BSR at the Sheffield Digital Humanities Congress

With eighteen sessions and three plenary talks, the biennial Digital Humanities Congress (Sheffield, 6-8 September 2018) presented a broad range of international projects and initiatives, highlighting technical solutions as well as considering critical theory and new perspectives and illustrating the enormous potential of digital media.

Clockwise from top left: Patrick O’Keeffe using digital eye-tracking technology in Rome’s baroque churches (photo by Michael Snelling); image from the John Marshall Archive research project website (courtesy BSR Photographic Archive); computer visualisation (courtesy Portus Project); image from the Ward-Perkins photographic archive (courtesy BSR Photographic Archive).

We showcased a selection of BSR projects representing the breadth and range of our interests: Graeme Earl (King’s College London), spoke about the linking of creative digital practices to architectural studies and augmented reality; Eleonora Gandolfi (University of Southampton) on the archaeology of Portus and the related MOOC (Massive Open Online Courses); Alessandra Giovenco (BSR Archivist) on creating a Library and Archive digital portal; and Patrick O’Keeffe (BSR Giles Worsley Rome Fellow 2017-18) on eye-tracking architecture.

The Library and Archive’s Digital Humanities Project aims to present our digital initiatives in a single portal, facilitating access, engaging with a wider public, generating interactive and collaborative research and integrating local and external resources. Many of our concerns were addressed in the presentations as seen below.

Sustainability

This has been an important issue for us since 2009 and is still today one of our priorities.

The problem of the funding and sustainability of digital projects and websites was addressed in the presentation by Jamie McLaughlin (University of Sheffield) who outlined a provocative and innovative solution suggesting that websites should be ‘retired’ when the funding has run out, stripped  down to the essential features, eliminating ‘bells and whistles’ but continuing to allow researchers access to the data.

He also suggested that websites ‘die’ if funding does not provide for long-term development, enhancement and maintenance. In our presentation we observed that projects dependent on individuals as opposed to institutions are at risk of obsolescence and neglect.

Metadata Curation

In the past, the quantity of metadata has often prevailed over quality on the assumption that the more we digitise, the better. However, here at the BSR we have maintained from the outset that high quality metadata is essential to facilitate high quality research.

Jo Pugh (The National Archives, Kew) questioned the merits of long descriptions of archival records and how they influence research.

Patrizia Rebulla (Archivio Storico Ricordi, Milan) discussed the role of the archivist and that of the researcher which, for them, should be distinct – the time (and cost) of cataloguing should be carefully assessed.

Data Model

The integration of our digital content originating from varying sources – our Information Library System (ILS) and Archival Management Software – is a challenge that we are addressing.

In describing the Casa Ricordi archive project, Patrizia Rebulla raised many issues on the importance of mapping data and ontologies as well as creating a robust and fit-for-purpose data model.

Standards

Another priority for us has always been the adoption of international standards for cataloguing and publishing digital content to ensure interoperability.

Fiona Candlin (Birkbeck College) highlighted the difficulty when national standards do not exist, and the problems their project encountered attempting to bring together information from 4,000 UK museums, the data of which was either inconsistent or incomplete or both.

Digital literacy

The use or misuse of digital data by researchers has raised the issue of digital literacy and the importance of teaching students how to critically evaluate and analyse digital content, given ‘the abundance and lack, at the same time, of meaningful quantity and meaningless repetition’, as pointed out by Elizabeth Williamson (University of Exeter) and Bob Shoemaker (University of Sheffield) who described strengths and weaknesses of the Digital Panopticon website

Crowdsourcing

Community engagement is another aspect of our Digital Humanities strategy. The attempt to create a scholarly community through the participation in a research project on our collections has already been made through the John Marshall Archive Project website which is currently accessible only to the research team. This is a perfect example of where crowdsourcing will be able to add real value to a research project.

Crowdsourcing tools were a frequent topic throughout the conference, giving us useful case studies that will inform our decision on how we might develop this practice in the future. The potential of crowdsourcing platforms in helping institutions enhance digital content and the conversations generated by the user engagement experience was addressed in Mia Ridge’s (The British Library) presentation.

Impact and engagement

The Congress ended with fireworks! Sarah Kenderdine (École Polytechnique Fédérale de Lausanne) enthralled the audience with her extraordinary exhibitions in Australia and Asia using the latest technology and augmented reality to engage museum visitors in a heightened, interactive experience, for example using motion-capture technology with Kung Fu masters  https://vimeo.com/163153865

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The conference gave us much food for thought which is helping us to understand the digital landscape and inform the positioning of the BSR in the digital world today.

 

By the Library and Archive team: Valerie Scott (Head Librarian), Beatrice Gelosia (Deputy Librarian), Alessandra Giovenco (Archivist).

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Vergil, political economy and parmesan cheese

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Lavinia Maddaluno was Rome Fellow at the BSR in 2017-18. Here she speaks about some of her current research questions on the history of the use of classics in eighteenth-century economic writings.

 

‘Omnis feret omnia tellus’. This sentence means ‘every land shall bear all fruits’. It appears in Vergil’s fourth Eclogue, and is part of Vergil’s utopian description of a future and autarkic Golden Age, when soil will produce everything, making trade and commercial exchanges unnecessary:

‘Hinc ubi iam firmata virum te fecerit aetas, cedet et ipse mari vector, nec nautica pinus mutabit merces; omnis feret omnia tellus. non rastros patietur humus, non vinea falcem’

‘Next, when now the strength of the years has made thee man, even the trader shall quit the sea, nor shall the ship of pine exchange wares; every land shall bear all fruits. The earth shall not feel the harrow, nor the vine the pruning hook’ (transl. Henry Rushton Fairclough, 1916).

Being an early modern historian and not a classicist, I must say I first encountered this phrase in the negative form of ‘non omnis feret omnia tellus’ when I was completing my PhD thesis on the intersection of science and political economy in the eighteenth-century Duchy of Milan (Cambridge University, 2017).

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More specifically, I came across it while reading a book on the production of parmesan cheese written by the first chair in agriculture at Pavia University, the botanist Giuseppe Bayle-Barelle in 1804. I started thinking further about it during my Rome Fellowship at the BSR (2017-2018), especially thanks to the continued exposure to various discussions on classical and archeological themes, something I was admittedly not that familiar with before my BSR sojourn.

But what can the use of this phrase tell us about political economy and, most importantly, why does it appear in a text on cheese?

Trying to answer my research questions, I found out that the negative version of Vergil’s ‘motto’ occurred in plenty of other eighteenth/early nineteenth-century Italian texts on political economy. I continued to enquire, and discovered that a whole history of the appropriations of this phrase in early modern Italian political economy treatises has yet to be written! Below are just some considerations which I hope to expand further and more in depth in article form over the next year or so.

Political economy is a field of investigation whose formal foundation dates back to 1754, in Naples, when the philosopher Antonio Genovesi was entrusted the first chair in economia politica. In short, political economy was about the strategies to produce, preserve, manage and increase the wealth of a state. Debates on political economy in eighteenth-century Europe often polarised, one of the most renowned polarisations being the Physiocracy/Mercantilist divide. Put simply, there was opposition between those political economic schools which claimed that the origin of wealth was to be found in agriculture exclusively, that is, in soil production, and those who instead argued that manufacturing production was also needed to assure the economic competitiveness of a state in the marketplace. It was also about a specific perspective on state intervention, and on the matter of grain trade in particular, with Physiocracy being inclined towards laisser-faire policies, and Mercantilism towards the encouragement of state intervention in the regulation of prices. However, such opposition not only obscured the idea of how wealth is produced, but also reflected a much more complex model of how human beings came to understand nature and the use of natural resources.

The context in which ‘non omnis feret omnia tellus’ kept appearing is that of pro-mercantilist writings which were critical of Physiocracy’s focus on agriculture, as well as of its belief in the universal applicability of political economic models to any state, independently of its geographical, historical, climatic and agricultural features. The use of the motto ‘non omnis feret omnia tellus’ was a way to acknowledge the limits of nature’s material productions, and stress the utopian character of autarky.

This is definitely the case with Bayle-Barelle, who used Vergil to shed light on the failure of Physiocratic models of wealth production, and suggested that states should focus on their economic strengths (and cheese in particular, in the case he is making) and import what they were unable to produce, rather than hold to the motto ‘omnis feret omnia tellus’ in the hope of being totally self-sufficient. Writing under Napoleon, Bayle-Barelle saw parmesan cheese as the epitome of northern Italian agricultural expertise, and a competitive product to exchange on the international market. Why dream of a self-generating and versatile soil or of acclimatizing exotic plants in greenhouses, if we can rely on the export of indigenous and local economic productions such as parmesan and simply import what we cannot produce? Bayle-Barelle was not the only one who appropriated Vergil’s sentence. A few decades earlier, Antonio Genovesi, the founder of political economy, had used it in his Lezioni di Commercio (1769) to shed light on the ‘necessity of commerce’, as opposed to visions of the self-enclosed state. The sentence also appeared in the Dialogues sur le commerce des blés (1770) by Ferdinando Galiani, Neapolitan ambassador in France in the 1760s, as a critical response to the Physiocratic obsession with agriculture as the exclusive origin of wealth. It also became a Republican and patriotic motto, which featured in the periodical Monitore di Roma (1798), in contributions written by the Jacobins Francesco Piranesi (son of the renowned engraver Giovanni Battista) and Giovanni Fiorani to restate the necessity of identifying the true agricultural potential of the short-lived Napoleonic Roman Republic (1798-1799).

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F. Piranesi, Monitore di Roma, 4th October 1798, p.39. Sourced from: www.monitorediroma.it

At a time when cosmopolitanism has failed and has been replaced by idealistically self-sufficient models of wealth production and autarkic and nationalistic practices of the political, a study of the appropriations of Vergil’s motto in political economy treatises seems to be timely and relevant. Such study would shed light on the history of the use of classics in eighteenth-century economic writings, but also, more broadly, on how eighteenth-century economic thinkers situated the circulation of knowledge and practices of exchange between different cultures at the centre of economic and social development. I will continue this research in autumn 2018 as a Brill Fellow at the Scaliger Institute (Leiden), working on discourses on the import of wind technologies from the Netherlands to northern Italy, as part of a broader histoire croisée of scientific practices and ideas of political economy between Italy and Europe in the early modern period.

Lavinia Maddaluno (Rome Fellow 2017-18)

BSR alumna exhibits at Pompeii and Herculaneum

Back in 2008, artist Catrin Huber visited Pompeii and Herculaneum for the very first time with her fellow BSR award-holders under the expert guidance of former BSR Director Andrew Wallace-Hadrill. This is when Catrin first fell in love with Roman wall painting.

Fast forward to 2018, and the seeds of an idea first sown during her BSR residency have come to fruition in the form of two site-specific contemporary art installations at Herculaneum and Pompeii.

The opening at Pompeii took place earlier in July in the Casa del Criptoportico. In the cryptoporticus itself, Catrin’s painted colonnade sits in dialogue with the Second Style wall paintings (inspired by episodes from the Trojan War) and incorporates replicas of everyday objects such as oil lamps.

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The second installation can be found in the area of the house containing one of the very few ‘private’ baths documented in Pompeii.

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A whole team of researchers was behind the project Expanded Interiors based at Newcastle University where Catrin is Senior Lecturer in Fine Art. The team included archaeologists Dr Thea Ravasi (Research Fellow at the BSR), Professor Ian Haynes (co-director of the BSR-Newcastle University Lateran Project) and Dr Alex Turner (Newcastle University). Their combined expertise was invaluable when it came to producing scans of the houses as well as the altered 3D replicas of Roman objects.

At the exhibition opening, speeches were given by BSR Honorary Fellow and Director of the Parco Archeologico di Pompei Massimo Osanna, as well as the Director of the contemporary art museum Museo Madre in Naples, who both discussed the value of an interdisciplinary dialogue when approaching archaeological sites.

37233072_10160680685475578_2726541695876333568_nThis dialogue between the historic and the contemporary can also be seen in the exhibition in Herculaneum which opened earlier this year. Here the installation focuses on objects, with some artistically altered replicas of rarely-seen artefacts from the storerooms of Herculaneum. The chosen location was the Casa del Bel Cortile, a significant site in the history of the excavations as it was used as a small antiquarium when the site was under the direction of the renowned Amedeo Maiuri.

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The Expanded Interiors exhibition rounds off a year of exciting initiatives for the Parco Archeologico di Ercolano and the Herculaneum Conservation Project to mark the 90th anniversary of the Scavi Nuovi initiated by Maiuri in 1927.

Both exhibitions are open to the public until January 2019.

You can read more from the Guardian here and watch a feature from RAI News here (from c. 18 minutes).

Expanded Interiors is led by Newcastle University with kind support from the Newcastle University Institute for Creative Arts Practice. The Arts and Humanities Research Council (AHRC), Parco Archeologico di Pompei, Parco Archeologico di Ercolano, Herculaneum Conservation Project and Art Editions North are project partners.

Photos by Sophie Hay.

 


If you are interested in Herculaneum more generally and wider issues of conservation, take a look at the recently published volume Protective Shelters for Archaeological Sites, the proceedings of a collaborative symposium which took place at Herculaneum in 2013.

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An update from the Lateran Project

As an archaeologist, I am used to seeing transformation in many contexts and in many ways, but nothing has excited me so much as what one can witness underground in one of the most hidden, albeit historically significant areas of ancient Rome: the Lateran quarter on the Caelian. Thanks to the generous support from Mr Peter J. Smith, this year I had the opportunity to spend six months on a post-doctoral fellowship at the British School at Rome, working as a research assistant to the Lateran project, under the direction of Professors Ian Haynes (Newcastle University) and Paolo Liverani (University of Florence).

One of the aims of my research was to get a greater understanding of the excavations underneath the Lateran baptistery, where the archaeology reveals the complex series of transformations that took place in this quarter of Rome from the 1st century up to the early 4th centuries AD. The development of this part of the Caelian is well known: occupied by luxury residences for the Roman elite during the 1st and 2nd centuries AD, the area was transformed by Septimius Severus, who ordered the construction of the barracks for his horse guards (the Castra Nova Equitum Singularium). Next to the barracks, at some point between the reign of Septimius Severus and Caracalla, a bath building was constructed that underwent several transformations during the 3rd century AD.  The Severan imprint on the area was completely wiped out by the Emperor Constantine, who dismantled the corps of the equites singulares and gave the land where the barracks and the baths were built to the church. This event marked the beginning of what we can still see today, as the barracks and the baths were completely dismantled, and replaced by the construction of the Constantinian basilica and of the baptistery. As part of my research on the Severan baths, I was able to suggest a new phasing for the building and get a greater understanding of its design and final layout.

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The remains of the Severan bath complex and of its Late Antique transformations under the Lateran Baptistery (photo: A. Turner ©The Lateran Project)

I am spending the remaining time of my fellowship in Rome working on the future development of the Lateran project. After six years of intense surveying of the excavations under the Lateran basilica and baptistery, the Lateran team has now expanded its investigations beyond the limits of the basilica, to get a better understanding of how political, social and religious changes that occurred in Rome during the Imperial age reflected in the transformation of this portion of the Caelian hill. The new investigation is taking place within the property of the Azienda Ospedaliera San Giovanni-Addolorata and is carried out as part of an agreement between all the institutions that are currently involved in the area: the Soprintendenza Speciale Archeologia, Belle Arti e Paesaggio di Roma, the University of Florence (IT), Newcastle University (UK) with the British School at Rome, the Seinan Gakuin University of Fukuoka (JP) and the Azienda Ospedaliera San Giovanni-Addolorata.

The portion of the Caelian occupied by the modern Azienda Ospedaliera underwent huge transformations during the Roman era: situated outside the Servian walls and the pomerium of the city, but easily and quickly accessible from the city centre and conveniently set on a raised plateau, the area was cut across by the via Caelimontana and by the via Tuscolana. The excavations carried out between 1957 and 1978 within the property of the Azienda Ospedaliera have revealed a complex of properties that were distributed around this important crossing point of the Caelian and that were variously transformed from the Imperial age to Late Antiquity.  During the 1st and the 2nd centuries AD, a series of richly decorated aristocratic houses were built. Among these properties were the horti Domitia Lucilla, mother of Marcus Aurelius.

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Inscription on a water lead pipe, mentioning Domitia Lucilla, found in the Lateran area (photo: T. Ravasi ©The Lateran Project)

The property, where the future emperor spent his early years until his adoption by Antoninus Pius, likely encompassed a residential building with a richly decorated peristyle and a small bath complex and an area destined for the production and storage of wine.

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The area underneath Corsia Mazzoni in the old Ospedale di San Giovanni (photo: T. Ravasi ©The Lateran Project)

If the impact of the Severan and Constantinian transformations is broadly understood in the eastern part of the Caelian, it is however still unclear what role it had in the development of the residential properties found in the Azienda Ospedaliera di San Giovanni-Addolorata.

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The area underneath the Ospedale delle Infermiere (photo: T. Ravasi ©The Lateran Project)

It is likely however that the area kept, at least partially, its residential nature. As part of the 2018 fieldwork, the Lateran team has completed a laser scan survey and comprehensive reassessment of the stratigraphy of the structures in three out of four of the excavated areas within the property of the Azienda Ospedaliera, providing a foundation for further interpretation of the area.

Thea Ravasi (BSR Research Fellow)

2017-18: our year in events

This week we closed our 2017—18 events programme rounding off the rich programme of events curated by Assistant Director Tom True that we have proudly hosted here at the BSR over this academic year.  In this blog we look back over what has been a fantastic year, illustrated by snapshots that give just a taster of the varied, multidisciplinary and interdisciplinary programme we have presented over the past year.

We began the first term with the workshop Digital Humanities and the Roman Campagna, a study day uniting scholars working on the landscape of Rome, focusing on the use of new digital technologies for research and publication. With presentations by BSR staff (former Director Christoper Smith, Assistant Director Tom True, Librarian Valerie Scott and Archivist Alesandra Giovenco), this lively workshop set the year’s focus on the importance of Digital Humanities and the challenges of transforming our unique resources into digital assets.

Friday 27 October 2017 saw us host Lost and Found: Places, Objects and People, a workshop that formed part of the international Being Human Festival. The workshop brought together experts from various backgrounds to discuss the importance of cultural preservation. Below are links to the video recordings of the workshop, a collaboration between the British Council, the British Embassy in Rome and the BSR.

In November BSR Research Fellow Emily Michelson (St Andrews) presented the paper ‘Walking Conversionary Rome’, which was all the encouragement needed for award-holders and BSR staff to hit the streets of Rome on foot, in the company of Emily herself and expert alumnus Piers Baker-Bates (Rome Scholar 2002-3). Together we traversed the most celebrated pilgrimage route, the Giro delle Sette Chiese (link to blog written by Assistant Director Tom True), the route connecting the Seven Pilgrim Churches of Rome.

'The pilgrims'

As usual the term culminated with the December Mostra, the first exhibition showcasing the work of our resident artists and architect. This term we were even treated to a live re-enactment of the ancient festival of the Lupercalia on the steps of the BSR! The first mostra was a grand success and set the bar high for the forthcoming mostre.

The second term began with an inaugural lecture given by Director Stephen Milner, who became the BSR’s sixteenth Director in October. Stephen presented a paper entitled  ‘And did those feet in ancient time.’ Meditations on movement.’

The lecture perpetuated the themes of walking and movement in the forms of both literal and figurative feet, along with the associated practices of walking and narration, as a starting point for examining the generative power of movement in the production of culture. You can listen to Stephen’s lecture here. To listen to Stephen’s lecture click here.

It was with great excitement that at the beginning of February we welcomed Deborah Howard, Mary Laven and Abigail Brundin (Cambridge) to present their findings on on Domestic Devotions. The Place of Piety in the Italian Renaissance Home, 1400-1600, a special event to concluding their five-year European Research Council project. In the way of a three-part presentation comprising research from the Faculties of History, Architecture and History of Art at the University of Cambridge, this multidisciplinary presentation gave us a glimpse through the key-hole into the spiritual lives of Renaissance Italians.

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The term continued with a fantastic line up of a huge variety of events including Richard Wistreich from the Royal College of Music on fighting and singing in the Renaissance, the 2018 Felicity Powell lecture by BSR alumnus and artist Nicholas Hatfull, and conferences by John Harrison (Open) and Krešimir Vuković (BSR; Oxford), concluding with the March Mostra, a brilliant showcase of the second terms artists in residence.

As usual, Cary Fellow and director of the City of Rome Postgraduate Course, Robert Coates-Stephens curated a fantastic City of Rome lecture series. Over the duration of the programme, which saw eleven postgraduate students traverse and penetrate the topography of Rome, we were treated to six fantastic lectures on the ancient city.

 

Kicking off the City of Rome Lecture Series, was our very own Rome Fellow 2017–18 Fellow Krešimir Vuković (Oxford), a graduate of the City of Rome course himself! Kresho introduced us to ‘Early Rome: myth, history and the environment’,  providing the the ideal introduction to the early beginnings of the city.

The third term also saw the launch of our 2018–19 Architecture programme, entitled Brave New World: New Visions in Architecture. 

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This new programme, curated by Marina Engel (Architecture Programme Curator), will investigate the nature of some of the changes that are being brought about by the younger generation of architects and designers. The programme was launched in May by Reinier de Graaf who presented a paper entitled ‘The century that never happened’ . See below for Marina’s introduction to the programme.

June saw us host no less than four conferences and the end of fellowship presentations by our long term humanities fellows. Lavinia Maddaluno (‘Materialising political economy: olive oil, patronage and science in eighteenth-century Rome’), Niccolò Mugnai (‘Bridging the Greco-Roman Mediterranean: architectural, artistic, and cultural interconnections’) and Helena Phillips-Robins (‘Dante and medieval weeping: literary text and historical religious practice’).

 

On 15 June the last mostra of the academic year opened. The June Mostra as usual was a great success, a showcase of collaboration between our artists and the conversations between their works.

 

It is not possible to mention everybody in such a short space but thank you to every participant or visitor to each one of our events. More specifically thanks must to go Assistant Director Tom True for curating such a diverse and lively programme, and to all who helped with organisation of every event. We are already looking forward to a fresh set of events beginning in September! New programme coming soon…

Alice Marsh (Communications and Events).  Photos by Antonio Palmieri, Chris Warde-Jones and Roberto Apa.

A look back at the June Mostra…

In June we saw the final Mostra of our 2017–18 programme, in which our seven Fine Arts award-holders put together an exhibition of works produced during the course of their residencies. Here we bring you a selection of photographs of works from the exhibition. You can read more about the practice of each artist by clicking on their name.

Josephine Baker (Sainsbury Scholar in Painting & Sculpture)

 

Oona Grimes (The Bridget Riley Fellow)

 

Yusuf Ali Hayat (Helpmann Academy Resident)

 

Damien Meade (Abbey Fellow in Painting)

 

John Rainey (Arts Council of Northern Ireland Fellow)

 

John Robertson (Abbey Scholar in Painting)

 

Murat Urlali (National Art School, Sydney, Resident)

 

Photos by Roberto Apa

 

Stanzas of recollection

This blog comes from Pele Cox the inaugural John Murray / Keats-Shelley Memorial Association Creative Writing Resident (October-November 2017; April-May 2018). In this post Pele shares with us the poem that she wrote and performed at the June Mostra.

I was asked to write this poem by Marta, Visual Art Residency and Programme Curator, as a homage to the artists for the recent Mostra. I decided to write a collage, using snatches from the favourite poems that some of the artists sent me. These are interwoven with my feelings of loss and gain at my own departure from the British School at Rome, which is communicated as a series of rooms (stanze).

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Stanzas

I

Leave the door ajar.

Cicero says if you have a garden and a library, you have everything you need.

But give me a studio and a courtyard.

Leave the door ajar and let me enter in

 

where

words can bloom

mid stripped walls, the blue guitar,

where the mosaic hours

burn

the music of gravel and of rain.

 

My love is of a birth as rare 

As is for object strange and high

it was begotten by despair

Upon impossibility.

 

Leave the door ajar

let me look inside

a sight within

where

words can bloom

mid thorns and scattered chair

 

 

II

I have a room of my own,

With twin steel nests, a desk, the curved chair with wings.

My knees to the books and back again,

the trees beyond and studios beneath,

and artist strange and rare.

 

You walk in. “This room is not going to last.”

We are caretakers of its ending: a shutter,

a camera, exposed.

I reach for the chair again

where I sat for Pushkin, for Sholokov,

where I sat for the things I knew would pass

on.

 

Lady disturbed in her bed-

your thoughts of it?

Light is it a body

 

Leave the door ajar

and let me enter in.

 

In the smoke after twilight

on a milk white steed

Michelangelo indeed

could have carved out 

your features.

 

where the mosaic hours

burn

the music of gravel and of rain.

 

 

III

When I put my hands on your body

on your flesh I see the history 

of that body.

 

Leave the door ajar

and let me enter in.

 

Not just the beginning of its forming 

in that distant lake

but all the way beyond its ending.

 

This room is not going to last

we are the inmates at

its ending.

 

And yet I quickly might arrive

where my extended soul is fixed.

 

It is finished now

this room,

a stanza of recollection.

 

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Text by Pele Cox, photo by Antonio Palmieri.