We bought ticketes for the Louvre in a little tourist shop, and then found our way to the museum itself, through the huge dark chilly halls. Past the foundations of the original museum, into a large complex like a mall with big sparkling shops, through security, and then into the central area under the biggest glass pyramid of the Louvre. From this area led the four halls: one back the way we had come; the other three to the three 'pavilions', the wings of the Louvre, Richelieu, Sully, and Denon. The rotunda under the pyramid was at least three stories tall, with a big spiral staircase from inside the pyramid winding down like the chamber of a nautilus in the white light on the white walls. So many people.... Swarming everywhere, crawling, pushing, hurrying, drifting, wandering. We tried to settle on a time and place to meet, and went in through security.
At first we stuck together. We went straight into a gallery of medieval sculptures. Silent stone-struck faces staring placidly above our heads, eyeless gazes meditating on distances we could not see. Pieces broken from cathedrals and churches, virtues, saints, knights, patrons. Through the windows we could look out onto a courtyard where green bronze statues of boars and hounds stood, the hair on their hides green as icicles in the cold day outside, poised snarling at each other. We spent awhile with the medieval statuary, then went up a flight of stairs and found ourselves in a huge long arched gallery, like the underside of a barge, with Classical sculptures running down either side. Michelangelo's prisoners, some of them, struggling bound in stone. Muscular idealized bodies trapped in position, every sinew bulging, lunging, thrusting, leaping, or sitting tense and still. At the far end was the famous Victory, poised as though about to take flight, her wings sweeping above her headless neck. Everyone seemed to have congregated here, mostly Asians, busy snapping pictures, and it was in this huge hall that we got separated. Heather, Catherine, and I managed to stay together.
We wandered into an ornate room (stark contrast to the sterile severity of the Victory's hall) full of mirrors with a painted ceiling, and out again, and down a hall with windows looking onto a hall far below, lit from skylights above, where people were busy examining statues at desks while other statues and stone plaques stood swathed in plastic, jumbled about. We found ourselves finally in the Italian art: Donatello and his peers, silent peaceful madonnas and saints with everlasting halos. And from there into another great hall, long, white walls hung with the most famous of paintings: huge canvases hung above and below each other. Da Vinci's 'Virgin of the Rocks', Caravaggio's 'Fortune-Teller', etc. I stood in front of the 'Fortune-Teller' for a long time, lovingly watching the light falling on the faces, the careful craftsmanship of the brushstrokes.
Interspersed throughout the crowd were artists with easels, copying the paintings. The crowds swirled to and fro, circulating up and down the hall. In a packed side gallery we found the 'Mona Lisa', a small hazy canvas hanging behind a glass casing, smiling mockingly at the Asian tourists taking pictures. Not overly impressed, we wandered on. Our own reflections looked back at us from the mirrors interspersed among the paintings in the main hall; here and there were archways with busts under them. Heather and Catherine were tired, so we sat down, and lo and behold, Michaela and Sarah wandered up, and at last Emmaline and Charlotte, laughing and breathless, having been lost in the museum for the past hour or so. We came together in a knot to talk and sort ourselves out. The others hadn't yet seen the 'Mona Lisa', so I showed it to them. Then Heather, Catherine, and I went on to try to find the Egyptian, Greek, and Roman art. We lost Sarah and Michaela again. We went through a couple of huge galleries with more ornate ceilings and an embossed band around the edge of the ceiling, gold gods and goddesses and cupids and florals, and paintings on the ceiling itself. In one gallery, whose walls were painted maroon, were big Neoclassical canvases by people like David, of Napoleon crowning his queen, of scenes from Roman legend. We made our way out, back past the Victory, and into the galleries we'd stepped into before. Ornate: ceilings, walls, all painted, all gilded, stylized faces staring down at us. Strange contrast with the actual content of these galleries, which held endless glass cases of Greek and Roman pottery, red and black flat figures, and Egyptian artefacts--sphinxes, falcons, coffins, tablets stamped with hieroglyphs. The exotic jumble on the ceilings was weird, even somehow inappropriate, compared to the stark simplicity of the ancient pieces, which were strangely sinister in their out-of-placeness. These galleries were hardly crowded. The sun slanted through the windows, glancing off the ruddy figures on the vases. Still figures, silence.
At last we made our way out. Catherine and Heather were already tired and dazed, so they elected to find a bench and sit for awhile. I went back into the museum to see if I could find the others. Charlotte and Emmaline were sitting placidly waiting for me by the Victory; Michaela and Sarah, as it turned out, had gone to join the other two. Emmaline decided to have a look round on her own, while Charlotte and I, still eager to see more paintings, set off to look for some Vermeers that I'd heard about. On our way in the Richelieu wing, we came upon a huge glass-roofed atrium housing more statues. There was something calming about this place. Hardly any crowds here, and the blue light quietly filling the great hall, the statues standing scattered about. We paused and rested for awhile, looking at it, refreshing our eyes on the distances. Then we went on. I glimpsed a gallery with Sumerian art in it, so I stopped to take a picture briefly of a sitting statue, and then we went on. We rode escalators up to the top floor, where we successfully found Vermeer: a philosopher with a map and a lace-maker. We stopped to admire them for awhile, then went in search of the painting of the Magdalene with her skull and candle. But we ended up getting lost in a maze of obese Flemish art, heavy long faces, and so we rode the escalators down again.
We wandered quietly into the atriums of statues, and walked around them for awhile. I examined four statues of great horses with flying manes, and Charlotte found a series of statues portraying a girl (Diana?) growing up. Cloistered archways opened up all around, and through them I caught glimpses of other statues, mostly medieval funeral monuments. At last we met up with Emmaline and the others again, sitting on the little crowded bench outside the Sully wing. The Louvre: Like wandering through A History of Western Civilization.
We picked ourselves up, went back down through the tunnels, and came up at last in the big plaza encompassed by the wings of the Louvre. Here the pyramids and the fountains, the broad shallow aquamarine pools of the fountains encrusted with ice. Seagulls were floating, rather amusedly, on the cold water. We took pictures of each other--of Emmaline swinging on a lamppost, of all of us standing in front of the glass pyramids. The sunshine slanted goldly over the ornate facades of the buildings: perfect proportion and order covered over with statues, branching plants cut in stone, faces staring stilly down, hands braced holding the distinctive emblems--sceptres, lyres, spears, books.
We gathered ourselves together at last, laughing and happy in the sunshine, and descended into the metro again. Emmaline and her everlasting map managed to navigate us to the train to the chateau of Versailles. The train was a big double-decker train, and we found seats up on the second level. Sitting in the sunshine, we ate our lunch, pulled bit by bit out of Emmaline's Spiderman backpack: sweet soft baguettes, triangles of velveeta-like white cheese, Gala apples, etc. No one had quite enough to eat, but it was enough to keep going at least. And it was simple, eaten sitting in the sunshine with my friends around me. Catherine fell asleep. I watched the city slide by.
We reached Versailles in about half-an-hour and had a brief walk from the train station to the road which the chateau heads. Up the big road to the chateau itself. The chateau is undergoing renovation work, so we had to pick our way over the broken pavement. Emmaline took a picture of us under the ornate ironwork gateway. The mid-afternoon sunshine slanted over the buildings. The light in France is different: In Paris, it's very light, so intensely light, the lightest light; here, now, less white, more gold, as though the facades of the buildings were all gilded and glowing back to the sun. We bought tickets in one wing, where the rooms were plain, simple white and blue walls, fireplaces, mirrors; then proceeded toward the main core of the building, but just as we were getting ready to go through security, Heather discovered that she'd lost her ticket. Emmaline groaned. Charlotte laughed under her breath, 'Emmaline is being the big scary mother!', and Emmaline took Heather back to buy another ticket.
The rest of us went on in. We went up a grand staircase and looked into the royal chapel, so incredibly ornate that it would be difficult to worship there, even the silver organ pipes decorated. From there into a special exhibition of silver. Dim room after dim room, lit by faux candles, which seemed to flicker in the gloom. The walls were brocaded and velveted and hung with tapestries; the floors were tesselated; and the furniture...! Silver, silver, silver, silver tables, silver chairs, beds with hangings woven with silver thread and crowned with tufts of ostrich feathers, silver cupids, silver fire guards cast in the shapes of lions, silver candlesticks, mirrors framed with silver.... The ornateness was overwhelming and unnecessary. We came out finally into the famed Hall of Mirrors: the huge panes of mirrors down the left, and the floor-to-ceiling windows down the right. Between each window and each wall of mirror were bronze statues, women in flowing garments balancing candlesticks, and overhead sparkled crystal chandeliers tiered with hundreds of drops. At the far end of the room were rather realistic printed cardboard copies of the thrones and candles where the Louises would've sat. We were reunited with Emmaline and Heather here, and went on into the next wing of the building. More ornate rooms. Marie Antoinette's bedroom suite; the big painting of Napoleon crowning his queen, etc.
At last we were out, out again into the straight pure cold of the afternoon. Good to be out of the close baroque rooms at last, out of the dense cloying sensuality. We walked down toward the gardens behind Versailles. Dusk was falling. The sun set quickly over a distant hill, leaving the gardens lying in a powder-blue twilight. Emmaline, Charlotte, and I walked together. Behind us, the great chateau sat still glowing silently in the pale blue dusk, as though the sandstone was still giving back the day's warmth. We strolled down the gravel walks. Past a round pool, down to the long flat shining lake. The statues and fountains along this main walkway were swathed in heavy green canvas, bundled up against the cold. The hedges and young trees were bare, their branches stiff against the sky. In the distance tall sycamores stood straight against the chill blue sky, black slender lines veining the sky. In the lake was a statue of Poseidon rising out of the water, his horses' manes foaming chilly. Somehow seeing the naked torsos of the statues made me feel colder.... Poseidon and his chariot were coming up out of the black ice of the flat lake, protruding from the ice.
The other girls gradually caught up with us, Sarah and Michaela wandering up behind. We strung out along the graveled pathways. We walked past great arcades of sycamore trees, planted in stark straight rows, their branches arching interlaced overhead. Silence....--grey, aqua, silver-blue, mauve. Frost furring the dark black-green grass. A few white swans grazing beside the lake. The chateau standing glowing in the distance. Emmaline, Charlotte, Sarah, and Michaela played with the ice, kicking it over the lake. Sarah, Charlotte, and I were cold, so we turned around and started to walk back up to the chateau. The stillness of the gardens arched over us. Sterile lanes stretching away on either side. Strange to me: That the same people who made the overwhelming tangle of chambers and gilding could lay out this garden in its mathematic simplicity. Dusk had lingered but dark was coming quickly. The lights came on suddenly on the chateau. Charlotte, Michaela, Catherine, Heather, and I stood looking around for Sarah and Emmaline, who suddenly jumped out at us, screaming--we all laughed, our voices echoing on the frosty air, our breath pealing away. We walked out of the chateau grounds, back onto the train. We stopped briefly to look at the Versailles municipal building, lit up and crusted with statuary like a wedding cake.
Then back on the train. We went to Paris again and got off at Notre Dame, which also was lit up for the night. Michaela knew a good restaurant in this area, and as it turned out it was right near the metro. Two cafes, side-by-side, their awnings poking out like low fluttering wings from the tall buildings. Waiters standing at the doors called to us in French, inviting us in--we deliberated for a moment, then went inside the second one. Inside, we found warmth. It was uncrowded, and the waiters were patient and friendly with us as we tried to decide what to eat and how to navigate the language. It was an Italian restaurant. I had spaghetti; the others had pizza; Emmaline had a 'French burger'. We sat eating and chatting. A jazz band, saxophone and bass, struck up in the glassed-in porch under the awning.
At last we got back to the hostel. Emmaline and co. went grocery shopping. Then we had a long Bible study, discussing Esther, and God's providence throughout the book.




