“In his engrossing, passionately written new book, Rome: A Cultural, Visual, and Personal History, Robert Hughes, the former art critic for Time magazine and the author of critically acclaimed works like The Fatal Shore, gives us a guided tour through the city in its many incarnations, excavating the geologic layers of its cultural past and creating an indelible portrait of a city in love with spectacle and power . . . The reader need not agree with Mr. Hughes’s acerbic assessments or even be interested in Rome as a destination on the map to relish this volume, so captivating is his narrative. Although his book is a biography of Rome, it is also an acutely written historical essay informed by his wide-ranging knowledge of art, architecture and classical literature, and a thought-provoking meditation on how gifted artists (like Bernini and Michelangelo) and powerful politicians and church leaders (like Augustus, Mussolini and Pope Sixtus V) can reshape the map and mood of a city. . . . razor-sharp portraits . . . intriguing asides . . . vigorous, pictorial prose.” —Michiko Kakutani, New York Times
“A fascinating personal history of the Italian capital, “Rome” begins with an exegesis on the founding myth of Romulus and Remus and ends with a rant about how the city has lost its “Dolce Vita”-era glory.” —Stephen Heyman, New York Times Magazine blog
“. . . freewheeling, massive, magisterial . . . It’s very much, as billed in the subtitle, a “personal” history—one animated by historical persons and personalities as seen through the personality of the author. . . . our guide conjures up a well-known work of genius and makes it new, moving effortlessly from biography to art to engineering as he illuminates its every detail.” —Will Heinrich, New York Observer
“Ever since Livy dipped his quill and Gibbon marked his proofs, histories of Rome have been a dime a dozen. But there is only one Robert Hughes—only one writer, it’s safe to say, who would describe the ancient city as ‘Calcutta on the Mediterranean’ and then convince you of the rightness of that vision. . . . This is vintage Hughes, and reading his strenuous, argumentative, vitally impassioned prose you are reminded just how insipid, prim, and nervously conventional most history and art history writing is. Hughes could be writing about Lady Gaga’s choice of nail polish or manuals of plumbing and it would still be tonic. In fact, being the kind of writer whose head—even when communing with Michelangelo—is never lost in the stars, he does write about Roman plumbing, and reminds us that the word itself has everything to do with the lead from which its engineering masterpieces were fashioned. So although the ostensible subject of his book is the Eternal City, the real tour d’horizon it offers is a walking tour of the hard-structured, brightly lit, and capacious expanse that is the Hughes brain. It’s an organ that is Olympian—in that it can survey, in a unified vision, the rolling sweep of the centuries—but without any other sort of lofty detachment. . . . [N]o one will put this book down feeling deprived of historical company, for it is essentially history as portrait gallery—almost all of it painted with unforgettable sharpness. . . . Without laboring the point, Hughes catches in this exhilarating, rambunctious book something that has eluded more solemnly exhaustive accounts.” —Simon Schama, Newsweek
“Robert Hughes wastes no time luring readers into his love affair with Rome. . . . Like the Rome of his description, Hughes is driven by appetites and passions. His big books are feasts of information, opinion and fascinating detail—too much to digest but nourishing even in small bites. Rome is one of those. It’s a sweeping, personal history that races from the city’s beginnings to its current state as a woefully crowded tourist attraction. Fortunately, the author pauses for Hughes-style reflection. No ordinary tour guide, he makes the story compelling by focusing on art. With typical bravado, wit and rage, he puts art and architecture in sharp social, political, religious and historical context.” —Suzanne Muchnic, Los Angeles Times
“With elegance and beauty, Hughes majestically conducts us through the rich history of Rome . . . In a delightful guide, Hughes—whose The Shock of the New was recently named by Britain's Guardian one of the 100 greatest nonfiction books of the 20th century—provides a sometimes cantankerous but always captivating tour through the remarkable depth and breadth of the ancient city.” —Publisher’s Weekly (starred)
Excerpt. © Reprinted by permission. All rights reserved.
1
Foundation
Although nobody can say when Rome began, at least there is reasonable certainty of where it did. It was in Italy, on the bank of the river Tiber, about twenty-two kilometers inland from its mouth, a delta which was to become the seaport of Ostia.
The reason no one can pinpoint when the foundation took place is that it never ascertainably did. There was no primal moment when a loose scatter of Iron and Bronze Age villages perched on hills agreed to coalesce and call itself a city. The older a city is, the more doubt about its origins, and Rome is certainly old. This did not prevent the Romans from the second century b.c.e. onward coming up with implausibly exact-looking dates for its origins: Rome, it used to be asserted, began not just in the eighth century but precisely in 753 b.c.e., and its founder was Romulus, twin brother of Remus. Here a tangled story begins, with many variants, which tend to circle back to the same themes we will see again and again throughout Rome's long history: ambition, parricide, fratricide, betrayal, and obsessive ambition. Especially the last. No more ambitious city than Rome had ever existed, or conceivably ever will, although New York offers it competition. No city has ever been more steeped in ferocity from its beginnings than Rome. These wind back to the story of the city's mythic infancy.
In essence, the story says that Romulus and Remus were orphans and foundlings, but they could claim a long and august ancestry. It stretched back to Troy. After Troy fell (the legendary date of this catastrophic event being 1184 b.c.e.), its hero Aeneas, son of Anchises and the goddess Aphrodite or Venus, had escaped the burning city with his son Ascanius. After years of wandering on the Mediterranean, Aeneas fetched up in Italy, where Ascanius (now grown up) founded the city of Alba Longa, not far from the eventual site of Rome, traditionally in about 1152 b.c.e.
Here, Ascanius' progeny began a line of kings, his descendants. The last of the line was called Amulius, who wrested the throne of Alba Longa from its rightful occupant, his elder brother, Numitor.
Numitor had one child, a daughter named Rhea Silvia. Amulius the usurper used his convenient, newly seized power to make her a vestal virgin, so that she could not produce a son, who might be not only Amulius's heir but also a deadly threat to him. But the war god, Mars, no respecter of either virginity or vestality, impregnated Rhea Silvia. Amulius, realizing she was pregnant, had Rhea Silvia imprisoned; presently she died of ill treatment-but not before delivering her twin sons, Romulus and Remus.
We have the great historian Livy's word for what happened next. Amulius ordered his men to fling little Remus and Romulus into the Tiber. But the river had been in flood, and its waters had not yet receded. So, rather than wade right out into the current and get uncomfortably wet, they merely dumped the babies into the shallower floodwater at the river's edge, and went away. The level of the Tiber dropped some more, stranding the twins in the mud. In this state, wet but still alive, they were found by a she-wolf, which benignly nourished them with its milk until they were old and strong enough to be brought to adulthood by the royal herdsman Faustulus. (Most visitors, when they see the bronze sculpture in the Museo dei Conservatori of the Founding Babies sucking on the pendulous conical teats of the lupa, naturally think it is one original piece. It is not; the wolf is ancient and was cast by an Etruscan craftsman in the fifth century b.c.e., but Romulus and Remus were added c. 1484-96 by the Florentine artist Antonio del Pollaiuolo.)
In any case, in the myth they eventually overthrew Amulius and restored their grandfather Numitor to his rightful place as king of Alba Longa. And then they decided to found a new settlement on the bank of the Tiber, where chance had washed them ashore. This became the city of Rome.
Who would be its king? This was settled by an omen in the form of a flight of birds of prey. Six of them appeared to Remus but twelve to Romulus, thus marking him-by a majority vote from the gods above, as it were-as the indisputable ruler of the new city.
Where exactly was it? There has always been some disagreement over the original, "primitive" site of Rome. There is no archaeological evidence for it. It must have been on one of the Tiber's banks-which one, nobody knows. But the district is famous for having had seven hills-the Palatine, the Capitoline, the Caelian, the Aventine, the Esquiline, the Viminal, and the Quirinal. Nobody can guess which one it may have been, although it is likely that the chosen site, for strategic reasons, would have been a hill rather than flatland or a declivity. Nobody was keeping any records, so no one can guess which one of these swellings, lumps, or pimples was a likely candidate. "Tradition" locates the primitive settlement on the modest but defensible height of the Palatine Hill. The "accepted" date of the foundation, 753 b.c.e., is of course wholly mythical. There was never any possibility of authenticating these early dates-of course nobody was keeping any records, and since later attempts at recording the annals of the city, all belonging to the second century b.c.e. (the writings of Quintus Fabius Pictor, Polybius, Marcus Porcius Cato), only began to be made approximately five hundred years after the events they claim to describe, they can hardly be deemed trustworthy. But they are all we have.
Supposedly, Romulus "founded" the city that bears his name. If things had gone differently and Remus had done so, we might now talk about visiting Reem, but it was Romulus who, in legend, marked out the strip of land that defined the city limits by hitching two oxen, a bull and a cow, to a plow and making a furrow. This was called the pomerium and would be the sacred track of the city wall. This, according to Varro, was the "Etruscan rite" for the founding of a city in Latium. Ritual demanded that the furrow, or fossa, the small trench of symbolic fortifications, should lie outside the ridge of earth raised by the plowshare; this ridge was called the agger or earthwork. The walls of the city were raised behind this symbolic line, and the space between it and the walls was scrupulously kept free of building and planting, as a defensive measure. The area within the pomerium would come to be called Roma quadrata, "square Rome," for obscure reasons. Evidently Remus took exception to it, for reasons equally unknown. Perhaps he objected to Romulus' assuming the right to determine the shape of the city. He showed his disagreement by jumping over the furrow-an innocent act, one might think, but not to Romulus, who took it for a blasphemous expression of hostile contempt and murdered his twin brother for committing it. History does not tell how Romulus may have felt about slaying his only brother over a perceived threat to his sovereignty, but it is perhaps significant that the sacred group that ran around the pomerium at intervals to assure the fertility of Roman flocks and women in later years was known as the Luperci or Wolf Brotherhood.
So the embryo city, rooted in an unexplained fratricide, had one founder, not two, and as yet no inhabitants. Romulus supposedly solved this problem by creating an asylum or a place of refuge on what became the Capitol, and inviting in the trash of primitive Latium: runaway slaves, exiles, murderers, criminals of all sorts. Legend makes it out to have been (to employ a more recent simile) a kind of Dodge City. This can hardly be gospel-true, but it does contain a kernel of symbolic truth. Rome and its culture were not "pure." They were never produced by a single ethnically homogeneous people. Over the years and then the centuries, much of Rome's population came from outside Italy- this even included some of the later emperors, such as Hadrian, who was Spanish, and writers like Columella, Seneca, and Martial, also Spanish-born. Celts, Arabs, Jews, and Greeks, among others, were included under the wide umbrella of Romanitas. This was the inevitable result of an imperial system that constantly expanded and frequently accepted the peoples of conquered countries as Roman citizens. Not until the end of the first century b.c.e., with the reign of Augustus, do we begin to see signs of a distinctively "Roman" art, an identifiably "Roman" cultural ideal.
But how Roman is Roman? Is a statue dug up not far from the Capitol, carved by a Greek artist who was a prisoner-of-war in Rome, depicting Hercules in the style of Phidias and done for a wealthy Roman patron who thought Greek art the ultimate in chic, a "Roman" sculpture? Or is it Greek art in exile? Or what? Mestizaje es grandeza, "mixture is greatness," is a Spanish saying, but it could well have been Roman. It was never possible for the Romans, who expanded to exercise their sway over all Italy, to pretend to the lunacies of racial purity that came to infect the way Germans thought about themselves.
Several tribes and groups already inhabited the coastal plain and hills around the Tiber. The most developed in the Iron Age were the Villanovans, whose name comes from the village near Bologna where a cemetery of their tombs was discovered in 1853. Their culture would mutate by trade and expansion into that of the Etruscans by about 700 b.c.e. Any new settlement had to contend, or at least reach an accommodation, with the Etruscans, who dominated the Tyrrhenian coast and most of central Italy-a region known as Etruria. Where they originally came from remains a mystery. In all likelihood, they had always been there, despite the belief held by some in the past that the Etruscans' remote ancestors had migrated to Italy from Lydia, in Asia Minor. The most powerful Etruscan city close to Rome was Veii, a mere twelve miles to its north-though the cultural influence of the Etruscans spread so wide that they made themselves felt far in the south, in what later became Pompeii. Until they were eclipsed by the ris...
