Ancient Roman Temple Complex, with Ruins of Building Where Caesar Was Stabbed, Opens to Tourists 

Journalists visit the new walkways of the so-called "Sacred Area" where four temples, dating back as far as the 3rd century B.C., stand smack in the middle of one of modern Rome's busiest crossroads, Monday, June 19, 2023. (AP)
Journalists visit the new walkways of the so-called "Sacred Area" where four temples, dating back as far as the 3rd century B.C., stand smack in the middle of one of modern Rome's busiest crossroads, Monday, June 19, 2023. (AP)
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Ancient Roman Temple Complex, with Ruins of Building Where Caesar Was Stabbed, Opens to Tourists 

Journalists visit the new walkways of the so-called "Sacred Area" where four temples, dating back as far as the 3rd century B.C., stand smack in the middle of one of modern Rome's busiest crossroads, Monday, June 19, 2023. (AP)
Journalists visit the new walkways of the so-called "Sacred Area" where four temples, dating back as far as the 3rd century B.C., stand smack in the middle of one of modern Rome's busiest crossroads, Monday, June 19, 2023. (AP)

Four temples from ancient Rome, dating back as far as the 3rd century B.C. stand smack in the middle of one of the modern city’s busiest crossroads.

But until Monday, practically the only ones getting a close-up view of the temples were the cats that prowl the so-called “Sacred Area,” on the edge of the site where Julius Caesar was assassinated.

With the help of funding from Bulgari, the luxury jeweler, the grouping of temples can now be visited by the public.

For decades, the curious had to gaze down from the bustling sidewalks rimming Largo Argentina (Argentina Square) to admire the temples below. That’s because, over the centuries, the city had been built up, layer by layer, to levels several meters above the area where Caesar masterminded his political strategies and was later fatally stabbed in 44 B.C.

Behind two of the temples is a foundation and part of a wall that archaeologists believe were part of Pompey’s Curia, a large rectangular-shaped hall that temporarily hosted the Roman Senate when Caesar was murdered.

What leads archaeologists to pinpoint the ruins as Pompey’s Curia? “We know it with certainty because latrines were found on the sides” of Pompey’s Curia, and ancient texts mentioned the latrines, said Claudio Parisi Presicce, an archaeologist and Rome’s top official for cultural heritage.

The temples emerged during the demolition of medieval-era buildings in the late 1920s, part of dictator Benito Mussolini’s campaign to remake the urban landscape. A tower at one edge of Largo Argentina once topped a medieval palace.

The temples are designated A, B, C and D, and are believed to have been dedicated to female deities. One of the temples, reached by an imposing staircase and featuring a circular form and with six surviving columns, is believed to have been erected in honor of Fortuna, a goddess of chance associated with fertility.

Taken together, the temples make for “one of the best-preserved remains of the Roman Republic,″ Parisi Presicce said after the Mayor of Rome Roberto Gualtieri cut a ceremonial ribbon Monday afternoon. On display in a corridor near the temples is a black-and-white photograph showing Mussolini cutting the ribbon in 1929 after the excavated ruins were shown off.

Also visible are the travertine paving stones that Emperor Domitian had laid down after a fire in 80 A.D. ravaged a large swath of Rome, including the Sacred Area.

On display are some of the artifacts found during last century’s excavation. Among them is a colossal stone head of one of the deities honored in the temples, chinless and without its lower lip. Another is a stone fragment of a winged angel of victory.

Over the last decades, a cat colony flourished among the ruins. Felines lounged undisturbed, and cat lovers were allowed to feed them. On Monday, one black-and-white cat sprawled lazily on its back atop the stone stump of what was once a glorious column.

Bulgari helped pay for the construction of the walkways and nighttime illumination. A relief to tourists who step gingerly over the uneven ancient paving stones of the Roman Forum. The Sacred Area’s wooden walkways are wheelchair- and baby-stroller-friendly. For those who can’t handle the stairs down from the sidewalk, an elevator platform is available.

The attraction is open every day except for Mondays and some major holidays, with general admission tickets priced at 5 euros ($5.50).

Curiously, the square owes its name not to the South American country but to the Latin name of Strasbourg, France, which was the home seat of a 15th-century German cardinal who lived nearby and who served as master of ceremonies for pontiffs, including Alexander VI, the Borgia pope.



Has a Waltz Written by Composer Frederic Chopin Been Discovered in an NYC Museum?

A previously unknown musical manuscript, possibly by Frederic Chopin, rests in a display case after it was discovered at The Morgan Library & Museum, Wednesday, Nov. 13, 2024, in New York. (AP)
A previously unknown musical manuscript, possibly by Frederic Chopin, rests in a display case after it was discovered at The Morgan Library & Museum, Wednesday, Nov. 13, 2024, in New York. (AP)
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Has a Waltz Written by Composer Frederic Chopin Been Discovered in an NYC Museum?

A previously unknown musical manuscript, possibly by Frederic Chopin, rests in a display case after it was discovered at The Morgan Library & Museum, Wednesday, Nov. 13, 2024, in New York. (AP)
A previously unknown musical manuscript, possibly by Frederic Chopin, rests in a display case after it was discovered at The Morgan Library & Museum, Wednesday, Nov. 13, 2024, in New York. (AP)

The brooding waltz was carefully composed on a sheet of music roughly the size of an index card. The brief, moody number also bore an intriguing name, written at the top in cursive: “Chopin.”

A previously unknown work of music penned by the European master Frederic Chopin appears to have been found at the Morgan Library & Museum in Manhattan.

The untitled and unsigned piece is on display this month at the opulently appointed institution, which had once been the private library of financier J. P. Morgan.

Robinson McClellan, the museum curator who uncovered the manuscript, said it's the first new work associated with the Romantic era composer to be discovered in nearly a century.

But McClellan concedes that it may never be known whether it is an original Chopin work or merely one written in his hand.

The piece, set in the key of A minor, stands out for its “very stormy, brooding opening section” before transitioning to a melancholy melody more characteristic of Chopin, McClellan explained.

“This is his style. This is his essence,” he said during a recent visit to the museum. “It really feels like him.”

McClellan said he came across the work in May as he was going through a collection from the late Arthur Satz, a former president of the New York School of Interior Design. Satz had acquired it from A. Sherrill Whiton Jr., an avid autograph collector who had been director of the school.

McClellan then worked with experts to verify its authenticity.

The paper was found to be consistent with what Chopin favored for manuscripts, and the ink matched a kind typical in the early 19th century when Chopin lived, according to the museum. But a handwriting analysis determined the name “Chopin” written at the top of the sheet was penned by someone else.

Born in Poland, Chopin was considered a musical genius from an early age. He lived in Warsaw and Vienna before settling in Paris, where he died in 1849 at the age of 39, likely of tuberculosis.

He’s buried among a pantheon of artists at the city’s famed Père Lachaise Cemetery, but his heart, pickled in a jar of alcohol, is housed in a church in Warsaw, in keeping with his deathbed wish for the organ to return to his homeland.

Artur Szklener, director of the Fryderyk Chopin Institute in Warsaw, the Polish capital city where the composer grew up, agreed that the document is consistent with the kinds of ink and paper Chopin used during his early years in Paris.

Musically, the piece evokes the “brilliant style” that made Chopin a luminary in his time, but it also has features unusual for his compositions, Szklener said.

“First of all, it is not a complete work, but rather a certain musical gesture, a theme laced with rather simple piano tricks alluding to a virtuoso style,” Szklener explained in a lengthy statement released after the document was revealed last month.

He and other experts conjecture the piece could have been a work in progress. It may have also been a copy of another's work, or even co-written with someone else, perhaps a student for a musical exercise.

Jeffrey Kallberg, a University of Pennsylvania music professor and Chopin expert who helped authenticate the document, called the piece a “little gem” that Chopin likely intended as a gift for a friend or wealthy acquaintance.

“Many of the pieces that he gave as gifts were short – kind of like ‘appetizers’ to a full-blown work,” Kallberg said in an email. “And we don’t know for sure whether he intended the piece to see the light of day because he often wrote out the same waltz more than once as a gift.”

David Ludwig, dean of music at The Juilliard School, a performing arts conservatory in Manhattan, agreed the piece has many of the hallmarks of the composer’s style.

“It has the Chopin character of something very lyrical and it has a little bit of darkness as well,” said Ludwig, who was not involved in authenticating the document.

But Ludwig noted that, if it's authentic, the tightly composed score would be one of Chopin’s shortest known pieces. The waltz clocks in at under a minute long when played on piano, as many of Chopin’s works were intended.

“In terms of the authenticity of it, in a way it doesn’t matter because it sparks our imaginations,” Ludwig said. “A discovery like this highlights the fact that classical music is very much a living art form.”

The Chopin reveal comes after the Leipzig Municipal Libraries in Germany announced in September that it had uncovered a previously unknown piece likely composed by a young Wolfgang Amadeus Mozart in its collections.