All artwork is printed on Fine Art Exhibition paper with archival inkjet pigment and hand cut to size. Only the finest quality professional grade materials are used to ensure the highest quality product that will stand the test of time. All prints are signed by Edwin Datoc
ROME after dark was once a perilous place, according to the satirist Juvenal, the dangers ranging from robbers to cutthroats to flying chamber pots.
“There’s death in every open window as you pass along at night,” he wrote some 1,800 years ago. “You may well be deemed a fool, improvident of sudden accident, if you go out to dinner without having made your will.”
Dinner is perfectly safe these days, with street crime low and sewage securely underground. Night now does not really darken Rome so much as illuminate the many parts that matter, a real-life chiaroscuro of the city where Caravaggio lived and painted. With the daytime heat cut in summer, diners at Da Giggetto in the Jewish Ghetto can ponder both their artichokes and the boney, floodlit columns of the Octavian Gate, which stood there a century and a half before Christ was born. Not far away, the Colosseum — where Enlightenment-age tourists wandered at night with notions of Rome maybe even more romantic than ours — rises with singular heft, each stone arch glowing in the night.