During a solo visit to Rome, almost 25 years ago, I vividly recall the colour of Rome more than anything else. It was February, wintertime, and although cold in the morning, by late afternoon the buildings seemed to glow salmon and pink. My senses were heightened during that particular visit. During this year’s visit, the rawness of that earlier time has crept up on me. Rome is still bathed in pink, despite its ochre, yellow and beige buildings along with white and grey marble. Roman light is a magical thing.
During that 1993 trip, I stayed close to Piazza Navona and wandered around the campo each morning before the visitors arrived. I always enjoy revisiting Navona when in Rome and usually find something new to consider. This year, Bernini’s marble river gods look very appealing in the rain.
I mentioned yesterday that memories are subject to revision when revisited. In the past, I found the semi- naked Gods in Fontana dei Quattro Fiumi far too mannerist in style and not unlike the images found in a beefcake magazine. This time, the rain bought out the transparency of the skin and the gracefulness of male movement. It’s simply a matter of turning a blind eye to the not- so- well- hung, or should I say, not so well endowed, statue of the Moor standing nearby.
Each stature represents a river- the Ganges, Nile, Danube and Rio de Plata.
“The Ganges carries a long oar, representing the river’s navigability. The Nile’s head is draped with a loose piece of cloth, meaning that no one at that time knew exactly where the Nile’s source was. The Danube touches the Pope’s personal coat of arms, since it is the large river closest to Rome. And the Rio de Plata is sitting on a pile of coins, a symbol of the riches America could offer to Europe. Also, the Río de la Plata looks scared by a snake, showing rich men’s fear that their money could be stolen. Each is a river god, semi-prostrate, in awe of the central tower, epitomized by the slender Egyptian obelisk, symbolizing by Papal power surmounted by the Pamphili symbol. ( the Pope’s family crest, patrons of this work) In addition, the fountain is a theater in the round, a spectacle of action, that can be strolled around. Water flows and splashes from a jagged and pierced mountainous disorder of travertine marble.”¹
Given the rain, we took refuge in Borromini’s church, Sant’Agnese in Agone. I was thinking about the appropriateness of this title, given the state of my legs, but it turns out that ” in agone” has nothing to do with that martyr’s agony but is a reference to the original name of Piazza Navona, which was Circus Agonalis, a competition arena for the Roman military. The church was full of other rain escapees sitting quietly in the pews. I was also keen to find the doves with olive branches set in marble on the floor. These doves spoke to me during my 1993 visit and in my memory, they were small and graceful. This time, they appeared awkward and primitive, and more like chooks! There are three to be found, again symbols of the Pamphili family who commissioned Sant’Agnese.
Rome is never very cold in winter and although still busy, especially on Sunday, Italian is the language you’ll hear most in the crowd. It is, for me, the best time to visit, away from the maddening crowd, the tour groups, and the loudness of foreign tongues. It’s the season when Rome is bathed in pink.