La Scoperta del Giorno (Today's Discovery): Stair Repairs

 La Scoperta del Giorno (Today's Discovery): Stair Repairs

The latest in the now-and-then RST series, La Scoperta del Giorno (the discovery of the day or, better put in English, Today’s Discovery). The Italian word “scoperta,” and its English equivalent, “discovery,” are similarly constructed; each is based on the verb “to cover” (coprire/to cover) and each is converted into “uncover” or“discover” with a prefix (the “s” in Italian, the “dis” in English).

Now and then repairs have been made to the stone stairways on Rome's Metro "A" line. The repairs below were found on a stairway in Piazza della Repubblica. 

We were intrigued by shape of the repairs In thinking about it, it seems likely that the shape was designed to strengthen the repair, to make it less likely that the repaired section would fall out or come loose. And that's La Scoperta del Giorno.

Bill 

Whatever! How to Render that Mild Rebuke. In Italian.

 

Yes, it's just a pizzeria in Tivoli, but it has a special meaning for us because of a discussion we had with Roman friends a few days before our trip to the famous hill town. 

We had asked our friends how one might render in Italian the American argument-ending, dismissive putdown "whatever." They thought for a while, and then it was clear: "Come ti pare—a te!" That's how it seems to you, with that emphatic "a te"—to YOU—to drive the point home. 

Of course the name of the pizzeria reminded us of the conversation: "Fa' 'un po' come te pare," a Roman turn on "Fai un po' come ti pare." Meaning, for the pizzeria, "do whatever you like with your pizza"—put whatever you like on it. It seems that in a Roman dialect, it's "te" pare, not "ti" pare. 

Whatever!

Bill 

p.s. The contemporary use of "whatever" as a dismissive word, conveying indifference, apparently dates to the late 1980s and early 1990s, when the term became popular among passive-aggressive youth. It was perhaps first used in a 1965 episode of the TV show "Bewitched." That's if you believe AI, which reports the following exchange in the "Bewitched" episode:

Endora: "Good morning, Derwood."

Samantha: "Darrin"

Endora: "Whatever" 

Return to Villa Ada

 Above, runners around the artificial lake (host to summer outdoor concerts), and Dianne looking at signboards indicating the plethora of activities in the park.

Rome's second largest and historically unloved northern park, Villa Ada, was once the official residence of the royal Savoia family who left when the country voted out the monarchy in 1946. 

We've found it usually unkempt, with tall weeds where there should be playfields and picnic areas. Last year we were pleasantly surprised to see a fair amount of it had been mowed, that it was in use by many people--runners, children, and organizations, and that its signs had mostly been restored--a long way from what it was when we walked to it in 2018 (post here) and many times before and after.

Above, the artificial lake at the northern end of the park. The circuit around it is popular with runners, and it's a lovely setting for outdoor concerts. We've been to a few there, including a stunning Paola Turci concert in 2012.

Above, amazing!  mowed grass!

But not everything is pristine, witness the bench below

One of our Italian friends noted she liked to run in the "wild" part of the park, and wild much of the southern portion is--though you can also encounter horse facilities, and the stables we assume once belonged to the King. (Wild enough it has been home to wild boars; see Bill's 2022 post here.)

Egypt now owns what was once the King's residence--and you can't get near it. But you can frolic in the outbuildings, once gardens, now the denizen of graffiti artists.

At one time, you also could tour the bunker under the villa, where Mussolini and the King hid out until they could be spirited away from Rome after the fall of the Duce. We posted on our 2017 tour here. We've never been able to find the entrance on our own - it's deep in the vegetation -  and we now understand the tours are "suspended." 

If you are looking to get away from tourists, explore some history, exercise, or just enjoy a day in the park, Villa Ada is an excellent choice.

We once enjoyed coffees and lunch at the outdoor "park" cafe, Bar Panama (first photo below). When we went back last year, it was closed. Apparently it was abusivo--not operating legally on park land One of those abusivi we like!  We settled for the rather tony Parioli Bar Lima.

Dianne

Rothko, the "red" paintings, and Rome

Like his contemporary, Jackson Pollock, Mark Rothko was a figurative painter before he made his reputation as one of the great Abstract Expressionists of the postwar era. As the New York Times notes in a recent (March 18, 2026) article on a major exhibition of his paintings now mounted in Florence in multiple locations through August 23, both facets of his work were influenced by time spent in Italy: in 1950 (before his famous "red" color-field paintings), 1959, and 1966. The painting at the top of this post was accomplished in 1957.

Rothko was deeply influenced by two sojourns in Florence, where he was much taken with the frescoes of Fra Angelico at the former convent of San Marco, and with Michelangelo's vestibule in the Laurentian Library, both sites for the current Rothko show. 

What the Times doesn't say is that each of the trips to Italy involved substantial time spent in Rome, and that his time in the Eternal City may have been seminal in developing the color sensibility that was critical to his painting. 

Rothko

In 1950 Rothko toured the Forum with his wife, and overall he was impressed with the city's "layered" history, an aspect of Rome that would also directly influence the American architect Robert Venturi.

In 1959 he visited the Pantheon as well as Paestum in Italy's south. "I have been painting Greek temples all my life without knowing it," he commented. Visiting the Villa of the Mysteries in Pompeii, he described a "deep affinity" for the "dirty" reds of Roman frescoes.  

Rothko

He was in Rome once more, in 1966, when he again admired the Pantheon and had the time (he was there for 2 months) to walk the city.

We're tempted to claim that Rothko's "red" paintings were a product of his time in Rome. The problem, based on our extensive walks in the city and environs, is that Rome's walls are not red. We can think of one exception--the "Red Hotel" in Garbatella. Had Rothko been enamored of Bologna, where there are many red walls, we might be closer to an Italian explanation for his famous "red" series.  

Rothko's famed red paintings may have been inspired by Matisse's "The Red Studio," (1911), which depicts the French artist's studio. Rothko was attracted to the painting.

Matisse, "The Red Studio"

Nietzsche's work was also influential, leading Rothko to think of red as a "blood-like" color that could convey the tragic side of human nature.

Bill 

For information on tickets to the principal exhibition at the Palazzo Strozzi in Florence, see here.

La Scoperta del Giorno (Today's Discovery): The Walls of Stazione Nomentana

The latest in the now-and-then series La Scoperta del Giorno (the discovery of the day or, better put in English, Today’s Discovery). The Italian word “scoperta,” and its English equivalent, “discovery,” are similarly constructed; each is based on the verb “to cover” (coprire/to cover) and each is converted into “uncover” or
“discover” with a prefix (the “s” in Italian, the “dis” in English).

When we last visited Stazione Roma Nomentana in 2016, it proved to be a celebration of the elaborate street art that lined the extensive walls of the station, located on viale Etiopia in the "Africa" section of Rome, just south of the Circonvallazione Nomentana and just east of Piazza Gondar. Here's what the main corridor of the station looked like then:

And here's what that same corridor looked like 9 years later:

And that's the Scoperta del Giorno for October 15, 2025. 

Bill