In the background is the Palazzo Senatorio, seat of the first magistrate of
the city, dominated by a tower topped by a cross and a marble statue of the Dea
Roma. It is reached by a double stairway and a fountain with a statue in
porphyry of a triumphant Minerva between two gigantic symbolic figures of the
Nile and Tiber rivers. On the right is the Palazzo dei Conservatori, and on the
left is the Capitoline Museum. Both were designed by Michelangelo, who in this
irregular and confined space created one of Europe's most sumptuous and graceful
squares. The piazza was dominated by an equestrian statue of Marcus Aurelius,
addressing the crowds with a paternal and regal gesture. This statue from the
Lateran quarter has had a singular fate. It owes its preservation above all to
the fact that during medieval times, it was thought to depict the Emperor
Constantine. According to a medieval legend, its golden patina comes from an
underlying guilt which slowly will be revealed; when the statue returns to a
shiny gold state, it will signal the arrival of the last judgement. Beforehand,
the owl which stands on the portion of mane between the horses ears will sing
aloud to warn the mortals of the approaching end of the world. In its simplicity
of lines, the wonderful piazza holds all the magnificence and splendour of the
Italian Renaissance. And during formal civil ceremonies, when it is decorated
with flags, candelabras and sumptuous drapings, it is similar to the living room
in a make-believe kingdom, while the valets of the Comune and those faithful to
Vitorchiano, all dressed in their striking costumes, form the most picturesque
and impressive of portraits. Rome thus continues to pay its century-enduring
tribute of gratitude to the faithful shepherd of Vitorchiano, who ran to carry
the message of the advancement of the Estruscans and who, immediately after
informing the Senate, dropped dead from the wound of a thorn which he had
trampled on during his run, but did not stop to remove for fear of losing
precious time.
The Capitoline Museum, founded by Sixtus IV in 1471,
constitutes the oldest public art collection in the worlds, and includes among
countless sculptures, famous masterpieces like the dying Rooster, Amore and
Psyche and the Capitoline Venus. The Palazzo dei Conservatori, to which the
Pinacoteca Capitolina as well as an important collection of modern art are
annexed, is also a rich museum of ancient sculptures including among other
things the Consular and Triumphant decorations (once displayed in the Forum) and
the famous bronze She-Wolf from the 5th century B.C. The Palazzo dei
Conservatori was struck by lightening on the Roman Campidoglio 65 years before
the beginning of the dark ages and it has rich and beautiful rooms which during
formal functions are used by the Comune di Roma. For the moment we won't
indulge in the visit of these museums for they alone require at least an entire
day, nor will we fall to the temptation of climbing the stairway which leads to
the portico designed by Vignola next to the Palazzo dei Conservatori, or that of
the side entrance to the Church of Santa Maria d'Aracoeli, which is one of the
oldest if not the oldest churches in Rome. It was established on the Capitoline
mount where according to tradition Augustus learned from the Sybil of the
imminent birth of the Son of God, and where during medieval times the voice of
Cola di Rienzo thundered, calling for a return of the Romans to their ancient
grandeur, where Petrarch received the crown of laurel leaves, and where the
winner of the battle of Lepanto Marc Antonio Colonna was honoured for his
triumph.
For the tourist who just today crossed the threshold into
the Eternal City, it is best to conserve his energies for other emotions and
attempt first to reveal the great mystery of Rome. A visit to the museums atop
the Capitoline hill should not be missed but should be left for a later moment.,
as should the opportunity to climb the 124 marble steps leading up to the church
of Santa Maria d'Aracoeli which came from the Temple of the Sun atop the
Quirinale hill. Atop, one can experience an hour of serene peace in the solemn
tranquillity of the most poetic and evocative churches of Rome, while a golden
light filters through the Barberini family symbol of golden bees on a blue
background, setting off the beautiful coffered ceiling and the magnificent
golden and coloured mosaics. The Church is particularly dear to the hearts of
Romans for its miraculous statue of the baby Jesus, which according to tradition
was sculpted out of olive wood which came from the Garden of the Gethsemane,
where Jesus perspired blood. The statue supposedly gives off signs of divine
grace in that the cheeks of the Holy Child turn a more intense colour meaning
that the vow expressed by he that invoked grace will be satisfied. Also within
the church is an exquisite chapel of Sienese inspiration is an admirable fresco
by Pinturicchio representing the funeral of San Bernardino in a scene of
incomparable beauty as well as splendid funerary monuments. In the transept, a
small temple from the ancient Capitolum holds a porphyry urn which contains
among other things the remains of St. Helen.
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