Only the Vatican Museum could
have done it.
Here's my quick-and-dirty how-to
guide for the Vatican Museum: there are four routes through the Vatican
Museum. If you arrive early, like 8 AM, take the A route, the shortest
route, and skip EVERYTHING yes, everything. Just walk on by, don't
stop to gawk because you'll be looping back around to catch what you missed,
just trust me. When you get to the Sistine Chapel youll have it
almost to yourself.
It's stunning, amazing, etc. Yes, the famous ceiling is something but
every square inch in the place is covered in one important work or another.
Gawk for an hour while the crowd catches up. When you continue on you'll
reach a courtyard in which you can loop back around and see what you skipped.
The museum is free on the last Sunday of the month and whatever you do
avoid it like the plague. Easily half the galleries are closed
and they use the rest as a labyrinthine, sardine-can line, even if youd
rather skip them all and just see the Sistine Chapel. Of course, thats
what everyone else wants to do too, so everyone is crammed together ignoring
everything and simply trying to move forward, which nobody can do since
everyone is being herded through a bottleneck entrance at the Sistine.
It's a nightmare.
"What
are your qualifications?"
"Stampeding cattle."
"Thats not so bad."
"Through the Vatican?"
"Kinky!"
From Blazing Saddles
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Even the entrance stairwell to the museum is spectacular.
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Fortunately on my first trip
to the Vatican Museum I missed that particular horror and arrived on a
comparatively uncrowded week day.
We took the D route, the whole damn thing, including the "arduous
modern religious art" section, as Lets Go describes it.
When
you reach the Sistine again you'll see why you should follow my directions
- the room gets crowded to capacity with everyone chattering away and
the guards trying to keep everyone quiet with intermittent "Shhhh"'s.
The museum admission is 15,000 lire but I'd pay double for the Sistine
alone.
The
Pinacoteca, containing the Raphaels and Caravaggios and other Renaissance
painters, is my personal fave, but you have to be attentive to find it.
Theyve tucked it away behind the cafeteria and lots of folks miss
it without even realizing where it was. Instead, they cram into the Papal
Apartments to see Raphael's works there. They're impressive, of course,
but the frescoes are faded and worn and the rooms often crowded to capacity,
In the Pinacoteca you don't have to fight to get close to the comparatively
fresh-looking canvases.
The rest of the museum is cool
too with some interesting Egyptian stuff, of course, a surprisingly interesting
Etruscan collection and countless other things to amaze - too many to
detail - but what grabbed Heather and I were two Caravaggio paintings.
Flesh so real you're waiting for the figures to take a breath. Heather
and I just stood and gawked at the hands and feet in the paintings. Wed
been struggling together in figure drawing classes for months
and perfect hands and feet like those gave us spasms of both delight and
frustration. I laughed, knowing what she was thinking.
Oh, shut up she said, half-playfully.
Leftover cheese and roasted
red pepper sandwiches from the day before were again food fit for gods.
The thing I miss the most, even with all the Roman ruins, Renaissance
art, incredible architecture and beautiful women is undoubtedly the food.
Walk into any back alley or basement deli with 8000 lire and a willingness
to point (and/or your pocket English/Italiano dictionary) and youll
come out with lunch for two that is divine.
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We stepped around the corner
into St. Peters. It has the precise affect that those who designed it
(Donato Bramante and Michelangelo, among others) and decorated it (Bernini,
among others) had planned - awe inspiring. I cannot believe there is a
comparison, nor words to describe it.
Pictures cannot
capture it at all, though Japanese tourists with high-tech camcorders
desperately try. Ill provide a few photos to try to it justice and
a quote to fill in the words I lack:
"Of
course we have been to the monster Church of St. Peter, frequently. I
knew its dimensions. I knew it was a prodigious structure. I knew it was
just about the length of the capitol at Washington--say seven hundred
and thirty feet. I knew it was three hundred and sixty-four feet wide,
and consequently wider than the capitol. I knew that the cross on the
top of the dome of the church was four hundred and thirty-eight feet above
the ground, and therefore about a hundred or may be a hundred and twenty-five
feet higher than the dome of the capitol. --Thus I had one gauge. I wished
to come as near forming a correct idea of how it was going to look, as
possible; I had a curiosity to see how much I would err. I erred considerably.
St. Peter's did not look nearly so large as the capitol, and certainly
not a twentieth part as beautiful, from the outside.
When we reached the door, and stood fairly within the church, it was impossible
to comprehend that it was a very large building. I had to cipher a comprehension
of it. I had to ransack my memory for some more similes. St. Peter's is
bulky. Its height and size would represent two of the Washington capitol
set one on top of the other--if the capitol were wider; or two blocks
or two blocks and a half of ordinary buildings set one on top of the other.
St. Peter's was that large, but it could and would not look so. The trouble
was that every thing in it and about it was on such a scale of uniform
vastness that there were no contrasts to judge by--none but the people,
and I had not noticed them. They were insects. The statues of children
holding vases of holy water were immense, according to the tables of figures,
but so was every thing else around them. The mosaic pictures in the dome
were huge, and were made of thousands and thousands of cubes of glass
as large as the end of my little finger, but those pictures looked smooth,
and gaudy of color, and in good proportion to the dome. Evidently they
would not answer to measure by. Away down toward the far end of the church
(I thought it was really clear at the far end, but discovered afterward
that it was in the centre, under the dome,) stood the thing they call
the baldacchino--a great bronze pyramidal frame-work like that which upholds
a mosquito bar. It only looked like a considerably magnified bedstead--nothing
more. Yet I knew it was a good deal more than half as high as Niagara
Falls. It was overshadowed by a dome so mighty that its own height was
snubbed. The four great square piers or pillars that stand equidistant
from each other in the church, and support the roof, I could not work
up to their real dimensions by any method of comparison. I knew that the
faces of each were about the width of a very large dwelling-house front,
(fifty or sixty feet,) and that they were twice as high as an ordinary
three-story dwelling, but still they looked small. I tried all the different
ways I could think of to compel myself to understand how large St. Peter's
was, but with small success. The mosaic portrait of an Apostle who was
writing with a pen six feet long seemed only an ordinary Apostle.
But the people attracted my attention after a while. To stand in the door
of St. Peter's and look at men down toward its further extremity, two
blocks away, has a diminishing effect on them; surrounded by the prodigious
pictures and statues, and lost in the vast spaces, they look very much
smaller than they would if they stood two blocks away in the open air.
I "averaged" a man as he passed me and watched him as he drifted
far down by the baldacchino and beyond--watched him dwindle to an insignificant
school-boy, and then, in the midst of the silent throng of human pigmies
gliding about him, I lost him. The church had lately been decorated, on
the occasion of a great ceremony in honor of St. Peter, and men were engaged,
now, in removing the flowers and gilt paper from the walls and pillars.
As no ladders could reach the great heights, the men swung themselves
down from balustrades and the capitals of pilasters by ropes, to do this
work. The upper gallery which encircles the inner sweep of the dome is
two hundred and forty feet above the floor of the church--very few steeples
in America could reach up to it. Visitors always go up there to look down
into the church because one gets the best idea of some of the heights
and distances from that point. While we stood on the floor one of the
workmen swung loose from that gallery at the end of a long rope. I had
not supposed, before, that a man could look so much like a spider. He
was insignificant in size, and his rope seemed only a thread. Seeing that
he took up so little space, I could believe the story, then, that ten
thousand troops went to St. Peter's, once, to hear mass, and their commanding
officer came afterward, and not finding them, supposed they had not yet
arrived. But they were in the church, nevertheless--they were in one of
the transepts. Nearly fifty thousand persons assembled in St. Peter's
to hear the publishing of the dogma of the Immaculate Conception. It is
estimated that the floor of the church affords standing room for--for
a large number of people; I have forgotten the exact figures. But it is
no matter--it is near enough."
Mark Twain, from Innocents
Abroad
Everyone comes
away nearly silent. What can one say? Just shrug, grin, and move along.
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As you step into the front
porch area there's an intricately decorated door to the right. This is
the door the Pope opens by cracking the concrete barrier behind it with
a silver hammer for the Jubilee every few decades, though which Christ
is supposed to enter when he returns.
Once inside, you'll be stunned
at the size.
The ceiling isn't as pretty
as others in Italy, though the height astounds.
In a sunken area under the
dome is the supposed site of the crypt of St. Peter himself. Bernini did
this, and the large balcchino, the canopy, above it.
Bernini also did the altar, housing St. Peter's original throne. It was
roped off every time I've ever been so it's something else you can't get
close enough to, but impressive even from afar.
Off to the sides there are chapels with their own little mosaic ceilings.
The place is full of gorgeous,
titanic sculpture.
To the right of the entrance is Michelangelo's Pieta, now protected behind
bulletproof glass after some lunatic went after it with an axe. It's
unfortunate
because now it's too far away to really get a good look at.
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