Near Orvieto on a ridge looking over a deep valley into Southern Tuscany stands a sinister looking castle in the mock-Gothic style of the late nineteenth century. It once belonged to the immensely rich Cahen family, still remembered in Orvieto where a square is named after them. The castle was intended to be the country home of Conte (later Marquess) Edoardo Cahen and his beautiful Anglo-Greek wife Christine, but neither of them were ever to live there. Édouard Cahen d’Anvers died in Rome in 1894 before the castle was completely refurbished; she separated from him and died in Meran in 1884. Now Castle Cahen in Torre Alfina is uninhabited, used only for private functions.

Creepy Places to photograph in Tuscany: Cahen Castle, Torre Alfina, Orvieto, Italy

Edoardo Cahen, scion of the Cahens d’Anvers, belonged to the cosmopolitan Jewish European aristocracy – akin to royalty but with a lot more cash – that moved effortlessly from one country to another, spoke several languages fluently, had branches of the same family in several capitals, and having made their fortunes in banking, commerce and insurance were happy to devote themselves to cultural pursuits rather than huntin’, shootin and fishin’ which were the most common pastimes amongst the older established aristocracies around Europe. The Cahens d’Anvers became rich through the novel idea of using the pigeon post between Antwerp and Amsterdam to steal a march on their stock market rivals. Edoardo Cahen was granted a concession to build part of the Prati neighbourhood of Rome after the Unification of Italy.

Alice (L) and Elisabeth Cahen (R) by Renoir. Elisabeth was murdered in Auschwitz.

Edoardo’s three nieces were painted by Renoir. However, his brother Louis disliked the painting of Alice and Elisabeth so much it was hung in the servant’s quarters; what is more he quibbled and stalled over paying the bill, 1,500 francs (about 10-15,000 Euros today), arousing a previously un-manifested anti-Semitism in the artist. The Cahens may have been notable patrons of the arts, but this incident perhaps demonstrates that their taste was possibly rather arriviste.

Irène’s daughter Béatrice along with her husband and two young children died in Auschwitz as did her sister Elisabeth and other members of the family. The painting became part of Herman Göring’s illicit collection.

Irène Cahen, Eduardo’s neice by Renoir

Edoardo’s father Joseph Mayer Cahen d’Anvers had lent considerable funds to finance the Risorgimento, the unification of Italy, and a grateful nation bestowed upon him the title of Conte. The influence of capital on the fate of nations is often underestimated. Edoardo Cahen then developed a large area of Rome, even before it became the capital of Italy, near the Vatican an area that was to be known as Prati.

After these exertions, he decided to retire with his wife to a tumbledown castle near Orvieto in the wilds of the Umbria-Latium borders. She was Christine Spartali the younger of two highly educated and beautiful sisters who moved in the artistic beau-monde of 1860s London. Christine’s sister Marie was considered by the Pre-Raphaelites, ‘one of the most beautiful women of her generation’. Indeed the poet Algernon Swinburne was so smitten he exclaimed, ‘She is so beautiful I feel as if I could sit down and cry.’ It has to be said however that he was quite wont to weeping.

La Principesse, now in the Peacock Room, Freer Collection, Washington D.C.

Marie Spartali had been painted by Rossetti and went on to become a notable professional painter for the rest of her long life, whilst Christine modelled for Whistler in 1864 – she was the ‘Principesse du Pays de la Porcellaine’ possibly his most famous painting. She was photographed by the most famous portrait photographer of her day, Julia Margaret Cameron sometime between 1865 and 70 probably in the Isle of White where they were neighbours. Exposures were long in those days so it was hard to manifest unbridled joy, but there is no denying that she has a more than usual Pre-Raphelite mournfulness about her.

The long exposures required by Cameron’s photography were as of naught compared with posing for Whistler: twice a week for 6 months till eventually Christine fell ill and had to be replaced with a stand-in to finish the picture. Besides the Whistler picture (which Spartali père did not like and refused to purchase) many of Marie Spartali’s paintings of typically Pre-Raphaelite subjects seem to portray her younger sister. This obsessive interest in one model was common amongst the Pre-Raphaelites.

Christine Spartali, Julia Margaret Cameron about the time she met Cahen

Both Spartali girls were exceptionally tall (Marie was 190cm) and highly educated, but whereas the elder sister studied painting under Ford Maddox Brown and became a noted painter for the rest of her long life, Christine never pursued a career. Marie fascinated Edward Burne Jones who portrayed her in his Cupid Delivering Psyche – in both male and female roles; he was known for his exotic sexual tastes.

Cupid and Psyche, Burne-Jones

Christine married Cahen in 1869 in Chelsea despite the opposition of her Greek Orthodox father, the Greek consul general in London. How did they meet? Did Cahen move in the arty world of the Pre-Raphaelites and their like? We have no picture of him and I cannot find any account of his time in London. One of his brothers, Albert, was a reasonably well-known composer in France who studied under César Franck.

Path leading to the Cahen mausoleum through The Sasseto wood

At first they had enjoyed the cosmopolitan life in Naples, Rome and Paris where their 2 boys were born, but it seems in Rome the marriage began to go wrong and by 1880 she was attempting – unsuccessfully – to divorce Cahen. Her health deteriorated, possibly owing to the depressing prospect of a chatelaine’s life in darkest Umbria, but at least this illness brought about a partial reconciliation with her father. She took to chloral hydrate and alcohol. According to Rossetti’s brother Michael she died miserable and alone in Tirol of catalepsy in 1884, though it is more likely that the chloral carried her off aged just 37.

Edoardo Cahen, lover of Greco Roman art, took the bizarre decision to build himself a mock gothic mausoleum which would not have looked out of place in Highgate Cemetery.

Cahen bought Torre Alfina in 1881, but it took 20 years to make it truly habitable by which time Cahen and his wife were both dead and there was practically nothing left of the original mediaeval building – what we see today is a mock gothic pile.

Cahen Mausoleum

Cahen Mausoleum in Sasseto Wood

Rather like the fictional Moisè Finzi-Contini who built a monstrous sepulchre looking like a set from Aida that all Ferrara’s Jewish community found absurd, Edoardo Cahen lover of Greco Roman art took the bizarre decision to build himself a mock gothic mausoleum which would not have looked out of place in Highgate Cemetery (where incidentally Rossetti’s wife Elizabeth Sidall is buried).

It lies in the forest a kilometre or so below the mock Gothic castle which he never lived to see completed – he died in 1894 aged 62.

Peeking through the door to the open tomb

The earthly remains of Édouard Cahen d’Anvers, Born 1832 died, Rome, 3 May 1894 in the 62nd year of his life as it says on the coffin.

His body was embalmed by the Vatican’s own undertaker; his coffin placed on the top shelf in a vault designed to host generations of Cahens, it lies alone. The sons never brought their mother’s remains to the sepulcher. She was buried in the Spartali vault in London. The two sons left Italy with the introduction of the racial laws in 1938 when Jews were banned from owning property amongst other restrictions.

Edoardo Cahen’s coffin amongst on the top of otherwise empty shelves in the Mausoleum

photographer Patrick Nicholas is reflected in the water

The Writing on the Wall

The two Cahen sons left Italy following The Racial Manifesto of 1938 when Jews were stripped of their citizenship, barred from the professions, excluded from banking, education and the civil service; they were also liable to have their property confiscated. Italian Jewry had been emancipated during the process of the unification of Italy between 1860 and 1870, but now Mussolini determined to cement the Berlin Rome Axis by bringing Italian racial laws into line with Germany’s. 6,000 Jews emigrated 1938-1943. Of those that stayed something over 6,000  perished out of a pre-1938 population of  46,500.

Racial Laws in cartoon form with evident racialist stereoptypes in a fascist paper.

Rome Berlin Axis, Castiglione del Lago station, Trasimene

In 1943-4 the castle was used by the Germans as a command centre and suffered bomb damage as a result. The contents were auctioned off in 1969. Neither Cahen sons had children.

During wartime the mausoleum sacrificed its iron railings and recently the tomb was broken into, the grave stone smashed, the coffin desecrated.

The castle until recently belonged to an absentee landlord, the uncouth, corpulent, criminal bankrupt, Luciano Gaucci who starting from humble beginnings with a cleaning business in Rome, graduated to money laundering on a grand scale and onto wholesale corruption in the football business. He lists his enthusiasms as sex, horses and football.

The castle is now in the hands of a trust and is visitable.

The Cahen mausoleum

The abandoned swimming pool in the Sasseto grounds near the castle. Neither of the two Cahen sons had children.

Garden sculpture, the grinning faun in the Hermetic garden

The Hermetic garden

For those who have a taste for the sinister, we can include in our tour of places to photograph in Tuscany, the creepy Castle Cahen and its mock Gothic tomb in the woods.

Contact me for more info.

The post Creepy Places to photograph in Tuscany: Castle Cahen, a Mock-Gothic Style Mansion of the Late Nineteenth Century in Italy. appeared first on Camera Etrusca Photography Holidays & Workshops in Italy.

St John the Baptist’s Church, San Lorenzo Vecchio, Lake Bolsena, from afar

Until the 1920s malaria was the scourge of the Italy. Often entire communities were decimated because the origins of the disease were unknown. The name Malaria comes from the belief that bad air (lit. mal aria) was the cause. In English it was commonly called the Ague.

Church of San Lorenzo Vecchio

One solution was to move the town away from the pestilential air to higher ground, often to a healthy area called piano sano, the healthy plateau.   In the XVIII century much of the lakeside town of San Lorenzo was demolished, its stones transported to the heights above Lake Bolsena and re-erected as San Lorenzo Nuovo with an octagonal piazza. The church of St John the Baptist, however, was spared, though its roof has fallen in.

A mournful view of the church of St John the Baptist

The old town lay astride the pilgrims’ road to Rome known as the Via Francigena, the Frankish Road, which until the Reformation led all the way from Canterbury.

Surviving fresco

The church designed by Pietro Tartarino, and completed in 1590 is unusual. It is octagonal, and occupies a site once sacred to the Etruscan and  for whom Lake Bolsena was the centre of their cult, the Omphalos, the navel of their world. The XVIII century piazza in San Lorenzo Nuovo is also octagonal.

St John the Baptist’s church

Catholic miracles abound in places where the old religion proved particularly hard to eradicate. Nearby Bolsena has not one , but two miracles associated with the town, a sign that adherence to the old religion was particularly obdurate. This church in Val di Lago, close by the Etruscan city of Tyre, may mark the site of the miracle of Santa Cristina. Though not the case here, a church raised on the site of a miraculous defeat of paganism is often dedicated to St Michael and the pagan power is represented as a dragon. However, the octagonal shape, the preferred form of Templar churches, could be significant.

Chancel of St John’s church with surviving roof

The roof over the chancel has survived, as have some frescoes and even some stucco sculpture. There even seems to be some blast damage, a reminder that the war passed through here in 1944. All in all the church of San Lorenzo Vecchio is a miracle in itself, of survival.

The charm of the place lies in its desolate remoteness among the swamps near Lake Bolsena. However a quite useless fence was erected in 2012, and mock cast-iron lamp-posts were scattered about. A case of European Union largesse being sprinkled  on ostensibly worthy projects perhaps? It would not surprise me if some over enthused local politician were to raise European Union funds to erect a concrete roof, re-stucco the building and spray paint it his mistresses’ favourite colour of tasteful pork pink. It would not be the first time.

St John the Baptist’s has a lugubrious beauty in winter

May Patrick Nicholas’ photographic workshop: Tuscany, Orvieto, Lake Bolsena and Barabbata festival.

May festival at Lake Bolsena, Italy

 Start the summer with Camera Etrusca’s Barabbata Festival Workshop with led by patrick Nicholas. Held every year on May 14 on the shores of Lake Bolsena. This joyous festival with pagan origins has colourful floats drawn by men and animals through the picturesque fishing village (the womenfolk just cast blossom from the balconies) is held to mark the beginning of summer.
As usual we would like to offer a discount to all the people that want to start the summer season with us.

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Orso Orsini was a prince of wild ways. Wayward brother of the cultured condottiero Niccolò, he married the beautiful Eleanora degli Atti di Morlupo, whose name was long but her life short. He strangled her in a fit of unfounded jealousy in 1575 on the bridge outside Pitigliano and threw her body into the ravine.

Bower sculpted from the volcanic rock

The recently completed Parco Orsini  thus came to be known as the lugubrious Parco degli Strozzoni, Stranglers Park.

Crumbling thrones overlooking the valley in the Orsini Park, Pitigliano.

And yet the park had been planned as a place of quiet contemplation, a ‘locus amoenus’ along the lines of the nearby  Bosco Sacro or Sacred Wood of Bomarzo (below), built about the same time in 1552.

Bomarzo, “Ogni Pensiero Vola” (“Every Thought Flies”, but games, even hide and seek, picnics, photography – all forbidden)

This had been laid out with grotesque and massive sculpture on the orders of Vicino Orsini, a distant cousin of Orso and Niccolò. Vicino had had the garden designed on Hermetic principles by Pirro Ligorio,

Bomarzo

architect of genius (he was responsible for the water works at Villa Este in Tivoli and was also the first Italian to design buildings specifically to resist earthquakes).

The sculpture was designed to amaze, and it still does though the garden is not what it was and the water element is now completely missing; Bomarzo also has the stroppiest, most belligerent and gratuitously discourteous custodians I have ever encountered, anywhere. Bomarzo is now a major tourist attraction visited by the likes of Jean Cocteau, Salvador Dalì and Antonioni. It even featured in  film version of ‘Alice in Wonderland’.

not perhaps what you might think but the remains of a reclining goddess

Parco Orsini on the other hand has no custodians at all, is difficult to find and what is more the statuary is largely overgrown, crumbling and un-cared for – it is just like stumbling upon an enchanted secret garden.

the reclining goddess from the other side

The statue of the Orsini family in Pitigliano, Tuscany.

Orso Orsini who quite apart from strangling his luckless wife also had a neighbour of his Galeazzo Farnese murdered during a hunting party. He got his comeuppance when he was himself slain on a bridge by Prospero Colonna.

The model is trying the pose for  “Carpe Diem” on one of the several thrones looking over the Lente valley

At the end of the escarpment there is a belvedere carved out of the rock with a fine view across the Lente Valley towards Sorano. I have used this enchanted wood in two my pictures  This Autumn Evening and Carpe Diem (in which you may notice a transposed Orsini bear).

an out-take from the This Autumn Evening shoot

Rather optimistically the local municipality, at considerable expense, built a recreation area with scores of wooden picnic tables. However in true municipal style they neglected to create access or a parking area, so now it is as overgrown, out of sight and unknown as the Orsini Park itself – which does not exactly break my heart.

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Much of what is now known as northern Latium north of Rome on the borders of Tuscany was until the 1930s a veritable wilderness.

The cliff dwellings of Ripatonna on the Tuscan Latium marches, a veritable wilderness until fairly recently.

Saracen pirates had scourged the area and malaria had done the rest.

The Roman single span bridge over the river Fiora. The arch, an Etruscan invention, is still standing with absolutely no maintenance.

Not surprisingly the region was infested with bandits and outlaws, but also with hermits, lepers, outcasts, monks and nuns. Many of latter led a troglodyte existence hollowing out dwellings in the soft tufa cliffs along the river Fiora.

a picnic in the Selva Lamone forest before we set off.

Ripatonna Cicognina was inhabited by a community of about 200  between XV and XVII centuries. There was a church which once had frescoes by the Sienna School depicting Sant’Antonio Abate, the first Christian hermit.

Archana from Bangalore photographs the interior which still has most of its plaster  embellished by generations of graffiti.

It is a steep but not a hard climb up to the cliff dwelling. The tufa volcanic rock is soft and easy to excavate but then oxidises and hardens, an ideal building material.

The hermitage probably is an enlargement of an Etruscan necropolis going back about 2500 years.

A great place for kids to explore

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This dream was to come true when my wife and I moved to Castel Gandolfo in 2002. We rented a flat in the grounds of a villa once owned by Visconti, bought when he was working on his masterpiece The Leopard  in 1962.

Diana’s Baths or The Nymphaeum of Bergantino, Castelgandolfo

One day Lucia told me she had discovered a large cave in the cliff running along the edge of Lake Albano full of garden rubbish. When we investigated further we made out amongst the bushes another bigger opening enclosed by wall with a rusty gate. This was the Nymphaeum of Bergantino built on the orders of Domitian in the grounds of his vast palace now in the gardens of the pope’s summer palace of Castel Gandolfo. The gate was unlocked and I was amazed by what I saw within. The arch is 17 metres across at the opening.

Piranesi Diana baths, Castelgandolfo Rome

Domitian was fond of a barbaric form of gladiatorial entertainment known as the Naumachia, or mock naval battles involving real combatants and it may be that Domitian watched from the shelter of the nymphaeum.
Piranesi drew the Nymphaeum in his inimitable manner in 1762 with nano figures to exaggerate the size of the arch.

Excavations in 1841 revealed mosaics of a gorgon and of Diana drawn in a chariot by four tritons as well as the remains of a marble sculpture of Ulysses slaying the Cyclops. None of which remain on site but are to be found in the private chambers of the pontifical palace. The marble walls and other sculptures disappeared in antiquity.

niches for statues

The Baths of Diana are not open to the public but you can visit them on a Camera Etrusca workshop in Rome or you can contact www.diakronica.it who organise guided visits.

I have recently shot one of my Belle pictures entitled Anima Mundi in this unique location which I will post soon in November 2013 on www.photonicholas.com

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Gray’s Elegy in a Country Churchyard (written in Stoke Poges)

The drift from the land from the 1950s onward has left many Italian villages without any of their original families, resulting in abandoned ‘campo santi’, the village cemeteries. Chianti has become gentrified and just as Gray’s farming village of Stoke Poges has become the abode of bankers and stockbrokers, mean Chianti cottages are now owned by wealthy Florentines as holiday homes, or more commonly foreigners – the Italians do not call this area Chiantishire for nothing.

The cypress avenue in Castellina in Chianti (SI)

I came across this cemetery near Castellina in Chianti and only spotted it because the oak wood around had been thinned for firewood. In fact it was the cypress avenue I spotted first. The cypress has symbolised mourning since its branches were used to garland statues of Pluto, god of the underworld.

Cemetery gate with the funerary chapel at the end

A campo santo is melancholy at the best of times, but one that has no one left to visit it, to tend the graves, to leave flowers, not even on occasion of the day of ‘i morti’, All Hallows, when Italians traditionally return to the graveyard of their forefathers, especially so.

Tin wreaths inside the chapel

In the middle of the chapel floor is the disk that covers the charnel chamber where the bones from the campo santo outside would have been  brought in to release space.

Charnel house

I lifted the lid to reveal chamber below. As Hamlet said while musing on Yorick’s skull in the graveyard “….to my lady’s chamber and tell her, let her paint an inch thick, to this favour she must come”

In a cathedral or important church it cost more to be buried within the church, dearer still in the chancel near the saint’s relics before the altar: thus the expression ‘the stinking rich’.

In the cemetery I found the mournful memorial to Valeria Baroncelli, beside a posy of faded plastic flowers.

The stone says she died aged only 17 after a long and pitiful illness on 5th November 1940. I reflected that it would be quite selfish of me to dread my own death after a comparatively long, fruitful and interesting life when Valeria had been taken so young.

Valeria Baroncelli’s ceramic ‘santino’ or momento mori portrait

She was from a family of obscure Chianti  rustics but I find her image hauntingly beautiful. As I wrote this last line I heard quite by chance Dowland’s ‘Lachrimae’ on the radio.

Contact me for a guided photo tour round Tuscany and its hidden treasure

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Lake Albano from Castel Gandolfo. You wouldn’t believe that a place like the Alban Hills could be just 20kms from the centre of beautiful, enchanting, but chaotic Rome

As a child Piranesi fired my imagination like no other artist. I dreamed of finding a Roman crypto-portico at the bottom of my granny’s garden, his imaginary prisons unsettled my nights, his overgrown dark towers and gloomy grottoes encouraged my own voyage to Italy, his  colossal Roman ruins  inspired my photography.

Piranesi: Roman Tunnel Lake Albano

Piranesi moved art forward from Renaissance adoration of the classical to a baroque fascination with creating mood and theatrical effect. Piranesi’s perspective is unreal, his scale deliberately deceitful, and like a cinema poster designer in Hollywood’s golden age he sought to create gasps from his audience.

Piranesi’s print of the entrance Tunnel under Castel Gandolfo

One might be excused in thinking that the Caracalla Baths are anyway so huge that Piranesi is guilty of gilding the lily, yet many of his drawings succeed in exciting our curiosity precisely because he cheats.

The locked low door to the great court. We crawled in under the road.

Whilst living in Castelgandolfo over ten years ago I set out to find the Emissario of Lake Albano after seeing Piranesi’s engraving which reminded me of a flooded Egyptian temple.

The reality. Water used to flow from lake Albano (left) into the tunnel the other side of the walled court (photo below) on the right.

The tunnel was constructed by Etruscan hydraulic engineers for the Roman Republic starting in 398 BC to drain lake Albano which otherwise on occasion overflowed with disastrous results for the Roman Campagna. Livy describes the work as taking place during the siege of Veio and required the labour of 30,000 slaves tunnelling from either end. It is 1.2km or nearly a mile long.

The courtyard. The entrance to the 1.2km long tunnel is clearly visible

I managed to divine the curtain wall which concealed the entrance to the tunnel from the lake with a low door next to which was a Latin inscription indicating the entrance to the Emissary;  it was locked.

The ‘Egyptian’ columns

However a road runs along the lake shore and under the bridge was the former sluice gate, now high and dry as the lake level has unaccountably dropped over the last 20 years. It is possible to walk through at a crouch and though one can stand at a certain point I hardly recognised the Egyptian pylons, reduced as they were to Lilliputian scale. How had I been conned? Piranesi has included tiny figures, a fisherman and a cavorting nymph, a brilliant trick!

The entrance to the 1.2km long tunnel

Camera Etrusca explored the Roman tunnel of Lake Albano as part of a Rome weekend workshop in April 2012

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Fading fresco in Diana Temple, Nemi, Rome

Sometimes I come across a place purely by chance, sometimes I have been tipped off by a local, sometimes because I have read about it and have made a search.

I will endeavour to post articles about a wide variety of places, some very humble, others so noteworthy one wonders how they could possible have fallen into virtual oblivion. All have in common that they have fallen out of sight and consequently out of mind.

Temple of Diana, Nemi

Walls of Diana Temple

The Alban Hills national park, although nowadays practically a Roman suburb, is an area of wild natural beauty, deep crater lakes, forests, Renaissance villas and ancient ruins. Ten years ago my daughter was born in Genzano above Lake Nemi, and the evening before her birth I sat amongst the perfumed yellow broom watching the sun set a hundred metres or so above the ruins of the Temple dedicated to Diana, goddess of the hunt, but also child birth.

Turner’s ‘Golden Bough’ showing Lake Nemi

The scene was reminiscent of William Turner’s celebrated painting, The Golden Bough, painted probably from a spot very close to where I sat and contemplated the most life changing event of my life and the beginning of a new one. The event that Turner depicts relates how Aeneas breaks the golden bough in order to guide him into Hades to find his Father. Nemi is a place that almost overpowers one with atavistic emotion.

Sir James Frazer the father of anthropology started the long intellectual and scientific journey that was his magnum opus The Golden Bough from the ruins of Diana’s temple. The first chapter of which opens thus:

Who does not know Turner’s picture of the Golden Bough?  The scene, suffused with the golden glow of imagination in which the divine mind of Turner steeped and transfigured even the fairest natural landscape, is a dream-like vision of the little woodland lake of Nemi— “Diana’s Mirror,” as it was called by the ancients. No one who has seen that calm water, lapped in a green hollow of the Alban hills, can ever forget it. The two characteristic Italian villages which slumber on its banks, and the equally Italian palace whose terraced gardens descend steeply to the lake, hardly break the stillness and even the solitariness of the scene. Diana herself might still linger by this lonely shore, still haunt these woodlands wild.

Inner sanctum, temple of Vesta , Nemi, Rome

Given the fame of Diana herself and the importance and wide reaching effect that Frazer’s book had on scientists, artists, writers and philosophers in the 20th century you would think that the well excavated ruins of the temple would be something of a shrine and tourist attraction. Sadly this is not the case.

Nemi castle on the hill overlooking the temples ruins.

The site is not indicated, the path overgrown and the entrance gate broken open. The information boards so faded as to be illegible.

crumbling mosaics

From the photographer’s point of view the remains of the temple complex are photogenic, there is an air of Piranesi melancholy about the place and yet if only there was a museum with artefacts found on the site, or copies of the statues, or an explanation of the macabre story that Frazer relates in the opening chapter of his book, or just a local farmer selling confections of locally collected wild strawberries and chilled white wine from under an umbrella pine, how much fuller the experience would be.

Come and explore Diana’s temple in Nemi, search for the Golden Bough with a Camera Etrusca photo trip to the Alban Hills on the outskirts of Rome. 

cripto-portico in Nemi, Rome.

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