Pilgrimage Travelogue #17: Vatican / Rome, Italy

After a very early wake up call, we just wrapped up our breakfast due to time constraints as we had to be at the ancient tombs of the popes underneath St. Peter’s Basilica for our mass. I was overjoyed to have read the First Reading. Can you imagine being a part of the Eucharistic celebration at St. Peter’s Basilica? I really felt truly blessed. Pardon the superlatives, but that’s exactly how I felt.



Thereafter, we had a guided tour of the Vatican Museums. Since I was there the year before, I took it this time as an opportunity to view it from a pilgrimage perspective, instead of from a tourist perspective.

I think it’s apropos for me to emphasize that the Vatican, or Holy See, is contained within the sovereign city-state of Vatican City. It is important to understand the difference between Vatican City and the Holy See, which is technically the seat of the Bishop of Rome, more commonly referred to as the Pope. The history of the Vatican and the history of the Catholic Church are barely separable. The history of the Vatican as a sovereign city-state dates back to the year 1929, while the Vatican as the main seat of the Catholic Church goes back to the 14th century.


The normal queue outside the Vatican Museums

Our first stop was the Pigna (pine cone) Courtyard. It was in here that our guide explained about the Sistine Chapel since complete silence is, and should be, strictly observed while in there.





The Courtyard of the “Pigna” is named after a colossal bronze pine cone, almost 4 metres high which, in the classic age, stood near the Pantheon in Rome, known as the “Pigna quarter”. It was first moved to the atrium of the ancient St Peter’s Basilica during the Middle Ages and then moved here in 1608. Two bronze peacocks, copies of 2nd century A.D. originals in the Braccio Nuovo, flank the pinecone. In the middle of the wide-open space are two concentric spheres by sculptor Arnaldo Pomodoro.



Thereafter, we headed towards the Vatican Museums. As the religious center of Europe since its inception, the Vatican Museums contain an enormous collection of art collected through centuries of history, from Egyptian pieces to Etruscan ruins to Renaissance paintings and, of course, the legendary Sistine Chapel. But before you get to the Sistine Chapel, you are bombarded with endless hallways of religious art, statues, and artifacts, such that by the time you get to see the Chapel, you feel as if you’ve seen enough naked, fat cherubs to last you a lifetime. hahaha



Long galleries of tapestries are another highlight inside the Vatican Museums, and the history of the Vatican defers to a surprising collection of modern religious art by masters such as Matisse, Gauguin, Chagall and Picasso. Ancient cartography is on display in the gallery of the maps, where obsolete territories are crafted in pale blues and greens, and the lands’ ever-changing borders finally kept still for posterity.


Map gallery at the Vatican Museums

Of all of the museums, not just in Italy but the world over, the Vatican Museums should not be missed. The Vatican Museums were founded under the patronage of two 18th century popes - Clement XIV and Pius VI - who were among the first to open collections of art to the general public for viewing, therefore promoting culture among the masses. Appropriately, the first building in the museum complex, the Pio-Clementine Museum, was named after these two pontiffs. As the decades passed, more popes added to the already impressive collection of diverse artworks owned and displayed by the Vatican. What really distinguishes these works from, say, the Louvre in Paris, is that the pictures are painted on the walls and ceilings, not hung on them. The difference is simply dramatic.



Deep in the holy center of Vatican City, the museum is a graceful repository of treasures ranging from the entire history of the Vatican and housed in a series of palaces, apartments and galleries leading to the Sistine Chapel. You could probably spend hundreds of hours in this museum.

Having seen all these before, you’d think I’d be bored, right? Far from it. I could look at them over and over again and still get overwhelmed. In fact, I still experienced sensory overload looking at all these treasures.

Anyhow, since all walking tours end at the Sistine Chapel, that was exactly where we headed to next.

In the papal palace, there is a large number of chapels which serve various purposes. By far, the largest and the most famous of these is the Sistine Chapel.



The Sistine Chapel is one of the most famous and ornate churches in all of Europe. The masterpiece of Renaissance art, known as the Cappella Sistina in Italian, is a part of the Apostolic Palace, the Pope's official residence in Vatican City. But the Sistine Chapel is more than the sum of its artistic wonders; it is a symbolic statement of papal authority and the place in which papal elections in conclave are held to this day.

Thanks to the extraordinary talents of Michelangelo Buonarroti, the Sistine Chapel has become one of the most famous art galleries in the western world. Michelangelo's famous Sistine ceiling depicts scenes from Genesis in dramatic and moving detail, while The Last Judgment on the end wall is striking and powerful. Because of Michelangelo's sculpting skills, the details of the bodies adorning the ceiling are phenomenal. As if that were not enough, the side walls are covered with important Renaissance frescoes by other artists, depicting biblical scenes and contemporary popes.

Allow me to encapsulate the history of the Sistine Chapel so you can appreciate it more.

The Sistine Chapel was commissioned by Pope Sixtus IV, from whom it derives its name, in 1475. It was designed to be - and still is - the Pope's chapel and the site of papal elections. The Sistine Chapel was consecrated and dedicated to the Assumption of the Virgin on August 15, 1483.

In 1481, Sixtus IV called to Rome painters from Florence and Perugia to decorate the walls with frescoes. The fresco project took only 11 months, from July 1481 to May 1482. But in 1508, Pope Julius II commissioned Michelangelo to repaint the ceiling.

Michelangelo was called away from his work on the pope's own tomb and was not happy about the change. He had always insisted he was a sculptor and was contemptuous of fresco painting. The result was glorious depictions of human bodies that could only be created by a sculptor, and the project Michelangelo hated so much (at least at first) ironically became his most well-known work.

Michelangelo was asked to paint the Twelve Apostles and a few ornaments on the ceiling of the chapel. But as he began work on the project, Michelangelo conceived grander designs and ended up painting more than 300 figures. He worked on the project between 1508 and 1512 in cramped conditions high on scaffolding and under continuous pressure from the pope to hurry up. The project would permanently damage the artist's eyesight.

Michelangelo was in his 60s when he was called back to the chapel, again against his wishes, to paint The Last Judgment on the altar wall. The work was commissioned by Pope Clement shortly before his death, and Clement's successor, Pope Paul III, forced Michelangelo to complete it quickly. It was the largest fresco of the century and is still an unquestioned masterpiece.



In recent decades, the Sistine Chapel has been carefully cleaned and restored, beginning with the 15th century wall frescoes in 1965. The cleaning and restoration of the lunettes, the ceiling and the Last Judgment, a painstaking process using computer analysis, lasted from 1980 to 1994. The restoration included removing several of the "modesty" drapes that had been added over some of the nude figures. The end result of the restoration has been controversial. Critics say a vital second layer of paint was removed, and argue that many of the restored figures seem flat compared with the originals, which had more shadow and detail. Others have hailed the project for saving Michelangelo's masterpiece for future generations to appreciate and for revealing the vibrancy of his color palette.

Located at the southern end of the Vatican Museums and just north of St. Peter's Basilica, the Sistine Chapel is of no great architectural interest. It is a barn-like simple rectangle, 40.93 meters long by 13.41 meters wide - the exact dimensions of the Temple of Solomon as given in the Old Testament. The chapel is 20.70 meters high and roofed with a flattened barrel vault. There are six tall windows cut into the long sides, forming a series of pendentives between them.

The Sistine Chapel was originally divided into two equal sections, a nave for the laity and a presbytery for the clergy, by a marble screen and the pattern of floor mosaics. In later years, the screen was moved to make the nave smaller and the presbytery much larger.

The walls are decorated with frescoes by Renaissance masters and are divided into three horizontal levels. The wall frescoes, though often missed by visitors captivated by the ceiling, are stunning in their artistic beauty and fascinating in their meaning. The fresco cycle consists of scenes from the Old Testament on the left wall that correspond with scenes from the New Testament on the right wall.

The famous Sistine ceiling is divided into nine sections in which nine stories of Genesis - from the stages of Creation to the Drunkenness of Noah - are depicted. The scenes begin from the altar wall and proceed toward the entrance. Michelangelo painted them in reverse order since he started from the area near the entrance wall. The twisting ignudi or male nudes that decorate the corners of the ceiling were highly controversial at the time.

The Last Judgment on the altar wall, however, is a powerful work that centers on Christ, the Judge, who compels the damned to hell with his left hand, and lifts up the saved to heaven with his right. Surrounding Christ are the planets, the sun and saints.

Notable among the details is Minos, the Judge of Souls, shown in hell with the ears of a jackass. He is a portrait of the papal Master of Ceremonies, Biagio da Cesena, who frequently complained to the Pope about the nudity of the painted figures. When Biagio complained to the pope about his consignment to hell in Michelangelo's painting, Pope Paul III is said to have replied that he has no jurisdiction in hell.

Michelangelo's self-portrait appears twice in The Last Judgment - in the flayed skin held by St. Bartholomew and in the figure in the lower left corner, who is watching the dead rise from their graves.

Returning to my tale, the chapel was packed with people (as usual). Fortunately, we were given enough time to appreciate the grandeur of this chapel. Learning from the previous year where I experienced neck ache, I sat down at the end of the room and contemplated on the majesty of the church. It also gave me a chance to take stolen shots, one of which came out really good, as can be gleaned from the photo below:



Uh-oh, am I doomed to a less than desirable afterlife by doing this? I shudder to think…

Leaving the Vatican Museums, we moved on to see St. Peter's Basilica. This major basilica is impressive to travelers of all religions, not just Catholicism or Christianity. I had visited St. Peter's a year before, but the size and majesty of the church still took my breath away. It is simply astounding!

Seriously, this is such an immense structure that you have to see it with your own eyes to really get the feel and look. No camera does it justice. You have to be there.


St. Peter’s Basilica by day


St. Peter’s Basilica by night

Again, allow me to encapsulate the history of St. Peter’s Basilica. As one writer said, a pilgrim must visit Saint Peter's Basilica since, as a Roman Catholic, this is like going to the corporate headquarters. Only the Church's retirement plan is much better. haha

St. Peter's Basilica is a major basilica in Vatican City, an enclave of Rome. St. Peter's was, until recently, the largest church ever built and it remains one of the holiest sites in Christendom. Contrary to what one might reasonably assume, St. Peter's is not a cathedral - that honor in Rome goes to St. John Lateran.

St. Peter's Basilica stands on the traditional site where Peter - the apostle who is considered the first pope - was crucified and buried. St. Peter's tomb is under the main altar and many other popes are buried in the basilica as well. Originally founded by Constantine in 324, St. Peter's Basilica was rebuilt in the 16th century by Renaissance masters including Bramante, Michelangelo and Bernini.

In the 1st century AD, the site of St. Peter's Basilica hosted the Circus of Nero and a cemetery. According to ancient tradition, St. Peter was martyred in the Circus and buried nearby. His simple grave was remembered and visited by the faithful, and in 324, Emperor Constantine began construction on a great basilica over the tomb. The shrine of St. Peter is still the central focus of the church today.

Construction on the current building began under Pope Julius II in 1506 and was completed in 1615 under Pope Paul V. The dome of St. Peter's was designed by Michelangelo, who became chief architect in 1546. At the time of his death in 1564, the dome was finished as far as the drum, the base on which the dome sits. The great double dome is made of brick and is 42.3 metres in interior diameter (almost as large as the Pantheon), rising to 120 metres above the floor. In the early 18th century, cracks appeared in the dome, so four iron chains were installed between the two shells to bind it.

Uniquely, Michelangelo's dome is not a hemisphere, but a parabola and, therefore, it has a vertical thrust, which is made more emphatic by the bold ribbing that springs from the paired Corinthian columns, which appear to be part of the drum, but which stand away from it like buttresses to absorb the outward thrust of the dome's weight. The central balcony is called the Loggia of the Blessings, and is used for the announcement of the new pope with "Habemus Papum" and his Urbi et Orbi blessing. The relief under the balcony represents Christ giving the keys to St. Peter.

Allow me to walk you through St. Peter’s Basilica:

The facade is topped by 13 statues in travertine. Between the façade and the interior is the portico which contains an 18th century statue of Charlemagne to the south, and an equestrian sculpture of Emperor Constantine to the north.

The northernmost door is the Holy Door, in bronze, which is by tradition only opened for great celebrations such as Jubilee years. Pope John Paul II opened the holy door in the jubilee years of 1983-84 and 2000-01.



The door in the center was preserved from the old basilica. It was too small for its new space, so panels were added at the top and bottom. Known as the Filarete Door after the artist's nickname, it has six panels that depict Jesus and Mary enthroned; St. Paul with the sword; St. Peter giving the keys to the kneeling Pope Eugene IV; St. Paul sentenced by Nero; martyrdom of St. Paul; martyrdom of St. Peter on Vatican Hill; St. Paul appearing to Plautilla, to give her back the veil she had lent him to blindfold his eyes.

The Door of Death is the far left door into the basilica. Its name derives from its traditional use as the exit for funeral processions.

To say that the interior of St. Peter's is impressive would be an obvious understatement given that it is perhaps the largest church in the world (the new Basilica of Yamoussoukro may have surpassed it). It covers an area of 23,000 m² (5.7 acres) and has a capacity of over 60,000 people. And every bit of space is used to display the finest Renaissance monuments and decoration money could buy, employing the talents of such greats as Michelangelo and Bernini.

Immediately inside the central doors is a large round porphyry slab set into the floor. Here Charlemagne and the Holy Roman Emperors knelt for their coronation in front of the high altar of the old basilica. Along the floor of the nave are markers with the comparative lengths of other churches, starting from the entrance (this is quite remarkable). The insides of the pilasters that separate the nave from the side aisles have niches filled with statues of saints who founded religious orders. There are 39 of these in total throughout the church, spaced evenly in the nave and two transepts.

In the northwestern (right front) corner of the nave is the bronze statue of St. Peter Enthroned. It is robed and crowned on high festivals, and its outstretched foot is smoothed down due to centuries of pilgrims' caresses.



In the right aisle, the first major sight is Michelangelo's beautiful Pietà, located immediately to the right of the entrance. The sculpture depicts the Virgin Mary cradling the dead Jesus in her lap after the crucifixion, and was completed when Michelangelo was just 24. After it was vandalized with an axe in 1972, the sculpture was placed behind protective glass.



Since I already saw La Pieta last year, I skipped it and walked towards the tomb of Pope John Paul II. The guard kept on reminding the tourists (and pilgrims) that we should be praying instead of taking pictures. Being a good girl (sometimes), I did pray; and once the guard walked to the other side, I started taking pictures. Well, I took it upon myself to take pictures; otherwise, I would have nothing to show you guys, right? haha



Up the aisle is the monument of Queen Christina of Sweden, who abdicated in 1654 in order to convert to Catholicism. Further up are the monuments of Popes Pius XI and Pius XII, as well as the altar of St Sebastian.

Halfway to the transept is the large Chapel of the Blessed Sacrament where the Blessed Sacrament (consecrated bread and wine) is exposed for the continuous adoration of the faithful. A notice reads: "Only those who wish to pray may enter." It is a rare place of silence and stillness in the tourist-filled basilica, and for many Catholics it is their favorite space. I myself found this place very peaceful. Inside the chapel, the sacrament is enshrined in a tabernacle of gilded bronze designed by Bernini. It has statuettes of the twelve Apostles on the cornice and one of Jesus on the miniature dome. It is encrusted with deep blue lapis lazuli and is flanked by two angels in gilded bronze, kneeling in reverent prayer. Behind the altar is an oil painting by Pietro da Cortona of the Trinity, the only canvas painting in the whole basilica. (Sorry, no photos allowed so I could not provide any. I didn’t have the heart to take stolen shots either…)

Further down the right aisle are the monuments of Pope Gregory XIII and Gregory XIV. The right transept contains three altars: St Wenceslas, St. Processo and St. Martiniano, and St. Erasmus.

Where the right aisle runs into the Pier of St. Longinus is the body of Pope John XXIII, displayed in a glass case beneath the Altar of St. Jerome. The Pope was beatified (a step towards sainthood) in 2000. When the tomb was opened in order to move his body to the basilica in 2001, it was found to be incorrupt and was therefore placed in a glass case. This location was chosen because the Pope was a specialist in the church fathers and a devotee of St. Jerome in particular.



At the crossing of the transepts is the central focus of the interior, the baldacchino. This monumental canopy shelters the papal altar and the holy relics of St. Peter. Artistically, it also serves to fill the vertical space under Michelangelo's great dome. Made of 927 tons of dark bronze (removed from the Pantheon's roof in 1633) accented with gold vine leaves, the baldacchino stands 90 feet tall.



At the foot of the baldacchino and papal altar is the sunken Confessio, a 17th century chapel named in honor of the confession of St. Peter that led to his martyrdom here.

Although the baldacchino and papal altar stand over St. Peter's tomb, the tomb itself cannot be seen either from here on in the crypt. St. Peter's tomb is on the other side of the Niche of the Pallium at the back of the Confessio, and can only be seen in the special Scavi tour of the ancient necropolis. The niche contains a silver coffer that seems like a good place for Peter's relics, but actually contains fabrics (each known as a "pallium") woven from the wool of lambs blessed on the feast of St. Agnes and given to patriarchs and metropolitans as a reminder of the Church's unity.

Behind the coffer is an early 8th-century mosaic of Christ, placed here by Pope Leo III. In his left hand, Christ holds a Bible open at the Gospel of John, which bears the Latin inscription, "I am the way the truth and the life, the one who believes in me shall live."

Surrounding the baldacchino are four great piers that support the huge dome. Each pier has a large niche at its base, which is filled with a colossal statue of a saint representing each of the basilica's four major relics:

NW pier - St Helena, Constantine's mother, holding a large cross (representing the relic of the True Cross found by the saint in Jerusalem)



NE pier - St Longinus, the Roman soldier who thrust a spear in the side of Christ at the crucifixion, converted, and was later martyred (the relic is the spear)



SE pier - St Andrew, with his trademark diagonal cross upon which he was martyred (the relic is Andrew's head, which was returned to the Greek Orthodox Church in 1964)



SW pier - St Veronica, with the veil Christ used to wipe his face on the way to Calvary, leaving his image imprinted on it (representing the relic of Veronica's veil)



The relics themselves are kept in the podium of the Pier of St. Veronica and are displayed only during Holy Week. The Vatican makes no official claims as to the authenticity of these relics and, in fact, other Catholic churches claim to possess the same ones.

At the far west end of the basilica is the tribune, which centers on the Cathedra of St. Peter.

At the end of the left aisle, west of the transept, is the Chapel of the Column. This contains the Altar of Our Lady of the Column on the south side.

To the left of the altar is the Altar of Pope St. Leo the Great by Alessandro Algardi. This is the only altarpiece of marble relief in the basilica. Leo was a highly influential pope and was the first to be buried in St. Peter's.

Heading back towards the entrance, between the Chapel of the Column and the left transept is the monument to Pope Alexander (Chigi) VII by Bernini. The door below symbolizes the Gate of Death, above which a skeleton lifts a fold of red marble drapery and holds an hourglass. He is flanked on the right by a statue representing Truth or religion, which rests her foot on a globe — specifically placed upon the British Isles, symbolizing the pope's problems with the Church of England. Three other figures represent Charity, Prudence and Justice.

The left transept contains the altars of St. Peter's Crucifixion, St. Joseph and St. Thomas.

Just beyond the left transept as you head back to the entrance is the monument to Pope Pius VIII.

East of the left transept is the Clementine Chapel, which contains the Altar of Pope St. Gregory the Great. The altarpiece, a mosaic reproduction of a 1625 painting by Sacchi, depicts a miracle in which St. Gregory used a knife to cause blood to flow from a corporal cloth. Beneath the altar is the tomb of Gregory, which can be seen through a grille.

The last chapel before you leave is the Presentation Chapel, which centers on the Altar of the Presentation of Mary. The altarpiece, which shows the young Mary being presented in the Temple by her parents, is a mosaic based on a painting by Romaneli. Below the altar is the body of Pope St. Pius X, the last pope to be canonized. His face and hands are covered in silver. Pius X is known for his emphasis on religious education, and for his opposition to modernism. He allowed children to take communion, and encouraged the sacrament to be practiced daily.

After the chapel and on your right is the monument to Pope Benedict XV. The Pope is shown in fervent prayer, kneeling on a tomb which commemorates the First World War, which he described as a "useless massacre." The tomb is covered in olive branches, symbols of peace. Above the statue is Mary, presenting Jesus, Prince of Peace, to the world in flames.

On your left as you leave is the Monument to the Royal Stuarts, a pyramidal masterpiece by Antonio Canova.

Next to this is the tomb of Maria Clementina Sobieska, a princess who received the rare honor of burial in St. Peter's normally reserved for popes and saints. The wife of James Stuart, she earned this honor through her crusade for the Catholic faith.

On the left just inside the entrance is the baptistery, where a porphyry cover from a 4th-century sarcophagus is used as the baptismal font.

The crypt underneath the church is well worth a visit. It contains architectural fragments from earlier churches on the site and the tombs of many popes.

But the focus of pilgrims and tourists alike is the tomb of the very first pope: St. Peter. These prized relics have been the goal of millions of pilgrims since the early centuries of Christianity, and have a good likelihood of authenticity. A glass wall at the end of the crypt provides a view of the reliquary below the altar, which may well contain the actual bones of St. Peter. A chapel stretches out behind the shrine into the crypt for services at this holiest of shrines.

On your way out as you exit from the crypt is the entrance to the dome and roof, in the northern courtyard between the church and Vatican Palace. There is an admission charge and often a line, but it is a very worthwhile experience. There is an elevator option as far as the dome (for an extra euro), and from there on it is stairs only.

The views from the gallery around the cupola of Michelangelo's dome provide an impressive sense of the enormity of the church, a look at the top of the baldacchino, and a closer view of the cupola's inscriptions and medallions.

From the gallery, stairs continue to the roof, where you step out on the east side of the dome. This provides a sweeping view of St. Peter's Square and Vatican City from behind the huge statues on the facade.



Thereafter, we proceeded to St Peter’s Square. Providing a fitting approach to St Peter’s Basilica is the huge, elliptical St. Peter's Square (Piazza San Pietro), designed by Bernini and built between 1656 and 1667. There are two beautiful fountains in the square, the south/left one by Carlo Maderno and the northern/right one by Bernini.



In the center of the square is a 25.5-meter-tall obelisk, which dates from 13th-century BC (Before Christ) and was brought to Rome in the 1st century to stand in Nero's Circus some 275 yards away. It was moved to its present location in 1585 by order of Pope Sixtus V. The task took four months and is said to have been done in complete silence on pain of death. If you include the cross on top and the base, the obelisk reaches 40m.



The square is outlined by a monumental colonnade by Bernini, its open arms symbolically welcoming the world into the Catholic Church. Between the obelisk and each fountain is a circular stone that marks the focal points of an ellipse. If you stand on one of these points, the two rows of columns of the colonnade line up perfectly and appear to be just a single row.



On top of the colonnade are 140 statues of saints, crafted by a number of sculptors between 1662 and 1703. Some of the apostles are at the far end of the colonnade, outside the square and down the street. Near the stairs to the basilica at the front of the square are colossal statues of Sts. Peter and Paul, the patron saints of Rome.

After the tour, we were given time on our own to romance the shops and the wicked pastries. So without any further ado, Marilyn, Grace and I went in search of food. With our stomachs happy, Marilyn went shopping for more religious articles, while Grace and I relaxed in one of the benches to “people watch”. Besides, I couldn’t stand the heat which was at a searing temp of 30 degrees (C). Anyhow, at the appointed time and place, we returned to our bus for a panoramic tour of the city.

We passed through crowded streets of Rome with crazy Italian drivers in abundance. Our first stop was the Trevi Fountain.



Rome is also home to one of the most beautiful fountains in the world, the Trevi Fountain. The Fontana di Trevi was erected in 1732 and is located in Trevi Square in the Quirinale district. Legend says that if a visitor tosses a coin into the fountain, then they will one day return to Rome. And as you guessed it, I had to toss a coin so I can return to Rome again (and again) some day.



Generally, the city of Rome is large enough to absorb its tourist visitors with ease. There are just a few places in Rome where you can find yourself barely able to move for camera-wielding crowds or clutching your bag for fear of pickpockets. Unfortunately, the Trevi Fountain is one of those places. However, it is still a not-to-be-missed sight when you are visiting Rome, especially if you are lucky enough to arrive when the crowds have lessened.

One of the reasons for the crowds is simply the lack of space. What photographs don't convey, and what strikes the visitor most powerfully, is the fountain's scale compared to its setting. This is simply a massive, monstrous water feature built in a tiny square. It incorporates one side of the piazza; the entire facade of a palazzo. The fountain's backdrop is Palazzo Poli, which becomes a part of the monument. The fountain features a central sculpture of Neptune, with Health and Abundance alongside. He is attended by tritons and marine horses. The water thunders and it is one of the most staggering, ludicrously theatrical spectacles you will ever see. It is an exuberant expression of Rome's character in all its excess, extravagance and drama. Brush off the hawkers trying to sell plastic rubbish, hold tightly to your valuables and find a vantage spot where you can simply stand and take in the view, and the sound of the thundering water. It is one of Rome's most famous tourist sights; an overpowering spectacle which dominates its surroundings.



After tossing some coins at the Trevi Fountain, we went for the arguably best gelato in town where I chose nutella flavour. Yum!

Back on the bus, we pass through so many attractions, one of which was the Victor Emmanuelle monument.



The next stop was the Colosseum. However, since I was just there the year before, and the heat has gone up to a staggering 33 degrees (C), I opted to stay on the bus along with 10 other people. I made use of the time by relaxing and chatting with Bennie and our gorgeous Italian driver, Giovanni.



Thereafter, we proceeded to the last of the 4 patriarchal basilicas of Rome: Basilica of St. Paul Outside the Walls. Originally founded by Emperor Constantine in the 4th century, the Basilica of St. Paul is the burial place of Saint Paul the Apostle. And after spending the morning at the Vatican, I was really looking forward to see the Basilica of St. Paul. It was much more intense than I was expecting. It could have been probably because of the movie that we watched while on the bus enroute to Rome.

Anyhow, while visiting this basilica, the irony was not lost on me that Paul started out as a persecutor of Christians and then died as a persecuted Christian.



Historically, after his execution and burial in Rome in the 1st century AD, Saint Paul's followers erected a shrine over the grave. Early Christians frequently visited the site to honor the great Apostle to the Gentiles and author of more than half of the New Testament. The first church on the site was a small one, founded by Emperor Constantine and consecrated in 324. In 386, Emperor Theodosius demolished the original church and began the construction of a much larger basilica. According to the inscription on the triumphal arch, it was consecrated in 390 by Siricius, and completed in 395 under Emperor Honorius. Although heavily restored, the present basilica looks much the same as it did in the 4th century.

In 1823, a great fire, started through the negligence of a workman who was repairing the lead of the roof, resulted in the destruction of the basilica. The whole world contributed to its restoration. The Viceroy of Egypt sent pillars of alabaster, the Emperor of Russia the precious malachite and lapis lazuli of the tabernacle. The work on the principal facade, looking toward the Tiber, was completed by the Italian government, which declared the church a national monument.

The main door, of bronze with inlaid silver, is modern, made by Antonio Maraini after the old door had been damaged in the fire of 1823. The original door was a gift from Pope Gregory VII, set up in 1070, and was made of the same materials. The reliefs on the door show scenes from the lives of Saints Peter and Paul. Apart from the two central scenes, all of the events depicted took place in Rome. Flanking the main door are 19th-century statues of Saints Peter and Paul.



One of the basilica's most important artworks is a 12th-century candelabra by Vassalletto, who's also responsible for the remarkable cloisters, containing twisted pairs of columns enclosing a rose garden. Also notable is the baldacchino (richly embroidered fabric of silk and gold, draped over an important person or sacred object), which also was spared by the fire.

The cloisters were built between 1208 and 1235. The inscription in the mosaics is a poem describing the importance of cloisters in the life of a monk and the use of the cloisters as a place of meditation and study. The sacristy of the cloisters contains the statue of Pope Boniface IX.

Personally, I found the basilica’s open simplicity makes a welcome contrast to the ostentatiousness of St. Peter’s Basilica. It is less crowded but, in many ways, more spectacular than any church you'll see in Rome because of its immense size. Just think of a church spanning the width and length of a football field-and-a-half, add chapels way beyond the end zone, with ceilings rising nearly a hundred feet, and you have some idea of the size of St. Paul’s Basilica. There are no side chapels along the nave of this great church. It is simply a classic basilica of one central nave and two aisles flanking either side. The huge interior is completely free of benches, chairs, statues, and often, even tourists. The mosaics in the triumphal arch and along the walls have been recreated, and the walls are from the mid-19th century restoration, so the building looks fresher and brighter than most of the churches you will see in Rome. Furthermore, the interior is full of golden light and warm colors.



There are fine altars, including one of the Blessed Sacrament at the left of the central main altar. An ancient carved wooden crucifix above the Blessed Sacrament altar and a primitive statue of St. Paul at the right of it are two artistic treasures. Mosaic portraits of every pope in the history of the Catholic Church line the upper walls of the basilica.

Be sure to walk down into the "confessio" just below the main central altar to view part of the sarcophagus which holds the remains of St. Paul. It is a sacred place of prayer for pilgrims who come to remember St. Paul, the Apostle to the Gentiles.









Enter through the front entrance of the basilica and not the side entrance. That way you do not miss the beautiful courtyard in front of the facade of St. Paul's Basilica and also in order to view the huge statue of St. Paul. He stands in front of his church with a sword in one hand and a book in the other. The sword represents the manner of his death and the book, the New Testament containing his letters to young Christian churches.



This basilica (my fave, actually) is one of the most magnificent churches in the world and if you go to Rome, you simply must see it.



Our day at the Vatican City could have easily stretched into several. But, all good things, including vacations, must come to an end. Lucky for me, I didn't have to wait a long time before returning to Rome and Vatican City. And each time I have found something new and exciting to see in the city.

Grudgingly, we went back to the hotel to freshen up for our farewell dinner that evening at Cotto Ristorante. Lots of food, banter and laughter to end what had been a marvelous pilgrimage tour. If you ask me, I would take it again in a heartbeat.

After dinner, Bennie, Zeny and I had a good long chat that ended way into the night. I felt we didn’t want the pilgrimage to end. Indeed, time flies, especially when you’re having too much fun! Finally, albeit reluctantly, we called it a night in order to pack up for our journey back home.

Note: A pilgrimage to Italy is the best of both worlds - it offers many sanctuaries and holy places for reflection and consideration, complemented by journeys through stunning scenery and historic towns. After Lourdes and Fatima, and then visit the core of my faith in all its beauty and richness and a chance to see, hear and be blessed in person by our beloved Holy Father, Pope Benedict XVI, is a treasure to behold forever in my heart. Indeed, having Rome, the heart and soul of my faith, as the culmination of our pilgrimage, couldn’t have been better.


Departure from Rome

Woke up early to say goodbye to Grace who left for the airport at 5:30am to catch a plane for Germany where she was spending the next several days with her goddaughter.

After breakfast, we left for the airport for our flight back to Vancouver, with a connecting flight in Frankfurt. We had our local guide with us, pointing out more places of interest along the way. As you must have guessed correctly, my brain could no longer take in what he was saying. The “vacation mode” part of my brain must have already been switched off. In fact, I was no longer listening, just merely looking at the sights around me.

As was expected of him, the guide expertly guided us through the airport so we can check in without any hassle and trouble of getting lost. Soon thereafter, we were pretty much settled in, with our boarding passes securely in our possession. In fact, Marilyn and I had lots of time to do last-minute shopping at the duty-free shops! 

However, when we got to our gate, we were informed that our flight has been delayed because Frankfurt Airport was testing its new systems. Ayayay…. Therefore, we left at 11:30am instead of at 10:10am. And you know what that means, right? Obviously, we missed our connecting flight to Vancouver.

Anyhow, as soon as we landed at Frankfurt Airport, the mayhem started. Half of the group, including myself, who could walk and run fast, dashed for the gate, only to learn that the plane had already left. The other half (including Bennie) stayed put and took their time in waiting for the rest, not knowing that the other half were already on their way to the departure gate. With our group separated from the other half, we were frantic to get back together, but airport officials gave us the run-around at the airport. Finally, exhausted from our running from one end of the airport to the other, we just gave up and sat down in one corner until a kind soul took pity on us and reunited us with the other group. Agh!

We were all then herded back to the Lufthansa ticketing counter to rebook our flights for the following day, but not before waiting for several hours to be attended to. (Sigh!) Fortunately, we were given free hotel and meal vouchers. Of course, it was their fault that we missed our flight to begin with, so they had to pay for everything! We even got to call home (to inform of our change of flight arrival) for free.

Anyhow, we got billeted at the Steigenberger Langen Hotel. And I also noticed that almost all taxicabs in Germany are Mercedes Benzes; therefore, we got to ride in one!

Exhausted from the unfortunate events of the day, we just ate dinner and called it a night. But I wasn’t too happy with our hotel room as it reeked of smoke. Yikes! I asked to be transferred to another room but the hotel was fully booked, so we (Marilyn and I) had no choice but to suffer the stinky smell of our room all night long.


Departure from Frankfurt

Since our flight was not until 1:10pm, we took it easy in the morning. After enjoying a leisurely and sumptuous breakfast (yes, German sausages are to die for!), the hotel shuttle took us back to the airport at 9:00am. Since we had LOTS of time, there was nothing else to do at the airport but shop! One good thing about Germans is that they speak English! Woohoo – no problem with shopping!!! It goes without saying that I was able to buy a very nice top, which made me very happy. Another night in Frankfurt was not so bad after all, eh?

At the appointed time, we made our way to our gate where a bus was waiting for us to take us to our plane. What??? I still don’t understand how their system works until now. But anyhow, to make matters worse, we had to wait for an hour for some passengers whose connecting flight has been delayed. What??? If the plane can wait, why did it not wait for the 26 of us the day before? Could it be that Lufthansa people had learned from their stupid and costly mistake and therefore decided to wait for the latecomers?

Anyhow, the plane finally took off one hour later. I must have spoken too soon, because I don’t think I like Lufthansa Airlines after all. To begin with, its entertainment system was not working at all. Tell me, what should a girl like me do for the next 9 hours, other than sleep? If you know me, I could always look for innovative ways to occupy my time, right? Damn right, I would!

Fortunately, I was seated next to a gorgeous hunk of a man, so I started up a conversation with him. In half an hour, I knew everything about him. He is a pilot for the Canadian Navy and he just got back from Poland for a 3-week NATO military exercise. To keep him interested, I asked him questions about planes and he was just too willing to tell me everything about it. If you ask me what he talked to me about, I have no clue whatsoever. Besides, after learning he’s married, I lost interest.

And then, as if by magic, the entertainment system started working again and I was able to watch the movie, “Just Go With It” starring Adam Sandler, Jennifer Aniston and Nicole Kidman. But I was unable to finish it because the entertainment system went kaput again. Agh!

So – needless to say, the entire plane ride was BORING, except for my animated conversation with my gorgeous seatmate. My only regret? I never had the chance to thank him for his selfless acts of heroism in defending this country which I came to love with passion.

The plane finally touched down at YVR and we lined up before the Customs officer who just asked a couple of questions, and off we went to retrieve our luggage. After returning our prayer and hymnal books to Bennie, and after saying our goodbyes to our fellow pilgrims, Marilyn and I stepped out into the all-too familiar Vancouver airport, and into the waiting arms of Ricky who was just too happy to carry our pieces of luggage and drive us home. haha

And as I’ve always said in the past, I’m so glad to be back home, albeit in this instance, a day later.

In conclusion, this pilgrimage was a journey like nothing else I've ever done. On this journey, every day has the potential of presenting something completely new. However, I’ve learned that in order to be receptive to this experience, my attitude has to be free, spontaneous, unstructured. I hope, as a result of this journey, I have become a better person.


Epilogue:

Looking inward, I’ve realized that modern life compels us to rush. There is always something seemingly more pressing that needs to be done. Because we feel pressured to make the most of our time each day, the activities that sustain us, rejuvenate us, and help us evolve are often the first to be sacrificed when we are in a hurry or faced with a new obligation. It is important to remember, however, that there is more to life than achieving success, making money, and even caring for others. Our spiritual needs should occupy an important spot on our list of priorities. Each task we undertake and each relationship we nurture draws from the wellspring of our spiritual vitality. Taking the time to engage in spiritually fulfilling activities replenishes us and readies us to face another day. Making time for activities that contribute to our spiritual growth has little to do with being selfish and everything to do with our well-being. By regularly taking the time to focus on our soul’s needs ensures that we are able to nurture ourselves, spend time with our thoughts, experience tranquility, and expand our spiritual boundaries. Personally, I noticed that the more time I commit to soul-nurturing activities, the happier and more relaxed I have become. Why don’t you try it? I can assure you that the more time you devote to enriching your spirit, it will rejuvenate you and help you create a more restful life.

Yes, it’s time to go back – to the same old world, the same routine, the same problems. However, for me, everything had changed- forever!

Well folks, this concludes my pilgrimage travelogue. Hope you enjoyed it, and at the same time, informed, enlightened, encouraged and inspired by it.

Again, MERCI! GRACIAS! OBRIGADA! GRAZIE!