By Tom Wuckovich

Some time has passed since I left Rome...but Rome has never left me. Memories are the orphans of dead events, but let even the slightest act, sight or sound recur and the past is instantly reborn. And so it is with me. Constantly provoked by random thoughts, I retreat into a slideshow of vivid images of this European city.

A glass of red wine. I stare at it momentarily, then, suddenly, I’m back on the rooftop garden of the classic Hotel Mediterraneo that is perched regally on Esquilino Hill, the highest of the seven hills of Rome. Glass in hand, I wander about the flowered terrace, peering over the parapet at the city below. The night slowly draws a blanket over its many faces, but it doesn’t dim the glory of the Eternal City. Buildings, monuments and fountains are bathed in flattering light, illuminating the darkening sky with an appropriate halo-like glow.

Nearby, and in the distance, I can identify notable landmarks such as the Fountain of the Naiads in the Piazza della Repubblica. The fountain is the work of sculptor Mario Rutelli and is one of the most beautiful in Rome, but only slightly over 100 years old. I know that from the plaza I can walk along the Via Nazionale and eventually arrive at the Piazza Venezia, or Town Hall Square, and the Capitol, an icon of Michelangelo’s architectural genius. From its vantage point on another of Rome’s hills, I can walk along the Via Sacra (Holy Way), where I’ll be in the magnificent ancient ruins of the Roman Empire.

A marble table. As I run my hand over the smooth, hard surface of my coffee table, I envision the glorious sculpture and architecture by Michelangelo, Borromini, and Pietro and Giovanni Lorenzo Bernini, among others. They must certainly have been inspired by the residual splendor of the Roman Empire. Michelangelo commented that the capitol hill was “like the head of Rome,” with its “face” first to its past (the ruins) and then to the new city. As I begin my descent along the Holy Way, my journey is one through the centuries. Ancient evidences, either pagan or religious, surround me, and I’m cognizant that I’m walking on stones that felt the feet of emperors, soldiers, ordinary citizens, slaves, senators and noblemen.

Down the slope, toward the valley, I encounter the Temple of Saturn, eight massive columns still standing against the ravages of time and man. Further along, through the Arch of Constantine, the Curia, or senate house, is on my left. Here, the laws of Rome were enacted and enforced. Inside the hall there are still marble statues and mosaics that adorned the interior at the time of Caesar. It is a common fallacy that Caesar was killed here, but in fact he was murdered elsewhere and only a small marker notes the supposed killing ground.

As I roam through what remains of the empire before its collapse, I feel an overwhelming sense of admiration. The sheer size and complexity of structures such as the Roman Forum, the Arch of Titus and, of course, the Colosseum—perhaps the most recognizable “face” of Rome—are incomprehensible. Though many notable examples of the Roman Empire remain, the Colosseum has become the symbol of Rome.

After the great fire in A.D. 64, blamed on Nero, the reconstruction of Rome began. The city had grown haphazardly and buildings were mostly made of wood. With Nero’s death in A.D. 68, Vespasian began the rebuilding of the capital in an orderly way and primarily with brick and stone. Games and circuses had been popular with the masses, and at the beginning of the 1st century B.C., the growing passion for these shows stimulated architects to conceive an innovative type of public building. Construction on the Colosseum began in A.D. 72.

Scholars contend that the Colosseum held up to 60,000 spectators who could enter and leave easily and have an equally good view from all sections of seats—especially good for the emperor, who occupied a prominent place from where he could be seen by all and preside over the featured “sport.” The rise of Christianity and the decline of the empire diminished the importance of the monument, and by the Middle Ages it was completely abandoned. Despite its state of decay, and the tragic events there, what remains of this architectural marvel helps outsiders to understand the spirit of the famous prophecy uttered by the Venerable Bede, who lived in the 8th century: “As long as the Colosseum stands, so will Rome; when Rome falls, so will the world.”

A drink from a water fountain. I pressed the button and the metal container released a small stream of water. As I bent down to drink, I mused about my first experience with the nasoni, typical drinking water fountains found along many of Rome’s streets and alleyways. They are affectionately called nasoni—big noses—because of the curious shape of the curved spout. The water is good and safe to drink.

Rome boasts that there is no city in the world that has more waters and fountains. In the early days, 11 aqueducts poured thousands upon thousands of gallons of water into the city each day, feeding countless fountains and magnificent baths, some of which are the most extraordinary structures built in Rome. In the early 19th century, Chateaubriand observed, “Even if Rome had been three times more populated, one tenth of those baths would have been sufficient for public needs.”

In the 6th century, the Goths cut off the aqueducts and the Romans were forced to move nearer to the Tiber River, which became their only source of water. But constant flooding devastated whole districts, and the population dwindled to as little as 30,000 before rebounding with the reconstruction of the aqueducts. It wasn’t until the 16th century that the popes decided to renew and beautify the city by funding major works, such as the restoration of the aqueducts, building new bridges and creating public fountains that were not only functional, but highly decorative.

Monumental fountains also began appearing in gardens and courtyards of the wealthy, opening the way to the grandiose Baroque period in Rome. Many more fountains assuming original forms and spectacular dimensions were commissioned and placed in various plazas around the city. Among the more renowned are the Fountain of the Four Rivers in Piazza Navona, and the celebrated Fountain of Trevi. Who can forget the sight of Anita Ekberg wading in the fountain in Federico Fellini’s award-winning film La Dolce Vita.

Many visitors come here just to admire these masterpieces. The poet Shelley once declared “the fountains alone justify a visit to Rome.”

Coffee at an outdoor café. I have to smile as I raise my cup, thinking back to that little café in Rome near the Piazza Sant’Eustachio where Rob Allyn of Through Eternity Tours insisted we stop and have a cup at one of “the best coffee shops in Rome.” The Café Sant’Eustachio was so secretive about its blends that the large coffee dispenser where it mixed its varieties was shielded on both sides by large bronze panels. The coffee, served in a demitasse, was thick, rich and aromatic. A nice diversion. The real pleasure, however, was sitting outside in the piazza, watching passersby, observing artists and vendors hawking their goods, or marveling at the fountains, statues and impressive architecture of the squares and buildings.

Most, if not all, of the squares in Rome share some type of historical value, as well as hosting some of the greatest works of art in the world. The Piazza Colonna was the site of the papal post office, a place of famous cafés and band concerts. Today, it’s where the prime minister’s offices are located. After coffee, we walked in front of Palazo Montecitorio, seat of the parliament, towards the Piazza della Rotonda, which takes its name from the Pantheon, the domed building constructed by Augustus and dedicated to all the gods.

The present-day Pantheon, still an imposing structure, is different from the original and is the handiwork of the Emperor Hadrian, who rebuilt the monument in the early 2nd century, keeping only the ancient inscription. Byzantine emperor Phocas gave the building to Pope Boniface IV in the 6th century, and he turned it into the present Church of Sancta Maria ad Martyres.

The most amazing characteristic of the Pantheon is the dome, which is larger in diameter than the dome of St. Peter’s. The entire building is a perfect geometric figure: a sphere inserted in a cylinder. There is a large open “eye” through which rain enters, but it easily disperses through the drains visible in the marble floor.

From the Pantheon square we traveled a short distance to the Piazza Navona, perhaps the most impressive plaza in the city. The family of the Pamphili commissioned the greatest architects of the 17th century with the task of making it one of the most scenic spaces in Rome. The piazza is surrounded by excellent cafés and ice cream shops, and again we paused at Tre Scalini for its famous chocolate truffle.

Our walking tour ended at Piazza de Spagna, a square that narrows in the center, dividing it almost into two equal parts, like the wings of a butterfly. It was appropriate to conclude our walk here, since this piazza has been the meeting place for travelers coming from all over the world who could easily arrive here with their carriages.

Maybe one day I’ll arrive here in one as well. Won’t that make for a great memory!

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