Daily Dose of Europe: A Little Bone Envy

I was just 19, visiting Romania for the first time. A new friend took me inside his home, to the hearth, and introduced me to what was left of his great-grandfather. It was a skull… dry, hollow, and easy to hold in one hand. He told me it was a tradition in the mountains of Transylvania for families to remember long-dead loved ones with this honored spot above the fireplace. I remember feeling a little bone envy.

Even though we’re not visiting Europe right now, I believe that travel dreaming can be good medicine. Last year, I published “For the Love of Europe” — a collection of my favorite stories from a lifetime of European travels — and this is just one of its 100 travel tales.

If you know where to look, you can find human bones on display in many corners of Europe. Later, on that same trip, I was in the Paris Catacombs. Deep under the city streets, I was all alone…surrounded by literally millions of bones — tibiae, fibulae, pelvises, and skulls, all stacked along miles of tunnels. I jumped at the opportunity to pick up what, once upon a time, was a human head. As what seemed like two centuries of dust tumbled off the skull, I looked at it…Hamlet-style. Just holding it was a thrill. I tried to get comfortable with it… to get to know it, in a way. I struggled with the temptation to stick it into my day bag. Imagine taking home a head dating back to Napoleonic times. What an incredible souvenir. But I just couldn’t do it. The next year, I returned to those same catacombs, pumped up and determined this time to steal me a skull. It was a different scene. Skulls within easy reach of visitors were now wired together, and signs warned that bags would be checked at the exit.

The Paris Catacombs show off the anonymous bones of six million permanent residents. In 1786, the French government decided to relieve congestion and improve sanitary conditions by emptying the city cemeteries, which had traditionally surrounded churches. They established an official ossuary in an abandoned limestone quarry. With miles of underground tunnels, it was the perfect location. For decades, the priests of Paris led ceremonial processions of black-veiled, bone-laden carts into the quarries, where the bones were stacked into piles five feet high and up to 80 feet deep, behind neat walls of skull-studded tibiae. Each transfer was completed with the placement of a plaque indicating the church and district from which that stack of bones came and the date they arrived.

Today, you can descend a long spiral staircase into this bony underworld (ignoring the sign that announces: “Halt, this is the empire of the dead”) and follow a one-mile subterranean public walk. Along the way, plaques encourage you to reflect upon your destiny: “Happy is he who is forever faced with the hour of his death and prepares himself for the end every day.” Emerging far from where you entered with white limestone-covered toes is a dead giveaway you’ve been underground, gawking at bones.

While I eventually outgrew my desire to steal a skull, in later years, as a tour guide, I’ve discovered I’m not the only one intrigued by human bones. If bones are on your bucket list, you’ve got plenty of options. Throughout Europe, Capuchin monks offer a different bone-venture. The Capuchins made a habit of hanging their dead brothers up to dry and then opening their skeleton-filled crypts to the public. Their mission: to remind us that in a relatively short period of time, we’ll be dead, too — so give some thought to mortality and how we might be spending eternity.

In the Capuchin Crypt in Rome, the bones of 4,000 monks who died between 1528 and 1870 are lined up for the delight — or disgust — of always wide-eyed visitors. A plaque shares their monastic message: “We were what you are…you will become what we are now.”

The Capuchins of Palermo, Sicily, offer an experience skull and shoulders above the rest. Their crypt is a subterranean gallery filled with 8,000 “bodies without souls,” howling silently at their mortality. For centuries, people would thoughtfully choose their niche before they died, and even linger there, getting to know their macabre neighborhood. After death, dressed in their Sunday best, their body (sans soul) would be hung up to dry.

In Kutná Hora, in the Czech Republic, monks take bone decor to an unrivaled extreme. Their ossuary is decorated with the bones of 40,000 people, many of them plague victims. The monks who stacked these bones 400 years ago wanted viewers to remember that the earthly church is a community of both the living and the dead. Later bone-stackers were more into design than theology — creating, for instance, a chandelier made with every bone in the human body.

In Europe, seekers of the macabre can get their fill of human skeletons. And in doing so, they learn that many of these bones — even long after death — still have something to say.

This story appears in my newest book, “For the Love of Europe” — a collection of 100 of my favorite memories from a lifetime of European travel. Please support local businesses in your community by picking up a copy from your favorite bookstore, or you can find it at my online Travel Store.

Stay tuned, travel buddies. Upcoming posts will be sure to carbonate your daily routine — such as a European-festivals bonanza — with running bulls, Euro-Mardi Gras, a crazy horse race, and huge tents filled with dirndls, lederhosen, and giant beers — at our next Monday Night Travel event. So, be sure to stick around, and invite your friends to join us here as well!

Daily Dose of Europe: Roman Pantheon

The Pantheon gives you a feel for the magnificence and enlightened spirit of ancient Rome better than any other monument.

As America continues to suffer crisis upon crisis, it has never been more important to broaden our perspectives and learn about the people and places that shape our world. And for me, one of the great joys of travel is seeing art masterpieces in person. Learning the stories behind great art can shed new light on our lives today. Here’s one of my favorites.

The Pantheon was a Roman temple dedicated to all (pan) of the gods (theos). It was a one-stop-worship place for ancient pagans who could come here to honor Jupiter, Venus, Mars, or any of the thousands of other Roman gods — the god of bread-making, of fruit trees, even the god of manure.

The temple was built by the Emperor Hadrian around AD 120. Hadrian was a voracious traveler, sophisticated scholar, and amateur architect, and he may have personally helped design it. Hadrian loved Greece, and gave the Pantheon the distinct look of a Greek temple — columns, crossbeams, and pediment.

The facade’s enormous columns — 40 feet tall, 15 feet around, and 55 tons — are each made of a single piece of red-and-gray granite. They were quarried in faraway Egypt, shipped across the Mediterranean, then carried overland to this spot, where they were lifted into place using only ropes, pulleys, and lots of sweaty slaves. It’s little wonder that the Romans — so organized and rational — could dominate their barbarian neighbors.

But what makes the building so unique is what’s on the inside — a soaring interior dome. Stepping inside, your eye is drawn upward, where the dome completely fills your field of vision. The dome was the ancient world’s largest, a testament to Roman engineering. It’s exactly as high as it is wide — 142 feet from floor to rooftop, 142 feet from side to side. You can put it into an imaginary box that’s a perfect cube. Even if you’re not a mathematician, the perfection and symmetry of the building makes a strong subconscious impression. Modern engineers still admire how the Romans built such a mathematically precise structure without computers, fossil fuels, or electricity.

The dome is made from concrete, a Roman invention. The dome gets lighter and thinner as it rises to the top — from 20-foot-thick walls at the bottom to five feet thick at the top, made with light volcanic stone. The square indentations, or coffers, reduce the weight as well. At the top of the dome is an opening 30 feet across. This sunroof is the building’s only light source. So what happened when it rained? They got wet.

With perhaps the most influential dome in art history, the Pantheon was the model for Brunelleschi’s dome in Florence, Michelangelo’s at St. Peter’s, and even the Capitol Building in Washington, DC.

As ancient Rome crumbled, the Pantheon was spared. This pagan temple to “all the gods” was converted to a Christian church to “all the martyrs.” Over the centuries, it became a revered burial spot for “secular saints” like the artist Raphael and Italy’s first modern king.

The Pantheon is the only ancient building in Rome continuously used since its construction. Visitors from around the world pack the place to remember the greatness of classical Rome. And the Pantheon contains the world’s greatest Roman column: the pillar of light, shining through the sunroof, spanning the entire 142 feet, connecting heaven and earth.

This art moment — a sampling of how we share our love of art in our tours — is an excerpt from the new full-color coffee-table book, “Europe’s Top 100 Masterpieces,” by Rick Steves and Gene Openshaw. Please support local businesses in your community by picking up a copy from your favorite bookstore, or you can find it at our online Travel Store. You can also view bonus content online with short clips that give context and dimension to the art at Rick Steves Classroom Europe; just search for Pantheon.

Daily Dose of Europe: Caravaggio’s David with the Head of Goliath

The grotesque, in-your-face style of the painter Caravaggio feels fitting in our time of crisis. Here’s a close look at one of his most iconic works.

As America continues to suffer crisis upon crisis, it has never been more important to broaden our perspectives and learn about the people and places that shape our world. And for me, one of the great joys of travel is seeing art masterpieces in person. Learning the stories behind great art can shed new light on our lives today. Here’s one of my favorites.

In Caravaggio’s take on this familiar Bible story, David the shepherd boy has killed the giant Goliath with a rock and decapitated him with a sword. Now David holds the dripping head out at arm’s length, sticking it right in the viewer’s face.

Like David, the artist Caravaggio loved to shove startling images in the public’s face. While most artists amplified the world’s prettiness, Caravaggio painted its grittiness. Here he chronicles every gruesome detail: the dripping blood, rotting teeth, bloody wound in the forehead, and Goliath’s final expression of despair (or is it surprise?) frozen in death. David dangles the head by the hair and watches the life drain away. David’s expression is complex. He’s not gloating over his triumph, but detached, like he didn’t want to kill the poor bastard, but he had to — an executioner dispensing justice.

What exactly is David thinking? Well, Caravaggio knew. He knew exactly how it felt to have just killed someone, because he had recently murdered a man with a sword. Even as he painted this, he was running from the law.

Caravaggio’s life, like his art, was dark and dramatic. By his twenties, he was rich and famous for his startling talent and innovations. But he lived a reckless, rock-star existence — hanging out in dive bars, trashing hotel rooms, and picking fights. He used the low-life people he knew as models for his paintings, turning blue-collar workers into saints and prostitutes into Madonnas. Here, David is no heroic Renaissance man like Michelangelo’s famous statue — he looks like a teenage runaway in a dirty shirt.

Caravaggio’s specialty was stark lighting — creating a film-noir world of harsh light and deep shadows. This painting is bled of color, virtually a black-and-white crime-scene photo. Caravaggio shines the spotlight on just the details he wants to highlight: David’s skinny torso and cheek, and the giant’s horrified face.

The severed head of Goliath is none other than Caravaggio himself — an in-your-face self-portrait. That’s led scholars to see a lot of Caravaggio’s personal life in this painting. Some say David is also a portrait — of Caravaggio’s young lover, symbolizing how the young man has conquered him in love, leaving him literally smitten. Others say David is another self-portrait of Caravaggio, this time in his youth — in which case, David would be the artist’s youthful self reflecting on the ugly brute he’d become.

Caravaggio spent his final years wanted on murder charges. During that time, he forged a new direction in art. With his heightened realism, strong emotions, uncompromising details, and dramatic lighting, he set the tone for a new style: Baroque.

This painting — perhaps Caravaggio’s last — was a gift sent to the authorities along with a request that they pardon him. He portrays himself as Goliath, a message of his own self-disgust and contrition. Caravaggio was eventually pardoned, but he died shortly afterwards — appropriately, from a stab wound. Though only 38, in his short life he’d rocked the world of art — as his paintings continue to do to this day.

This art moment — a sampling of how we share our love of art in our tours — is an excerpt from the full-color coffee-table book Europe’s Top 100 Masterpieces by Rick Steves and Gene Openshaw. Please support local businesses in your community by picking up a copy from your favorite bookstore, or you can find it at my online Travel Store. To enhance your art experience, you can find a clip related to this artwork at Rick Steves Classroom Europe; just search for Caravaggio.

Daily Dose of Europe: Michelangelo’s Pietà

When he was just 24 years old, Michelangelo carved the statue that made him famous: His Pietà debuted in St. Peter’s in Rome for the Holy Year of 1500. Thousands of pilgrims filed by and were amazed by what appeared to be a miraculous event carved out of marble yet unfolding before their eyes.

The coronavirus can derail our travel plans…but it can’t stop our travel dreams. And I believe a daily dose of travel dreaming can actually be good medicine. One of the great joys of travel is seeing art masterpieces in person. And I’m currently featuring 10 of my favorites — including this one.

The word pietà means “pity,” and is the name of any work showing Mary tenderly mourning her dead son, Jesus.

Michelangelo, with his total mastery of the real world, captures the sadness of the moment. Mary gazes down on her crucified son. Christ’s lifeless right arm droops down, letting us know how heavy his corpse is. Christ’s bunched-up shoulder and rigor-mortis legs show that Michelangelo learned well from his studies of cadavers. The vulnerability of Christ’s smooth skin is accentuated by the rough folds in Mary’s robe. As Mary supports the body with her right hand, she turns her left hand upward, asking, “How could they do this to you?”

It’s hard to believe that this supple, polished statue is carved from one of the hardest of stones — Carrara marble. Michelangelo didn’t think of sculpting as creating a figure, but as simply freeing the God-made figure already in the marble. He’d launch himself into a project like this with an inspired passion, chipping away to find what God had put inside.

As realistic as this work is, its true power lies in the subtle “unreal” features. Life-size Christ looks childlike compared with larger-than-life Mary. Unnoticed at first, this makes a subliminal impression of Mary enfolding Jesus in her maternal love. Mary — the mother of a 33-year-old man — looks like a teenager, emphasizing how Mary was the eternally youthful “handmaiden” of the Lord, always serving him, even at this moment of supreme sacrifice. Mary always accepts God’s will, even if it means giving up her son.

Mary is a solid pyramid of maternal tenderness. Yet within this, Christ’s body tilts diagonally down to the right and Mary’s hem flows with it. Subconsciously, we feel the weight of this dead Savior sliding from her lap to the ground.

To appreciate the full impact of this scene, Michelangelo hoped you’d view his Pietà from close up, looking up at Mary’s face. Sadly, on May 23, 1972, a madman with a hammer entered St. Peter’s and began hacking away at the Pietà. The damage was repaired, but it changed forever how people interact with this object of beauty. It now sits behind a shield of bulletproof glass and is viewable only from a distance.

This is Michelangelo’s only signed work. The story goes that he overheard some pilgrims praising his Pietà, but saying it was done by a second-rate sculptor from a lesser city. Michelangelo was so enraged he grabbed his chisel and chipped an inscription in the ribbon running down Mary’s chest. It said, “This was made by Michelangelo Buonarroti of Florence.”

This is an excerpt from the full-color coffee-table book Europe’s Top 100 Masterpieces by Rick Steves and Gene Openshaw. Please support local businesses in your community by picking up a copy from your favorite bookstore, or you can find it at my online Travel Store. To enhance your art experience, you can find a clip related to this artwork at Rick Steves Classroom Europe; just search for Vatican.

Daily Dose of Europe Will Now Include Art Masterpieces

The COVID-19 crisis can derail our travel plans…but it can’t stop our travel dreams. Since the pandemic began in mid-March, I’ve been sharing a Daily Dose of Europe: travel essays recounting my favorite memories (from my upcoming travel memoir, For the Love of Europe). Starting today, I’m going to add European art masterpieces to that lineup.

One of the great joys of travel is seeing world-class art in person—and understanding it. So, over the next two weeks, we’ll be featuring 10 of Europe’s greatest works of art (with more to come in future weeks). Especially with so many parents at home looking for enriching educational experiences for their students, we hope each of these daily masterpieces can be a delightful teaching moment. Play “tour guide” and gather your travel partners. Then lavish your attention on each photograph while reading out loud the finely crafted description. Enjoy a daily dose of Europe through its greatest art as if you’re right there.

All of these essays are excerpted from my new book, Europe’s Top 100 Masterpieces: Art for the Traveler, co-authored by Gene Openshaw. If you’d like to pick up a copy, I prefer if you support local businesses in your community — which are struggling right now — and buy it from your favorite bookshop. They could use the business…and you could use the book.

Today’s first installment features a work of art that also represents one of the most successful empires Europe has ever seen: the crown of the Holy Roman Emperor.

In a darkened, high-security room of a palace in Vienna lie the crown jewels of a lost empire. These are Europe’s oldest and most venerated royal objects — the sacred regalia used to crown the Holy Roman Emperor. These precious objects set the tone for nearly a thousand years of coronations.

The star of the collection is the Imperial Crown. Compared with more modern crowns, it’s a bit clunky — oddly shaped and crusted with uncut (not faceted) gems. But it’s more than 1,000 years old, and is a true Dark Age bright spot. It was probably made for Otto the Great, the first king to call himself Holy Roman Emperor (r. 962–973). Otto saw himself as the successor to the ancient Roman emperors, as well as King Charlemagne who revived the empire in the year 800. Like Charlemagne, Otto made sure he was crowned personally by the pope in St. Peter’s — thus legitimizing both his “Roman” birthright and his “holy” right to rule.

The Imperial Crown swirls with symbolism. The cross on top says this man is a divine monarch, ruling with Christ’s blessing. The Roman-style arch over the top recalls the feathered crests of legionnaires’ helmets. And the sheer opulence of the crown — made of 22-carat gold, elaborate filigree, and 144 precious stones — attests that this king rules over many lands: a true emperor.

After Otto, future rulers were crowned with this same crown. Many were just minor dukes who called themselves emperors. (Voltaire quipped that the Holy Roman Empire was “neither holy, nor Roman, nor an empire.”) But under the dynamic Austrian Habsburg family, it truly became an empire, covering much of Europe and the New World. The Habsburgs’ 60-acre palace in Vienna (the Hofburg) was the epicenter of European culture, and their time-worn coronation rituals became Europe’s standard.

Picture the crown along with the other royal regalia in action for a coronation. First, the emperor-to-be would don the royal mantle, a 900-year-old red-and-gold silk cloak, embroidered with exotic lions, camels, and palm trees threaded from thousands of tiny white pearls. Next, the entourage entered the church, bearing the 11th-century jeweled cross, complete with a chunk of the (supposed) actual cross of Jesus. The emperor was given a royal orb (modeled on Roman orbs), an oak-leaf scepter, and a sword said to belong to Charlemagne himself (but probably not). The emperor placed his hand on a gold-covered Bible and swore his oath. Then he knelt, the jewel-studded Imperial Crown was placed on his head, and — dut dutta dah! — you had a new Holy Roman Emperor.

By the 19th century, the Habsburg Empire was fading. “Holy Roman” rulers were forced to tone down their official title, and once-powerful emperors were reduced to hosting ribbon-cutting ceremonies and white-gloved balls. In 1914, the heir-apparent, Archduke Ferdinand, was assassinated. This kicked off World War I, Austria fell, and by 1918, the 1,000-year Holy Roman Empire was history. The crown ended up in a glass display case where its jewels still sparkle with the glory of a once-great empire.

This is an excerpt from the full-color coffee-table book Europe’s Top 100 Masterpieces by Rick Steves and Gene Openshaw. Please support local businesses in your community by picking up a copy from your favorite bookstore, or you can find it at my online Travel Store. To enhance your art experience, you can find a clip related to this artwork at Rick Steves Classroom Europe; just search for “Habsburgs”.