I just had three completely different experiences in the Vatican.
Part 1.
In the beginning I zoomed through it with Gia, starting at the exhibit of Greek sculpture and moving toward the Sistine Chapel. There were people everywhere and if you wanted to truly examine a piece of art, you had to dodge several of them. The energy of the crowd constantly compelled you forward, refusing to let you appreciate anything. The goal was clearly to get to the Sistine Chapel and anything along the way automatically become less significant.
Tours passing by were especially obnoxious. They would stop suddenly and it was almost impossible to navigate around them. Even as you tried, you got the sense that the piece of art they were clustered around was important, and I often wanted to push through the crowd to see what was so interesting. The value of the object increased by the amount of people squished around it. Which is ridiculous, because art should not be measured by its fame. I hate that feeling of someone telling me what is important and what isn’t. I find it more enjoyable to find that little detail that most people don’t notice in a work and stare at it, giving it some much needed attention.
Its greedy of the Vatican to house all this great art in one place. If it was properly distributed, more artists could have breathing room and get the attention they deserve. Even if you emptied out all the rooms and just toured the Vatican palace itself, there would actually be a chance to appreciate the architecture and the details of the rooms themselves. There’s hardly any blank space in the museum and this makes it impossible for the viewer to cleanse their eyes before moving on to the next piece of art, especially at the rate you’re forced to walk through the museum. Art is everywhere and its overwhelming rather than awe-inspiring.
It was also unnerving not to have a map to organize your visit. Some hallways that Gia and I thought would lead us away from the crowd became dead ends, forcing us back to the waves of people. The layout of the museum is impossible to discern. When Jordy found Gia and I, we took a turn into the Egyptian wing on the way to the Sistine Chapel. It was lovely and quiet and gave use a breath of fresh air after the crowds in the main hallway. But this became problematic once we exited because we found out we were back where we had started on oue journey to the Sistine Chapel. The security guard refused to let us travel back through Egypt and we had to push back through the crowds we had just finished pushing ourselves through.
People in general were grumpy, which is not how you’re supposed to feel in a museum. Museums should be calming. At one point I lost track of Gia and Jordy. When I did spot them, about 5 rows of people ahead of me, I tried to push my way to them, saying excuse me to people as I literally had to squeeze myself through bodies. This lady whipped around and yelled at me to “CALM DOWN AND CHILL THE FUCK OUT” as I was pushing past her. I apologized profusely as I explained I had been separated from my friends. I know I seemed rude and pushing getting through the crowd, but there was no need to react that strongly. The whole aura of the space was hostile.
Along our journey we picked up Amari and decided to take a detour through the Raphael rooms, which was the best decision we made. It was still crowded and you didn’t have much room to see the actual art, but it was so amazing it didn’t matter too much. Though people with cameras were providing me with endless frustration, flashes going off everywhere, damaging paintings left and right. Then there were the families who brought children her. What a mistake. I saw one small child trying to scale a column, nearly knocking over a statue. Another child was almost trampled in the crowd, and those who were safely in their parents’ arms were wailing. And I couldn’t even resent them for it because I felt like doing the same thing.
Finally we reach what everyone had been waiting for, The Sistine Chapel. All of us covered our shoulders and shut our traps to pay respect to the great Michelangelo. And honestly, I was the most upset I had been this entire trip. I was close to tears. This masterpiece is treated like shit. Everyone takes a million snapshots of it, with flash no less, when they could find higher quality photos of it online. Tour guides were pointing out details on the ceiling, when they should have been discouraging their clients from speaking or taking photographs. I wish I could be there when it was almost empty and just sit and look.
At the Palazzo Barberini yesterday, Amari, Liz, Emily, Gia and I got a chance to lay down on some couches to appreciate an amazing painting on the ceiling there. We must have lain there for 10-15 minutes straight. In the Sistine Chapel, there was no choice but to move in quickly and move out just as quickly. Some old Italians in front of us were busy discussing the Gnocchi they had the previous night instead of admiring the art around them. I wanted to smack them, despite their age.
Afterwards Gia, Amari, and Jordy left the Museum, they were so upset. I was as well, but I felt I needed to give the museum another chance.
This leads me to:
Part 2.
Which is significantly shorter than Part 1. I needed to escape the crowds immediately so I went to go look at the Pope’s carriages in the basement. There was hardly anyone down there. No tour groups to tell me what to pay attention to, and no getting pushed around. It was not the most interesting exhibit ever, but it gave me a chance to calm myself down and renewed desire to see more of the museum.
Re-entering the museum I looked at an exhibit of Aborigine Art and took my time walking around. Sounds from outside the exhibit kept invading my inner quiet, but I enjoyed myself as best I could. There was an aborigine Madonna and Child that was absolutely beautiful. I wandered up some stairs and found myself surrounded by stamps. Upon closer examination I realized I was in an exhibition about the papal postage and I almost laughed out loud.
As I walked through a doorway one of the guards said “Bonjourno” and naturally I replied and smiled. A few minutes later he approaches me to ask me if I like the exhibit. I shrugged and told him how ridiculous I thought it was. He then explained he worked in the Grecian sculpture portion of the exhibit and asked if I wanted to see it. Before I know I am getting swept through the museum by the security guard who sent me a steady stream of questions about what I had and hadn’t seen in the museum already.
This leads me to Part 3.
Exploring the Museum with a Guide.
I was navigated through crowds and lead through a few shortcuts to get to the courtyard outside, where Luca, the guard begins to explain to me how the museum is laid out. He pointed out what’s on each floor and which tower holds what. I answer questions about why I’m in Rome, while he points out the Pope’s Summer House and the Tower of the Four Winds.
As we move to return indoors, he insists that I go see the Faberge Egg exhibit, and once again I’m being steered through crowds and dropped off at my destination. At that point he needs to return to his post, but makes me promise I’ll end my visit in his part of the museum. I explore the eggs, not terribly interested in them, but absorbing information about them nonetheless. One egg is from Prince Alexei to his Mother and had an adorable letter inside. On my way out of the exhibit, there were lots of grand religious paintings that I enjoyed immensely. My favorite was a strip of small paintings called Astronomical Observances. I love that the Church was the head of scientific investigation, finding Godliness in the order of the world.
Eventually I find my way back to Luca, who leads me to a few Key Statues in the Grecian Wing and finally to a beautiful mosaic floor from the Baths of Caracalla. It was breathtaking. Though I was in awe, I couldn’t help thinking of Jordy and how angry she’d be to learn that these floors had been stolen from their original resting place and moved to the Vatican.
Leading me behind some ropes and screens, Luca decided to show me more of the floors of Caracalla, seeing how much I liked them. A big part of the Greek Sculpture wing was also closed off for cleaning and he showed me some key pieces down there before dropping me back off at the exhibit entrance. It was so nice to see art without tons of people around it.
I had been telling Gia earlier than never in a million years would I work in the Vatican, but after walking around with Luca, I realized it has its perks. Working there means you always have to deal with crowds and tourists, but you also get the privilege of seeing all this art without the crowds and having lots of time to examine it. They actually get to see the Sistine Chapel empty. Just imagine. Luca said he loved working there. I told him I had to me up with my class and went on my merry way, still not liking the Vatican, but happy that I gave it another shot.