executed here, after he was defeated by Caesar, who had to encircle his first wall with a second wall to defeat Vercingetorix’s stronghold. (To hear a great podcast about this moment in history, check out Dan Carlin’s Hardcore History).
“The Trossachs are often visited by persons of taste, who are desirous of seeing nature in her rudest and most unpolished state.” – Callander parish minister Dr. Robertson (1791).
The next stop on our visit was The Loch Lomond and the Trossachs National Park, Scotland’s first National Park, established in 2002. (Loch is Scotland’s word for lake.) The Trossachs has inspired many a poem, including several by William Wordsworth, his sister Dorothy, Samuel Coleridge, and Sir Walter Scott. In fact, Sir Walter Scott’s best selling work, Lady of the Lake, is set in and around Loch Katrine. Loch Katrine also appears in Jules Verne’s The Underground City.
The Trossachs is home to allegedly one of the most haunted places in Scotland – the Drover’s Inn.
If you are into ghosts, click here to read about all the ghost sightings that have been reported (be wary of the video though – it has a trick at the end). My mom – a major ghost/supernatural believer and avid ghost/bigfoot show watcher – wanted us to do a EVP session (still not sure what that means), but instead of riling the ghosts, we simply had a beer and made sure to be on our way long before nightfall.
Also along our driving tour, we stopped to see the Glencoe Valley, home to mountains known as the “Three Sisters.”
Afterwards, we stopped at Glenfinnan. Glenfinnan is known for two very different teenagers: Harry Potter and the Bonnie Prince Charlie.
Well known now as the home to the viaduct that appears in the Harry Potter movies (see picture below), Glenfinnan has a tragic past. It was here that the Bonnie Prince Charlie first raised his father’s standard. The monument you see in the pictures below is a memorial for the Highlanders that lost their lives because they supported the Bonnie Prince. If you are at all interested in the Prince’s claim to the British throne, click here.
Finally, we visited the Isle of Skye. Unfortunately, we had terrible weather – at one point, I truly thought I might be blown off the side of a mountain. So my pictures aren’t what they could have been – as I was trying to protect my camera from the rain – but even in the rain, Scotland is hauntingly beautiful.
At the end of our climb, my best friend – who is my forever travel partner – claimed she had a “loch” in her boot, thereby proclaiming the creation of Loch Storr, and after spending hours in the downpour and wind, we were its monsters.
Charles Edward Stuart, better known as Bonnie Prince Charlie, was the eldest son of James Francis Edward Stuart, “The Old Pretender,” and grandson of James II of England and Ireland (James VII of Scotland). James II/VII was deposed and exiled to Continental Europe by his daughter Mary and her husband William of Orange in what is now called “The Glorious Revolution.”
After Mary and William’s death, Mary’s sister Anne became Queen until her death in 1714. During Anne’s reign, Parliament enacted the Act of Settlement, which banned Catholic monarchs from the British throne – effectively disinheriting James Francis Edward Stuart (Mary and Anne’s brother) and the Bonnie Prince Charlie (Mary and Anne’s nephew). After Anne’s death, the throne passed to a great-grandson of James I, George I of Hanover.
Obviously feeling slighted, Bonnie Prince Charlie decided to win back the throne for his father. In 1745, the Prince traveled to Scotland with a force mustered in France to rally the Highlanders to his cause. Those that answered his call were known as “Jacobites.”
The rebellion (now known as The “Forty-Five”) was ill-fated. Charles was able to defeat the English government in Scotland and move South to Northern England, but rather than press his advantage and march on London, he turned around and returned to Scotland, closely followed by the British Army, led by Prince William, Duke of Cumberland.
The tired and poorly fed Jacobite troops met the British army at Culloden Moor. The battle lasted less than an hour, and the Jacobites were routed. More significant, however, is the aftermath of the battle. In response to the rebellion, the British government effectively banned Highland culture and massacred the clans that had fought for the Prince.
Today was my first day back in the real world, and needless to say, I am coming down from my travel high. What a whirlwind of a trip. If I could sum up Scotland in a single phrase, it would be: “majestically dramatic.” The imposing nature of the landscape created both a mysterious and daunting atmosphere – making writing about it similarly daunting. So I am going to give you my thoughts on a piecemeal basis. Today, starting with Edinburgh.
The Sir Walter Scott Monument
Sir Walter Scott is one of the many authors that was born in Scotland. He wrote the Waverley novels, including Ivanhoe and Rob Roy. (Other Scottish literary figures include Robert Burns, Robert Louis Stevenson, Sir Arthur Conan Doyle, and J.K. Rowling.) Scott’s work celebrates Highland culture, which – at the time – was in danger of being eradicated, and his work has been attributed to reviving it.
King Arthur’s Seat
Climbing this hill was one of my favorite things that we did the whole trip. And the view from the top of the hill – incredible:
We did make the mistake of not bringing water on our trek. Major failure. Bring water.
A fun fact about Edinburgh – if you are a Harry Potter fan – is that it provided inspiration to J.K. Rowling. For instance, Diagon Alley is said to be based on Victoria Street, Hogwarts is supposedly inspired by an Edinburgh prep school – George Heriot’s, and the names of McGonagall and Tom Riddell come from Greyfriars Kirkyard.
I am currently rereading the Harry Potter books – I am on the Prisoner of Azkaban – for the first time as an adult, and it is fascinating what I missed when I read them as a child/teen.
But, back to Edinburgh, we did a lot of eating and drinking, and I have listed by favorite places below.
Montpeliers Bar & Brasserie
The Grain Store
We also went to a few others, including Black Pig & Oyster, The Kitchin, and Café Tartine. All three are in the same stretch near the Royal Britannia , next to a beautiful fountain, with seating outside.
As I get ready for my trip, I thought I would share what I am packing. I have never been to Scotland before so packing has included some guesswork. By the end of the trip, I can share with you what worked and what didn’t, but for now, here are some of – what I am assuming – will be the essentials.
During our trip, the weather is generally “mostly cloudy” with highs in the low 70s/ high 60s and lows in the 50s. Rain is also likely. So item one on the list is a rain jacket. My rain jacket is the Venture 2 jacket from North Face. My hiking boots are Oboz Bridger Mid in Walnut. My leggings are from Lulu Lemon, and I got my sweatshirt while hiking in West Glacier, Montana (a trip that is definitely worth taking if you’ve been thinking about visiting out-West).
We rented a car for our trip, and I was unaware that Hertz required non-EU citizens to have an international driving permit until yesterday… so I was in a panic. But, as it turns out, it is SUPER easy to get one. You just need two passport photos – which i got in about two minutes at CVS – and your license. Then just fill out this easy form, and take it to your nearest AAA. The whole process took about five minutes, and I walked out of AAA with a permit – same day. So if you booked a car and didn’t realize that you needed a permit, don’t panic. I’m just hoping that this international driving excursion turns out better than my last one…. When I went on a trip to Ireland, I ended up totaling the car. However, in my defense, the roads there are treacherous. In fact, when we were returning the car, the lady at the rental agency was on the phone with someone who had crashed within five hours of picking up the car. My advice – get the insurance. It is worth it.
On another note, I have recently become a makeup geek – the only other lady at my office is a makeup goddess and she turned me on to the beauty industry; now I can’t get enough … which, if you’ve read my other post, is a ongoing theme in my personality.
My current obsession is this new wallet that I bought for this trip from Aspinal of London. It has dividers for tickets, passport, documents, and boarding passes, along with a little pouch for change. It seemed perfect when I bought it, but it has yet to stand the test of actually being used – so I will let you know how it worked out. For now, it seemed like a great investment.
Finally, choosing a book to come with me is also a challenging task. I’m currently in the middle of a couple – I tend to read multiple books at once because I never know what kind of reading I will be in the mood for night-to-night – but I don’t usually like to bring one that I have already started when I am traveling. Bringing a brand new book avoids the problem of finishing one before the trip is over, and having to lug two books home. Additionally, the book needs to be paper-back so that I can lug it around with me without feeling like my arm is going to fall off. My problem there is that I am a super for hard-back books, so most of the books that I own that are on my “to-read” list are hardbacks.
The few that I do have are mostly history and include:
Allison Weir’s Queen Isabella
Peter Ackroyd’s Shakespeare
Lawrence Goldstone’s The Activist
Roger Crowley’s City of Fortune: How Venice Ruled the Seas
Anthony Everitt’s Cicero: The Life and Times of Rome’s Greatest Politician
I still am up in the air, but I’ll let you know what I end up choosing.