Postcard from Rome, Italy: Putting that saintly fashion foot forward

Away from San Antonio during Fiesta… when duchesses were bowing, weighed down by their glittering trains and flashing their fancy footwear, sometimes chanclas, from atop flowery floats… we encountered a rich array of elegant gowns in a fashion show in an unanticipated setting.

Chapels lining one side aisle of the Basilica of Santa Maria in Aracoeli hosted mannequins wearing some of the Virgin Mary’s most formal attire. Numerous outfits were complete with compatible cloaks and shoes and, of course, matching attire for Baby Jesus.

The basilica’s own Baby Jesus, Santo Bambino of Aracoeli, needed no additional clothes. Carved from olive wood from the Gethsemane Garden in Jerusalem, Santo Bambino always is cloaked in a much-bejeweled golden garment.

The original statue created by a Franciscan dated from the 15th century and was credited for numerous miraculous healings. At one point, Santo Bambino was carted around on house-calls to aid those too ill to visit personally.

An icon of such value attracts much interest. The French hijacked it in 1797, but it was later recovered. Thieves robbed the baby of numerous jewels in 1838, but the worst theft occurred in 1994. Santo Bambino vanished. Even thieves in prison penned public letters requesting their fellow tradesmen return the beloved Santo Bambino. Fresh olive wood was obtained from Jerusalem for the replacement now on display.

The original Santo Bambino might be missing, but, for the faithful, his powerful spirit remains with the reproduction in the basilica. Letters from around the world arrive addressed to Santo Bambino requesting mail-order miracles and are placed beside him to “read” at will. As newer ones arrive, the older requests are burned with incense.

As for the setting itself? No San Antonio ballroom can compare with the shimmering chandeliers and ornate décor found in the basilica.

Somewhere at the foundation of the enormous Basilica of Santa Maria of Aracoeli lies a Byzantine church dating from the 500s. The papacy took over the property in the 9th century, placing it under the control of Benedictines. Immense columns supporting the central nave were harvested from ancient Roman ruins. Franciscans provided much Romanesque and Gothic remodeling and expansion in the 1200s. Heavy gilding of the ceiling was completed in 1575 to thank the Virgin for her assistance in defeating the Turkish fleet at the Battle of Lepanto.

A monumental stairway, 124 steps, was added in 1348 for those praying for an end to the Black Plaque or seeking penance on their way up to the church (Okay, I confess. We took an easier approach through a side door.). In the Middle Ages, criminals were executed at the base of the stairway. In the 17th century, one of the royal princes who lived above took offense to international pilgrims sleeping on the steps and periodically rolled stone-filled barrels downward to chase them off.

Contemporary superstition claims the faithful who crawl up the stairway on their knees enhance their possibilities to win the national lottery. No point for us. We will never win any lottery. You have to pay to play.

 

Postcard from Rome, Italy: Trying to appeal to friends with wine and gratuitous nudity

So I salute you, Dionysus of the abundant grape clusters: grant that I may come again in happiness at the due time; and time after time for many a year.

Homeric Hymn to Dionysus, quotation posted in Palazzo Massimo

Pondering what image to feature to entice you to glance at a few more photographs of ancient Roman art, thought about cats. The cat mosaic perhaps? Or the close-up of chicken feet? Or maybe hair styles of Roman women? Deciding I know my audience, finally selected wine served, if mainly spilled, by nudes.

These were snapped during a visit to another of the museums that house portions of the collection of Museo Nationale Romano. Built in the 1880s and formerly serving as a Jesuit college, Palazzo Massimo was transformed into a museum a century later.

The collection within focuses on artifacts from the 2nd century B.C. to 4th century A.D. Included are statues from Nero’s summer villa, Roman copies of Greek statues, floor mosaics and entire rooms moved lock, stock and barrel from several ancient villas.

 

Postcard from Rome, Italy: Glittering mosaics crown basilica full of saintly remains

Pope Paschal I (?-824) was partial to preserving saintly remains; you were introduced to him earlier as the pope who found Santa Cecilia’s remains and moved them to Trastevere. A round slab in the Basilica of Santa Pressede purportedly covers a well where he deposited the remains of 2,000 early Christian martyrs.

Among the relics housed in the church are those of sisters, Saints Pressede and Pudenziana, known for sheltering and caring for persecuted Christians. The sponge Pressede used to cleanse the wounds of bleeding martyrs is believed entombed there as well.

Pope Paschal I openly welcomed monks exiled from Byzantium because of their opposition to practices endorsed by church leaders in Constantinople. He also extended invitations to dissatisfied Byzantine mosaic artists. The results of their refuge in Rome are most clearly visible in the apse and chapels of Santa Pressede.

A later addition to the church is housed In one of the basilica’s most ornate chapels – a portion of a black granite column reputed to be that to which Jesus was bound as he was flogged by Roman soldiers.