Some of my fondest memories of the Hotel Hosianum Palace are of having breakfast on the rooftop terrace, high among the church spires and the winged chariots that perch on top of the Vittorio Emanuele monument. That was on my first trip to Italy in 2008. When I returned two years later, the terrace was closed and when I inquired as to the reason, the man at the reception desk said bluntly: “Madame, it is too cold.”
In point of fact, the weather was perfect.
Alas, this morning, there is a sign yet again directing guests to the breakfast room in the basement. Surely, with temperatures soaring into the 90s, it is no longer too frigid to sit outdoors—even by sensitive Italian standards—so I ask the manager for an explanation, pointing to the envelope that holds my key card. It reads: “From May 15 till September (weather permitting), the morning American breakfast will be served on the Roof Garden of the fifth floor from 7:30 a.m. till 10:30 a.m. where besides tasting a rich breakfast, you can enjoy an incomparable view of the roofs of Rome.”
Why, exactly, is the terrace closed in the middle of June, I ask? “Madame,” I am told, “It has been too wet.”
Now, things are getting perfectly ridiculous. It’s hasn’t rained here in weeks. The last measureable precipitation Rome had was on June 4, the day I flew to Venice, and even that was just a tenth of an inch. Personally, I think the staff don’t want to be bothered hauling food up to the roof, even though there is an elevator.
I’m still annoyed later, as I walk up Via del Corso in search of a Vodaphone store. I need to top up the minutes on my SIM card. When I see a Uomo Nuovo demonstration spilling out of Piazza Colonna, it inspires me to protest an injustice of my own. Perhaps I should rally the guests back at the hotel to storm the barricades tomorrow morning, to fight for our right to dine al fresco.
I cut over toward Piazza Navona to wander about the square, with its lively mix of street performers and artists’ stalls, and I visit the Baroque church of Sant’Agnese in Agone. From there, though, I grab a taxi to the Museo Nazionale Romano at Palazzo Massimo alle Terme, near the train station. It’s another blistering day and it’s much too far to walk.
The National Museum is one I’ve long overlooked, as do many tourists, it would seem, because the halls are nearly empty. There is a fine collection of Roman sculptures, including a marble copy of the original bronze discus thrower, his torso twisted and his muscles flexed. There’s also a large numismatic section, with more than 5,000 coins demonstrating the evolution of the Roman monetary system.
For me, though, the most impressive artifacts by far are the frescoes and mosaics. There’s a large floor mosaic with muses and mythological scenes from a villa along the Via Cassia, dating from the 3rd century A.D., and another depicting the struggle between Dionysus and the Indians from the Villa Ruffinella during the first half of the 4th century A.D.
It’s hard to imagine the time involved in creating such an intricate, and ultimately utilitarian, surface. There are thousands of individually cut pieces of stone—called tesserae—most no larger than a centimeter across. And they’re carefully placed in gradations of color, as if pulled from an artist’s palate, which creates a realistic sense of shape and dimension.
There are also a number of stunning room frescoes, including one from an underground triclinium at the Villa of Livia. Discovered in 1863, but dating back to the 1st century B.C., the room has been reinstalled here and it shows a lush garden with ornamental plants and birds drawn to such an exacting level of detail that most species are identifiable today. There are quince and pomegranate and boxwood trees, as well as poppies, ferns, violets, and irises.
As I walk toward Piazza della Reppublica afterwards, the oppressive heat that has descended on the city makes me wish I had lingered longer in the painted garden inside. But there are a number of sites I am determined to see, and my map looks like a game of connect the dots, with a long zig-zag line that stops at the Spanish Steps.
Across the street, I can see the crumbling brick wall that is the entrance to the basilica of Santa Maria degli Angeli. It’s a Baroque church inside, designed in part by Michelangelo, but it was built within of the ancient frigidarium of the Baths of Diocletian, which makes the space refreshingly cool. If I can find a pleasant oasis like this every hour or so, I just might be able to get through the day.
I continue on along Via Vittorio Emanuele Orlando, hoping to see Bernini’s “Ecstasy of Saint Teresa” at Santa Maria della Vittoria, but by the time I arrive, the church is closed for the afternoon. It’s scheduled to reopen soon, but I don’t want to stand in the sun and wait, so I turn down Via Barberini instead and stop for a late lunch in an air conditioned cafeteria. Then, I veer off and climb the stairs to the Capuchin Crypt on Via Venato.
On my first trip to Italy in 2008, I visited the Catacombs of San Callisto along the old Appian Way, but nothing has prepared me for this, not even the catacombs beneath the streets of Paris. There are alcoves of human bones, sectioned into parts—skulls in one, thigh bones in another, pelvises in a third, and so on—like a grandiose Halloween display. These are the remains of nearly 4,000 Capuchin monks, collected over the centuries and moved here in the early 18th century, to make room for new bodies in the friary’s small cemetery.
But the bones are not merely in neat stacks, as they are in Paris, with an occasional decorative flourish. They are woven into elaborate designs, including a skeletal grim reaper, holding scales and a scythe made of vertebrae. In The Innocents Abroad, Mark Twain had called it “a spectacle for sensitive nerves,” and so it is. He had wondered then how it might feel to be a Capuchin, to know that one day you would be “taken apart like an engine or a clock or like a house whose owner is gone, and worked up into arches and pyramids and hideous frescoes.” I find myself pondering the same morbid question. I leave grateful, though, because at least it was cool inside.
By the time I reach the Trevi Fountain, it’s after four o’clock and the heat of the day suddenly feels worse because of the congested crowd. Would anyone mind if I waded in, like Sylvia in the movie La Dolce Vita? Yes, I suppose they would.
There’s a souvenir stand directly in front of the fountain today, and the vendor is selling magnets and ashtrays alongside of bobblehead dolls, snow globes, and plastic Pietàs. It’s horribly tacky stuff. In his infinite wisdom, the mayor of Rome has banned tourists from eating and drinking near public monuments, but not this monstrosity, even though it’s an assault on good taste that’s every bit as bad, if not worse.
My final stop for the day is a social one. A colleague of mine from work is in Rome for a few days attending a conference. We’ve agreed to meet at the fountain at the base of the Spanish Steps. We order drinks at Babington’s Tea Room, a cozy and very English place, and then take the elevator to the top of the hill to reach his hotel, the Intercontinental de la Ville. It has a stunning terrace overlooking the city, and he wants me to see it.
Unlike the rooftop terrace at my hotel, this one actually is open.
Yes, I’m still bitter, but a least for an hour or so, I can pretend that it’s mine.