The Farnese were perhaps the greatest and grandest family of Rome, with surely the most stupendous and magnificent palace in Rome—the Palazzo Farnese. The palace is sumptuous, spacious, huge and filled with magnificent ancient sculptures, works of art, frescoes, and coffered ceilings of Lebanese cedar with stemmi carved in coffers alternating with rosettes. The palace frieze incorporates the lily, alternating with ancient Roman candelabras. Even the twin fountains (basins moved from the Baths of Caracalla to the piazza in front) are crowned with travertine lilies that jet water up, which then falls into the grey, granite basins below. Today it is the French Embassy; the six lilies remain, but the stemma of three lilies and the crown of the French kings is nowhere to be seen. Ironic.

The second and final family I would like to bring into the story before concluding 'THE GAME' is the Barberini family. Their stemma is three bees, and the stemma is seen all over Rome. The original family name was Tafani, meaning 'horseflies,' which would have negative connotations, so the family replaced the 'evil insect' with the bee; the bee has always been a symbol of hard work, dedication, and eloquence. Furthermore, honey is also a metaphor of the sweetness of the divine word, and glistened gold.

There is a famous saying often repeated in Rome: Quod non fecerunt barbari, fecerunt Barberini, or 'what the barbarians did not do, the Barberini did.' Specifically, the turn of phrase refers to Urban VIII Barberini’s decisions to 'vandalize' the Pantheon by taking the bronze from its portico and to melt it down to manufacture canons, and for Gian Lorenzo Bernini to use for the gigantic bronze canopy (Baldacchino) standing directly under the dome of St Peter’s. The design included not only spiral columns, but bronze bees and more bees!

Despite their errors and misdeeds, however, the Barberini were also great patrons and protectors of the arts, having taken under their wings not only Bernini, but the other great baroque architect, Francesco Borromini and the painter/architect, Pietro da Cortona.

Conclusion:

If one understands the concept and accepts the mix and match approach, one can walk through Rome or any Italian town and begin to know their stories. The coded language—once decoded—is key to playing ‘The Game.' Crests and symbols transformed into architectural elements or events, be they friezes, capitals, paving, fountains, or standing proud and marking entry, will always inform and impress, and bring a new level of awareness and meaning to Rome’s incredible story. Play the game of visuals and have fun!