Day 13 - Saint Cecilia and Saint John

On our last day here in Rome, we wanted to make sure we finished all our gift shopping before it got too late. Still having a few people to cover, this gave Sarina a solid case for making our way back over to the markets in Campo di Fiori. She had wanted to revisit the charming morning market scene anyhow. We took the opportunity to wander the many tables and breath in the mingling flavors of spices, fruits, vegetables, perfumes and a dozen other scents that combined in invisible swirls around us.

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From Italy Honeymoon

Inspired by the image of Saint Cecillia's marker in the catacombs from the day before, we set fourth like good little pilgrims to find the Basilica that was dedicated to her. The Basilica itself is like the local diamond in the ruff. Tucked discreetly between some unassuming buildings, about thirty feet back was the simple and clean entrance. Within the Basilica, the walls, ceilings and floors are covered in an uninterrupted white marble and gold accents. Relatively simple compared to some of the other more grand basilica in the region, the elegance of it was refreshing. The interior seemed to reflect the simple white marble appeal of the original sarcophagus top; showing the reclining, lifeless body of Saint Cecilia forever captured in a stone reflection. At the heart of the Basilica, her final resting place can be viewed. With it, the original sculpted sarcophagus top. All around the Basilica, images of her and other saints tell stories. At the center of the ceiling, an enormous fresco illustrates Saint Cecilia in Heaven, being given her sainthood by Jesus and Mary, with God and the angels looking on.

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Our last stop would be one of the most celebrated churches in Rome: Basilica di Saint Paul. A very large church even by Rome's standards. The soaring ceilings are supported by over 100 intimidating white marble columns that almost create the illusion of infinite space. The walls are evenly punctuated with dozens of tall windows that at first glance appear to be stained glass. In fact, the windows were not glass, but rather great pieces of yellow alabaster sheets, transforming the incoming light into a soft golden glow.

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Just below the vaulting ceilings of gold and white, a border of portraits is made around nearly the entire interior. Each circular image contained a pope, set in order of their time in service, creates an illustrated time line of the Catholic church. As one would expect, the most recent addition to this parade of devoted men is Pope Benedict -- the current man holding the precious seat. As if set as an audience, the portraits had an indefinite view of the center of the church where you would find the final resting place of Saint Paul. Above him were displayed his chains from his time as a Roman prisoner; and below were the excavated remains of the catacombs that preceded the Basilica. In the 300 years of persecution that followed Christ's death, worship was often held in the sanctuary of the catacombs. Imagine a labyrinth of dark and wet halls, and the smell of decaying bodies. Out of the darkness, lit dimly by the occasional torch or miniature oil lamp, the eerie voices of people reciting prayers in harmony.

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From Italy Honeymoon

We finished admiring the last church of our adventure around Rome, then made our way back to the hotel. We had still to pack our bags and organize the gifts before going to sleep. We ended the night with a long and relaxing dinner, savoring all that our senses could absorb.

Day 12 - Into The Catacombs

We woke today planning to go sit in on a service at the Vatican. The ceremonies began at 10am, we figured that getting there by 9am would be fine. Well, we were wrong. Very wrong actually, but not for fault of our own. We were basing our schedule on a normal Vatican service. What we hadn't anticipated were the floods of pilgrims and locals being there much earlier for the sake of a special service. They were celebrating the lives of about five very important Catholic figures from the last 100 years. I think it was tied to something larger as well, but we didn't feel like waiting around to find out. By the time we arrived, the plaza was nearly half full, with nothing but crammed standing room to spare. Having already seen Sarina's reactions to extremely packed Italian occasions in Marino, we decided to pass on the Pope's message and find our way to the rest of our day.

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With it being Sunday, it was considerably safer to be pedestrians on the Appian Way. So, going back for round two, we tried again to see the Catecombs di San Callisto. Of the sixty catacombs in Rome, and three of them being on the Appian Way, Callisto is the most famous. This is one of the most ancient and largest catacombs that Rome has to offer. During to 300 years of persecution after Christ's death, this would be the place where Christians and Jews would come to bury their loved ones. The first level we descend to is the holiest of the levels, being closest to the surface. Here is where popes and saints would be burred. During the persecution, there were no churches or basilicas, so these underground labyrinths were the only available option.

Here we also get our first introduction to Saint Cecillia. Not much remains of her crypt here but a space where her sarcophagus once was and a replica of the reclining statue depicting her with her tomb. Head wrapped in flowing cloth, three fingers point (two on one hand and one on the other) displaying her devotion to the Trinity, and the cuts on her neck from her execution. Her execution is a remarkable story. Having been sentenced to decapitation by axe (or sword, depending on who's telling the story), the executioner attempted three times to remove her head. By some Divine intervention, none of the cuts were successful in removing her head. Some versions of the story tell of the executioner running away in fear seeing his blade being misguided by some ethereal hand. Either way, she lay there dying from cuts to her neck. It would take about three days for her to succumb to her wounds.

Deeper down, we walk through the twisting crypts of the labyrinthine catacombs. With most of the bodies in the walls removed for archeological purposes, little remains of what once was here. Horizontal spaces array across all the surfaces of the walls. Some of the crypt still maintained their marble face stones that marked the individual. Interrupting the hollow tombs, there were small holes in the walls about the size of a softball. These spaces were used to leave offerings of terracotta oil lamps (using olive oil as fuel) and small dishes of perfumes.

There were small alcove rooms that would form collective burial spaces for wealthy families that could afford to purchase more private housing. However, with over 500,000 people buried in the Catacombs of Callisto, you can imagine that space was a premium. Also, with so many people, creating new passages was a never ending part of the job of the catacomb custodians. Digging architecture from the volcanic rock, they would have to dabble in engineering to create sound subterranean structures that would stand the test of time and the pressure of the earth above.

Finishing our tour through the cold passages, we were reintroduced to the wet heat of the Roman afternoon. This was enough to convince us that we should visit one last gellato shop for our trip. Upon the enthusiastic advise of my mom, we went back to the Pantheon where we would find her favorite gellato shop: Della Palma. This was indeed the most complete gellato bar we had seen to date. Just about every flavor gellato and mouse that Rome had to offer. We sat outside wiping melted colors from the corners of eachother's mouths. Examining out Rome "to-do-list", we decided on what our final day would have in store.

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Day 11 - Basilica di Hamburgler and Musei Capitolini

The day begins with a quick stop into McDonald's. I know, it's a cheesy thing to do. However, silly or not, it had to be done. This was the first McDonald's in Rome, and being that it was near the Spanish Steps (home to every overpriced designer brand there is) they went a little beyond the average McDonald's interior. If ever you were a devoted zealot of the Big Mac and needed a church to call home, this would be it. With sweeping, vaulted ceilings and marble finishing, this place looks more like a scaled version of a basilica than a fast food hot spot. Making our donation to the 'Basilica di Hamburgler', we take our fries and strawberry shakes outside to get ready for our real stop of the day.

[video clip of the inside soon to come]

We make our way to the final museum of our trip through Rome, Italy. Just behind the Monumento a Vittorio Emanuele II, we find the Musei Capitolini: a beautiful three winged building at the top of a long, ramped set of stairs. At the top, you are greeted by a bronze replica of Marco Aurelio on horseback (the original is kept safely within the building. We pass through the main entrance of the expansive museum, walking past what remains of a colossal statue. Now, this towering figure is just an assembly of bodyparts taking refuge in a quiet courtyard.

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Inside, there are collections of tapestry and frescoes like those we saw the previous night in the Vatican Museums. In each room, there are the partial remains of bronze statues that keep watch over the art around them. One of these metal sentinels is a bull who has lost all but his belly and his legs. We pass through halls with art and sculpture dedicated to the memories of famous military captains and battles. In one room, two very large sculptures of popes lock eyes across the length of the room from each other. At one end is Vrbano VIII in white marble and the other is Innocentio X in dark bronze. They seem like a poetic night and day, arguing across an echoing forum of silent paintings.

From Italy Honeymoon

From Italy Honeymoon

Further along, Sarina and I come across a display of things recovered while digging the foundations of the neighboring Monumento a Vittorio Emanuele II. Here we see a nearly pristine example of an elaborate alabaster and agate marble floor that reflects the kind of amazing craftsmanship and artistry that would have been seen all throughout the Roman Forums and the palace Palantini. Here as well are gems and other precious artifacts that were buried until the foundations of Monumento a Vittorio Emanuele II were being excavated.

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The center room houses some of he museum's most prized objects. A white room, flooded with indirect light from the windows above, houses three important sculptures. The first is the original bronze statue of Marco Aurelio on horseback. This thing is massive, looming over the museum guests like a 25-foot titan. Across the room is a bronze statue treated with gold that shows Hercules with a club as big as one of his own legs. Across from Hercules are the shattered remains of a colossal bronze statue that when whole, was probably about 50-feet in height (maybe more). Catching both in my perspective, I imagine Hercules having just slain this mighty metal giant, surrounded by a cheering Roman crowd.

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After more halls of recovered and fractured artifacts from Romes glory filled days, We come to a special exhibit that showcases collections of sketches, drawings, books and articles explaining Michelangelo's influences on what we see now in the great buildings and churches of Rome. We get to see how he worked with the Vatican to create the now world renowned Basilica of Saint Peter -- the image that comes to mind whenever the word "Vatican" is mentioned. At the end of the exhibit, a message from the curators reads: "The show recounts all of Michelangelo's architectural projects in Rome with a truly extraordinary connecting thread: a spectacular set of drawings owned by the Buonarroti House."

The other wing of the museum is occupied in part by another special exhibit that is showing about two dozen highly regarded jewelry designers -- ORO di Roma. The works seem to be attempting to capture the essence of art from ancient Rome and Egypt. A little out of place, but very beautiful, with each case showing glittering examples of modern Roman imagination and craftsmanship.

We decide to end our day on a casual note. No pictures or long walks. Just a simple and relaxing dinner at a nearby family restaurant. We know we're at the right place when we see the locals waving to the owners: Angelo and Daniele. If the Romans approve, who are we to say otherwise.

Day 10 - Saint Peter's Basilica and Vatican Museums

Our tickets were confirmed and our schedule cleared for a full day at the Vatican. We got there and bounced around a few help desks before finally getting all our plans in a row and directed to which lines to stand in. Our plans were to see the Vatican Museums later that night, so we headed over to the Basilica to explore. We saw the line to the Tomb of the Popes to be fairly reasonable, so we hopped in there to say hello to the former leaders of the Christian world.

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Upon entering the Vatican Grottoes, you are immediately greeted by a series of stone sarcophagi. Each one is crafted with elaborate design and care. Many of them are topped with what appears to be life-sized stone edifices of the entombed popes. Like eternal stone shadows of the men that once kept watch over the whole of the Catholic world. In contrast, some of the tombs were just large, smooth markers about 4'x10'x2'. I guess the term "marker" is a bit understating, however, they were no less elegant and impressive than their more elaborate neighbors. The only non-pope within here is Emperor Otto II, who's remains were transferred to Saint Peter after first being set in the old basilica.

As we go deeper into the tombs, the craftsmanship appears to get more and more intense. Although, at a point it seems that due to space, the time frames of the different tombs begin to overlap. Soon we start to notice different centuries mingling together in stoic, humorless stone. Reading the dates, you begin to appreciate how long and short the papal reigns were. They would last anywhere from decades to, in some cases, only a matter of days.

Halfway through the tombs, we see a large darkened room, completely closed to the public and kept safe behind thick glass doors. This is the Sepulcrum Sancti Petri Apostoli. Despite the dim lighting within, we can make out beautifully colored marble and stained glass.

Then we come upon the tomb of Ioannes Pavlvs PP. II, the previous pope that passed in 2005. His tomb is a large, flat stone rectangle, big enough to park a car on (tho I wouldn't recommend it). The ivory colored marble glitters with the help of glass roses laid across it. Below are other offerings, some being from other religious leaders such as the Dahli Lamma. The lighting around it leaves nothing to imagination, and the guard insures that no one stands to linger for too long.

Next we went into the Basilica, unaware of just how massive it was within. Ceiling that reached at least 12 stories tall. In some places it was several stories higher still. Enormous halls of rose colored marble stretched endlessly. Upon entering, we meet the famous marble statue depicting the Pieta, dating to 1499. Everywhere there are images of Saint Peter holding the massive keys to Heaven. Decorating each wall and corner are bronze and marble statues of past popes and the saints.

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The stone statues of the saints climb the massive walls and look down on all crowd of guests. The scale of the Basilica is unlike anything I've encountered. To relate it to the other very large Roman churches we've seen, you could easily fit four of them within this one piece of architecture. The dumbfounding thing is that it was originally intended by Michelangelo to be even larger. At the center of all this is the tomb of the Apostle Peter. Next to us, a pilgrim church group with their priest leading, stop before the Apostle Peter and begin to sing prayers in harmony.

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Deciding to take a break from the Vatican until later tonight, we head back to the hotel. On the way, we try out some of the Halal -- fast food Indian. The curry and salt is a welcomed thing after spending hours in the grottoes and the Basilica exploring. We both take short naps and prepare for a late night at the Vatican museums.

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The first thing to note about the Vatican Museums is that: the popes liked order. Each room and hall is designed to reflect a theme. The first few rooms are collections of Egyptian artifacts. Statues of past pharaohs, mummified cats and servants, images of gods and so on. The dim rooms and moon light from the windows made for an eerie mood.

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After the Egyptian artifacts, we come into a beautiful courtyard with a fountain and candles. Around us are classical statues from Roman antiquity. We learn that many of these statues, along with those that were on display ahead of us, were directly responsible for inspiring Rafael in his interpretations of Jesus and the images within the Sistine Chapel.

Then there was two long halls of stone animals called the "Stone Managorie". Every kind of animal that the ancient Romans decided to immortalize in stone was depicted on these pedestals and shelves. Then came the "Galleria della Statue" which houses many fully formed statues. These included Eros, Adonis and Apollo (who would be restored to Menerva with the addition of a bronze helmet). Beyond that, another themed hall that contained a large collection of busts.

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Further on, there were some large, round chambers that housed statues of the Roman gods and mythology. Each one displayed and lit against a crimson background. Looking around at the array of stone gods and goddesses, you get the feeling of a great bird cage, where God and the pope can keep watch over them. Indeed, the entire first floor seems to be examples of what the Catholic church had worked so hard to suppress. Other gods, pagan practices, idol worship. All the things that would be seen as an insult to the Holy Christian God were locked away, like an exhibition of warnings. The floors above it would showcase enough holy art to crush the collections of marble under their combined weight.

The floor of the museum would take us over the ancient AD works, across the entrance to the museum's center courtyard (where the select person's cars were parked) and over the next wing of the building. Along the march through the never ending hallways, we are delighted with anything that you could imagine was created in the Renaissance period to bring glory and insight to God and the Bible. There were ceilings painted to show events from the old and new testaments, as well as moments in more modern centuries where God was shown to intervene with some event (such as battles fought between France and Spain).

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There were also incredibly long halls lined with huge tapestry, each one large enough to cover the floor of a one-car garage. They told the stories of Christ and other significant moments that had touched the Catholic church (like "The Massacre of The Innocents [children]" "and The Death of Julius Cesar"). After 2 very long halls of tapestry, the walls changed to show painted maps, just as large as the tapestry preceding them, and with wonderful detail. They focused mainly on the regions around Rome and Italy, as well as the regions around the Holy Lands near Jerusalem. Each map had a bust on either side, as well a an open window directly adjacent to another. Streams of cold night air seemed to act as invisible walls that let you know you were moving from one region's map to another. As if to frame the hall of maps, a last hall of giant tapestry added a finalizing note to the long stretch.

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Further along, we see more and more painted walls and ceilings, moving us deeper and deeper through all the history the Vatican holds dear. Within the history and biblical interpretations, one painting on the ceiling catches my eye in particular, This image is set in what is without a doubt the entrance of Saint Peter's Basilica, as if you were about 75 meters in. On the floor are the dismembered remains of an ancient Roman statue (it could be one of thousands, so take your pick). Between the door and the broken marble is a large crucifix with Christ upon it. Behind him, though the open door of the Basilica, you can see out what appears to be Rome in he distance. This painting struck me because, as soon as I saw it, the entire intention of the of the Vatican was summed up. Here was Christ in the the most outstanding of all of Christianity's buildings, protecting everyone outside the Vatican from the lies of the past and any perversions that would distract from the word of God and Jesus Christ. It was probably the most simple of all the frescoes on the walls and ceilings thus far, but it's message was also the most vivid.

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Beyond we would come to what was called "The Hall of Signature". This place contained some of Rafael's most famous frescoes. Ceilings and walls are covered in frescoes depicting the life and death of Jesus. This room was somewhat of a preview to the big event that was closing in: The Sistine Chapel. However, before the chapel, we are first to pass through the Vatican's collection of modern art.

The Collections of Modern Religious Art bring what modern art generally does: about 30% works of real power and talent intermingled with works that seem like something produced in the basement of a high school student dropping acid. However, there were some prizes to be found. There was Van Gogh's 'Pieta', Salvidor Dali's 'Paesaggio Angelico' as well as his 'The Trinity'. There was also and brass sculpture that consisted of five very large panelings set in a way that made the observer feel as though they were within it, witnessing the second comming of Christ.

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After about two and a half hours of works taking us from the time of the pharaohs to the modern centuries, we finally come to the Sistine Chapel. First of all, this chapel is just that: a chapel. It is not this huge second incarnation of Saint Peter's Basilica that cartoons and some poorly directed movies will attempt to persuade you. It is about the size (if not a little smaller) of your average church interior found in any small town in the US. The only difference is that the ceilings are about twice as high as the average church and the artwork is of a vastly higher caliber. The false light (approved by the conservators of the art) that is shown through the windows near the ceiling fills the space. The light, white and cool, coupled with the cold night air seeping into the space through drafty seals; I'm filled with a displacing sensation that makes me forget it is 10pm at night and a part of me starts to believe it's 8am in the morning.

You look up to the famous ceiling and see the chapters of the Bible unfolding in a cascading array of images, with the creation and deception of man at the pinnacle of the ceiling. I look down to see the same shattered red, green and white mosaic floors that appear in some of the churches in Rome we've already seen (now realizing it was their attempt to honor this place). In times where a new Pope is being elected, this is the place where Conclave is held. At that time, this modestly sized floor space will be filled with long tables draped in white cloth, set those who would decide the future leader of the Catholic faith. Ignoring the clamor of the crowd around us, I stop to imagine the solemn scene of stoic men laboring over heavy decisions.

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Beyond the chapel, we make our way through several more halls filled with items that relate to the past popes. These displays include preserved vestments, jewelry, scepters, adornments, goblets, water pans and some of the most elaborately decorated Bibles I've ever seen. Further down, we see halls filled with centuries worth of gifts to the popes from everyone of every station around the world. Among these are a piece of the Vatican's flag that was brought to the first lunar landing by the pilots of Apollo 11 and fragments of moon rocks set in brass.

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Before leaving this epic museum, we pass though a room filled with news articles and other modern media giving insight into the roles the Vatican and the popes have played in our recent history.

Having left the museum, we were both feeling a bit overwhelmed and exhausted. We had begun at 7pm and it would not be until about 11pm when we would make our exit. To recharge, we stopped at a cafe and filled our senses with gorgonzola pastas and pizza. The highly fragrant foods activated our numb bodies like smelling salts. With renewed energy, we finished our evening with some night photos of the exterior of Saint Peter's Basilica.

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Day 9 - Mouth of Truth and Chains of Saint Peter

Today started out pretty easy going. With our trip catching a glimpse of it's end in sight, the things we have yet to see here in Rome are becoming less and less. So, today we went out to find a couple memorable churches and seek out a good picnic spot on the Isola. Having first made a trip to the store for food and wine, we started into the streets.

The first place to check out was Trajin's Market. This was a huge market place with 2-4 stories worth of shops. However, for our shopping sake, we were a little late. This market closed it's doors centuries ago. It's ruins are nested just behind that of Ceasar's Imperial Forum. Looking upon the once splendid walls, you can imagine the Romans roaming and selling in this, the first mega-mall. We stayed for a little while to admire the many stalls that once housed shops and merchants before moving on.

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By now, Sarina was pretty ready for lunch, so we made our way to the Isola; a small island that divides a portion of the city's Tiber River in two. Our original intention was to follow the advise of Fromers and have a splendid picnic on the Isola. We found out when we got there that this was not really what the island was intended for. The island, tho perhaps a very long time ago green, is mostly a concrete leaf that suspends itself inside the path of the river. On it are a few shops, a restaurant, some kind of Israeli Embassy and a hospital. The hospital was originally put there because the Romans felt the river had the power to heal. However, we were not ready to abandon our picnic.

We went back to the main land and found a spot up amongst the tree filled hill of Campidoglio. The spot was perfect: many trees, the ruined remains of an old wall fountain, a thick marble slab that had been adopted as a bench, along with another marble block about the size of a cafe' table. We set out our blue nylon Sketcher's bag once again as our table cloth and filled it with all sorts of tasty things. In honor of Sarina's childhood with her great-grandfather, we included a bag of bread sticks, which went great with the goat cheese and olive tempanade. Having filled our selves on bread, cheese and sangiovese wine, we tossed our crumbs out to the swarm of pigeons and made our way down the hill.

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Our next stop was just down the road. The reddish brick bell tower of Saint Maria in Cosmodian was unmistakable. Outside, the crowd formed a line for one of Rome's trademark tourist stops: the "Mouth of Truth". The Mouth of Truth, or Bocca della Verità, had a decent sized line to it. Thankfully, our trip is technically the off-season for tourists, so we didn't have to suffer the reputed lines that would wrap around the side of the church. One by one, the visitors step up to the cracked and worn face to lay their hand within it's tired mouth. Years of tasting the dirty fingers of the local and touring passerby has worn on the ancient guardian of the church doors.

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Inside the church, right away you notice the space to be much more simple than some of the other churches of it's time. Still full of marble and columns, however it is not very colorful. What decoration it has is little, and mostly in the form of mosaics. This otherwise dull interior only makes one of it's treasures jump out at you even more. A fabulous mosaic portrait of Madonna and Child stand alone amidst the uninteresting walls. Highlighted by candles, the red and gold tiles reflect back at you and make the pair come alive. We stand and look upon this surprisingly mesmerizing image before making our way back out the unassuming doors.

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On our way to the next stop, we find ourselves walking along what used to be the ancient Roman racing track for horseback and chariot races: Circo Massimo. Little is left of what was once a great and intimidating stadium. Grass hills are all that is left of the marble stadium seats that wrapped around the long straight ways. Down below, where horses and men would race at the risk of death, now only a pastural park resides with remnants of a dirt path where locals run on foot the same course that chariots would rumble. Looming above are the ruins of the immense palace Palatina. The two ruined giants seem now like old broken men that sit together discussing the grander times of their lives, watching the youthful buildings rise around them.

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The mood is broken by what sounded like someone had slammed a folded lawn chair against a garage door. A scooter had rear ended one of the mini-cars at a stop, launching the man and woman off their scooter a few feet away. They both got up, and everyone met on the side to take measure of what had happened. Really, it sounded worse than it was. Almost no damage to the vehicles or their drivers, but it was enough to remind Sarina and myself why we decided against driving in the city.

Our last stop was to the very famous church San Pietro in Vincoli. In contrast to the church from earlier, this one lived up to the expectations of grandiose. The inside is all carved marble, with the ceiling above where the priest would stand painted in frescoes depicting the New Testament. Tall columns span the length of the space, and when standing within the pews, seem to frame the art and memorials that are set about 10-feet behind them. All along the walls, about a dozen or more statues, paintings and other works mark the depths of the church interior. One piece in particular is among the reasons for this church's fame: Michelangelo's Moses. In my opinion, I found this to be more impressive than his David [which right now resides in Florence. Italy].

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The other thing that makes this church so important is it's relic. Now, all catholic churches that are approved by the Vatican [regardless of their location inside or outside of Rome] are required to house at least one holy relic. If that relic is very important, it will generally be displayed. In this case, San Pietro in Vincoli houses within a gold and glass case, the chains (or at least a portion of them) that Saint Peter wore upon his return to Rome. These chains would see him through his final mortal days and the moments of his death.

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After some time in San Pietro in Vincoli, we returned to the hotel to rest up and get ready for our dinner on the river. Once at the river, we took some night photos of the Castel Sant' Angelo. MTV was holding some kind of talent search stage to the right of the castle; so we were able to use their lighting to make our shots more dramatic. Then we boarded the boat and enjoyed a dinner that would take us up and down the night-lit Tiber river.

From Italy Honeymoon

From Italy Honeymoon

From Italy Honeymoon