Archives for March 23, 2017

Two days of scouting the Vatican Museums like a tricky location, and I’ve refined my strategy. I gallop in, turn right into the Pinacoteca and head straight to the last room, the Raphael room. After 30 minutes alone with la Fornarina’s man, I ambled around the Egyptian rooms. Thinking about the contrast of the beautiful marble effigy of the knight and the desiccated mummy. This is probably not the eternal life the Pharaoh was hoping for. 

I followed my nose around the sculptures lining the Galleria dei Busti.

I walked the length of the hall, looking into the face of long dead Romans and Greeks. Instead of the blank perfection of gods, people looked back at me.
Here’s a tip – on the right side of the staircase leading down to this is a narrow door, and down a few twisting steps is a miracle – an uncrowded four stall bathroom. It’s staffed, so it’s always clean and somehow overlooked.
Two days of looking and not drawing had made me a little crazy and I decided to take a breather in the Cortile Della Pigna. I sat on a bench nearest the pinecone, flanked by peacocks and those serene Egyptian lions, and drew a few postcards for my family. The tide of tourists ebbed and flowed past me. Sketching takes me to that still place where the chatter of my monkey brains quiets down and it’s just hand and eye, line and light. It was nearly 2 when I checked the time, and I decided to grab a taxi and go back to Valentinos for lunch. On my way to grab a taxi from the stand directly outside the exit door, I looked left and saw the triple layers of security that have been in place every day. Now might be the time to mention visibly armed guards seem to be outside every monument, church vestibule, museum, and palazzo. I can’t figure out how the branches of law enforcement and military divvy up the territory, but all the men cradle some kind of assault weapon and have intimidating stares, like they were raised by gyrfalcons.  I don’t know if they just look fierce, or are actually bloodthirsty, I just hope they’re competent with all that firepower. I keep a nervous eye on where the business end of the guns are pointed.
When I walked into Valentinos, it was such a good feeling to be greeted with recognition and pleasure. I had a leisurely meal and was ready for bed, though it was only 3.  Uh oh. Turns out there are not enough hours in the day to soak in art/eat/write/draw/read/sleep. I am getting up 6am to fly through the Vatican doors at 8am, but I stayed up until after midnight Monday and after 1am Tuesday night.
I have promised myself that I will turn off all electronics, no later than 10 tonight. I am so very tired right now that staying awake is really hard, and it’s only 7. I’ve got to keep my eyes open until 9 or I’ll be up at 3am. That would not be an improvement.

 

 

En route to my daily double shot cappuccino at Rubertos, I heard noisy cooing overhead, looked up and saw a nest preciously balanced on a light fixture. A pair of pigeons were flying in breakfast and standing sentry. Spring is in the air. That’s mama’s wing in the top center.I  was greeted at the Vatican door by Simona, my tour guide.  Simona has the kind of enthusiasm for art, history, and faith that can’t be manufactured. She ran – literally sprinted –  to the Sistine Chapel and we sat together while she whispered about  Michelangelo’s process.  She acknowledged the other artistic achievements on the wall – Botticelli is a standout – whose work is eclipsed by the tour de force of Michelangelo’s ceiling. I’d never noticed that Adam and Jesus share the same face. We agreed Savonarola, who convinced Botticelli to burn his paintings, had a lot of ‘splaining to do. As we walked through the rooms she pointed out where Roman architecture in frescoed backgrounds is a gift to historians. She knew the names of Raphael’s friends and mentors in the School of Athens. I was looking for la Fornarina’s face. I told her about my interest in reliquaries and she knew right where to find them.

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Check out the simple but effective pierced base of the ivory box. I am so stealing that! Limoges made such delicious blues.
She pointed to a simple yet beautifully painted crucifix I might have passed by and told me it was carried by Loius XVI as he climbed to the guillotine. Holy cow. She talked knowledgeably about repoussé and engraving techniques. When we both blanked on the word chasing, she pulled out a notebook where she’d written English translations of art-related terminology. She takes her job so seriously she’d done homework. We are kindred nerd spirits. She’s done icon painting using original methods. She says she solved a difficulty with one of them after spending three days in meditation and prayer, the method of the original icon artist. Seriously, I will have to try that the next time I am stumped.
All in all, a fantastic guide, Insightful, knowledgeable and patient, with a great sense of humor. I can’t imagine a better companion for an artist. If you want her contact deets, hit me up.We took a detour so I could meet the kind people in the Patron relations department who’ve been wrangling my requests for this trip. A trio of delightful young women greeted me, and couldn’t have been nicer. They took me and my art-fueled enthusiasm in stride. Thanks, ladies.
Becoming a Vatican Museum Patron includes a choice of tours as a perk of membership. I selected a tour of the restoration department. Boy, did I pick the right thing. It was fascinating to see the restoration in progress, and have the opportunity to meet the professionals who, patiently and with great skill, perform this labor. There are in-house staff and several permalancers.  One person was cleaning a modern art piece that so many people touched it was discolored. Apparently, if it’s made of brass it’s a magnet to swiping fingers. Another restoration in progress was a shield in shards as thin as paper, sections supported by filament-thin line. A few gaps were filled in with paper, painted with watercolor glaze. I have photos, but only for personal use, specifically not for public media. Sorry!
Other restorers were undoing the damage caused by the clumsy efforts of former restorers, like fabricating missing parts, or using substances that accelerated deterioration. Currently, the ideal is to halt decay and remove fake elements, leaving only the original and authentic. The work schedule is set two years out. They don’t get to pick and chose which projects to tackle. Some religious objects require delicate handling – reliquaries can’t be touched unless the relics are removed, which can’t happen without Bishop’s oversight. A project needs four months of study and two months of work. Think about that. Nerd girl nirvana! I could have sat in for days.
This has been a wonderful experience for me.  I am looking forward to singing their praises to the Atlanta Chapter.
Meanwhile, bd sure to look up. This time, it’s Raphael’s Adam and Eve.