The simple name of Rome evokes many images, memories and stories that we can now savor, in fact, once again, through the virtual exhibition and the work of Maria Margherita Segara Lagunes, professor and researcher at the Roma Tree University, entitled Roma æterna, o Build a Legend, (1) which will be available until December 2nd on this site.
A thousand years ago we were in Rome at the Raffaello (I think it was called that), right next to Piazza Navona. In the morning I had a coffee at Bernini’s Quattro Fiumi, before wandering around the Roman Forum and taking a stroll through “the gardens across the Tiber”, as Marc Antony assured the Roman audience at the Ides in March 44 BC. he told them that this was part of Julius Caesar’s legacy, as we read in Shakespeare’s play:
– Here is the testament with the seal of Caesar … See? Well, it turns out that he leaves each of you 75 dirhams, as well as your newly planted gardens, paths, private villas and gardens on this bank of the Tiber which he bequeathed to you and your descendants forever so that you can get out. with your family during the hours of rest.
Another day I walked the Via Appia Antica until I found the coat of arms “Au plaisir de Dieu” engraved on a quarry arch at the entrance of a villa. This was the resonance that Jean Dormison used as the title of his novel in which he recounts the decline of the family over three generations.
Now, I return to Rome with the work done by Maestro Segarra, who enjoys doubly with the illustrations of the six sections of the exhibition where we can see details, texts and quotes relating to Rome, such as the work of Guido di Bondone where I affirm that Rome was a city of echoes, illusions and desires.
In his book Building Myth we learn “the song of the hero who escaped from the coasts of Troy arrives in Italy on the banks of the Laveno. For a long time it represented a game on land and sea of divine power, due to the stubborn resentment of Juno, who had to suffer a lot in wars, even the foundations of a city from which the Latin race descended, and the glorified walls of Rome. ”, Taken from Virgil’s Enid.
We continue to use, reuse and stratify, to see how the medieval city arose to feed on the old city, with new churches reborn among the remains of pagan temples.
Restoration of antiquity or when Rome re-emerges through imperial or papal openings, aimed at restoring its prestige clouded by centuries of abandonment, poverty and oblivion. From there we move on to the Triumph of the Baroque, when St. Peter’s Square or the Trevi Fountain testify to the alternation of conservation and innovation processes that take place at slow impulses, before moving on to the rediscovery of antiquity, when in the mid-eighteenth century, the main focus of the studies was inspired by Rome, he painted and analyzed to understand.
Finally, the combination of Eternal Rome and centenary Mexico offers us when, after independence, we saw Rome as a cultural model and some works of the Eternal City became models for artists in training.
It is a hypothetical journey suitable for these times as we continue, at least some of the old journeys, somewhat confined. Here we can learn in detail many things about Eternal Rome, otherwise it would not be possible to do so.
It is worth taking a dip in this virtual gallery and enjoying it calmly to see if Rome is truly a city of echoes, fantasies and desire.
(1) Link to the exhibition: https://www.romaeternadigitale.it/sezioni/