IHBC members may be interested in a new model for touring Rome’s best known landmarks, an interactive map, from of the Morgan Library and Museum.
image Open Culture website
The interactive map was created to accompany the Morgan’s 2016 exhibition City of the Soul: ‘Rome and the Romantics’. Pitstops include St. Peter’s, the Roman Forum, and The Equestrian Monument of Marcus Aurelius on the Capitol.
Open culture writes:
These days, your best bet for touring Rome’s best known landmarks in peace may be an interactive map, compliments of the Morgan Library and Museum.
Based on Paul-Marie Letarouilly’s picturesque 1841 city plan, each digital pin can be expanded to reveal descriptions by nineteenth-century authors and side-by-side, then-and-now comparisons of the featured monuments, as for example around the Trevi Fountain:
- The enduring popularity of the film Three Coins in the Fountain, coupled with the invention of the selfie stick has turned the area around the Trevi Fountain into a pickpocket’s dream and a claustrophobe’s worst nightmare.
- Nathaniel Hawthorne cultivated a cool remove, at least at first: They and the rest of the party descended some steps to the water’s brim, and, after a sip or two, stood gazing at the absurd design of the fountain, where some sculptor of Bernini’s school had gone absolutely mad in marble. It was a great palace-front, with niches and many bas-reliefs, out of which looked Agrippa’s legendary virgin, and several of the allegoric sisterhood; while, at the base, appeared Neptune, with his floundering steeds and Tritons blowing their horns about him, and twenty other artificial fantasies, which the calm moonlight soothed into better taste than was native to them. And, after all, it was as magnificent a piece of work as ever human skill contrived. At the foot of the palatial façade was strown, with careful art and ordered irregularity, a broad and broken heap of massive rock, looking as if it might have lain there since the deluge. Over a central precipice fell the water, in a semicircular cascade; and from a hundred crevices, on all sides, snowy jets gushed up, and streams spouted out of the mouths and nostrils of stone monsters, and fell in glistening drops; while other rivulets, that had run wild, came leaping from one rude step to another, over stones that were mossy, slimy, and green with sedge, because in a century of their wild play, Nature had adopted the Fountain of Trevi, with all its elaborate devices, for her own.