a multifaceted figure.
Much comment and speculation is made about Masonic
connections at Caprarola. If there is a basis for this
commentary, it is certainly a Masonic narrative deeply
implanted in historical references common to many
movements in Western culture and beyond, found
throughout the art and architecture of Caprarola which is,
after all, the culmination of the Humanist movement. One
can imagine, in an era when Europe is awakening to the
sciences, the challenges and excitement members of the
Roman elite might have experienced, engaging in a broad
spectrum of rituals, each one perceived as revelatory.
It is in the contemplative winter suite that the most treasured
Caprarola fresco resides, in the Room of the World Map,
mentioned above. There, on the walls, is an atlas of the
whole known world as it was in 1574, painted in five
gigantic gilt framed panels. In keeping with Renaissance
and humanist iconography, the frescoed vault is sheathed
in images of the celestial spheres and constellations of
the zodiac. The date 1574 is worked into the border of
the map of Europe.
As I looked above the place where Julia would have sat,
I immediately saw Massachusetts' Cape Cod peninsula
projecting into the North Atlantic. Julia's family house,
which my family came to occupy, was just to the north of
Cape Cod. "Christopher," she exclaimed, "I was never far
from home. At Caprarola I dined just under Cape Cod!"
She also told me that portraits of her sister Alice and of
herself were at Caprarola, a comment forgotten by me
HYLAND
