We walk past the Golden Arches, symbol of
the world’s second biggest franchise, to get into the headquarters of THE
biggest. Vatican City, latest seat
of the Bishop of Rome, and an independent country since a handshake with Mussolini
gave the deed to the Pope. It is
difficult to express my confusion at the immense wealth I see displayed
here. The subconscious's threat of
eternal damnation fights to suppress my observant and historical mind. I cannot easily connect the use of the
trappings and pageantry of the Roman Emperors by the followers of a philosophy,
which advises giving all you have to the poor. Each Pope seems to have quarried whole mountains, or just
scavenged from the previous pagan or Christian builders, to erect and then
decorate a bigger and more grand edifice than his predecessors. The names of Popes are carved in these
marvels of stone, far more often than the name of the man they claim to
glorify. But I guess that explains
why graffiti is an Italian word.
Here are faces and tongues from around the
world. The pilgrims and
pickpockets, the clergy and clerics, the believers and the bewildered, all
mingling as insignificant specks under the vast structures looming overhead. A large German lady, climbing in front,
up the 191 meters of spiral stairs to the top of Michelangelo’s dome of St.
Peter’s. Her spandex cavorting
like two mating wolverines in a Hefty trash bag. Thankfully, on reaching the top, the view changes to the
truly heavenly, with the old city of Rome displayed across the Tiber River, all
the way out to the Coliseum.
Behind the huge statues of the saints the pragmatic side of this Papal theme park can be seen. No pigeon poop is to be found on these holy heads as a system of high-tension wires, snakes up and down each stone shape. I couldn’t help but wonder what St. Francis would make of his beloved birds being zapped when they attempted a landing on his outstretched hand.
Behind the huge statues of the saints the pragmatic side of this Papal theme park can be seen. No pigeon poop is to be found on these holy heads as a system of high-tension wires, snakes up and down each stone shape. I couldn’t help but wonder what St. Francis would make of his beloved birds being zapped when they attempted a landing on his outstretched hand.
From up here, one can look down into the
Papal areas and tourists strain to perhaps catch a glimpse of the pontiff in his
skivvies stretching and scratching.
Also from here, without standing in the long line, I get to see one of
the most famed works of art in the western world - the Sistine Chapel. The guidebook says Michelangelo got
stuck for over 4 years painting the sucker. But as I look down on it, I am not impressed. The texture is monotonous and the
colors, while warm and vibrant, are very much monochromatic. However, if it is really some surface,
other than just red tile, he was one hell of a painter.
OK, OK. Jean has pointed out my mistake, and after pushing our way
to the front of the line (when in Rome...) we sit in the painted majesty of the
Chapel looking UP at the ceiling.
It is too big and grand to take in as a whole, so it is the small
details that are set into memory.
Silence is demanded inside (as the loud speaker repetitively announces)
so it is over dinner that we have a chance to compare notes. Jean wonders why these most powerful
male biblical characters were depicted with such insignificant equipment? Could
it be that Michalangilo did not want to intimidate the papal prudes that
objected to such full frontals, or could it just be that Jean is spoiled? Sitting here in my insomnia, I am more
intrigued by why such a renaissance man as Michalanglo, would paint Adam and
Eve with belly buttons?
- Roddi Renaissance