Out of a multitude of answers to my questions I also learnt that Florence and Venice were deemed to be far ahead of Rome in their spiritual rebirth, but if the Pope were to have his way that was soon to change.
The Pope was no longer only a Christian ruler. He had made up his mind that Rome must be a true cultural and artistic capital, and not only was he completing work upon the new St. Peter's Basilica but he was working as well upon the Sistine Chapel, a great enterprise within his palatial walls.
Artists had been brought from Florence for some of this painting, and the city was much intrigued as to the merits of the frescoes which had been done.
I spent as much time as I could in the streets and in the taverns listening to gossip of all this, and then I made for the Papal Palace determined to see the Sistine Chapel for myself.
What a fateful night this was for me.
In all the dark centuries since I had left my beloved Zenobia and Avicus, I had had my heart stolen by various mortals and various works of art, but nothing I had experienced could quite prepare me for what I was to see when I entered the Sistine Chapel.
Understand, I do not speak of Michelangelo, so well known to all the world for his work there, for Michelangelo was but a child at this time. And his works in the Sistine Chapel were yet to come.
No, it was not the work of Michelangelo that I saw on this fateful night. Put Michelangelo out of your thoughts.
It was the work of someone else.
Getting by the palace guards easily enough, I quickly found myself within the great rectangle of this august chapel, which though not open to the public at large was destined to be used for high ceremonials whenever it should be complete.
And what caught my eye immediately among any number of frescoes was an enormous one filled with brilliantly painted figures, all involving, it seemed, the same dignified elder with golden light streaming from his head as he appeared with three different groupings of those who responded to his command.
Nothing had prepared me for the naturalism with which the multitudinous figures were painted, the vivid yet dignified expressions on the faces of the people, and the gracefully draped garments with which the beings were clothed.
There was great turbulence among these three exquisitely rendered groups of persons as the white-haired figure with the gold light streaming from his head instructed them or upbraided them or corrected them, his own face quite seemingly stern and calm.
All existed in a harmony such as I could never have imagined, and though their creation alone seemed enough to guarantee that this painting should be a masterpiece there was beyond the figures a marvelous depiction of an extravagant wilderness and an indifferent world.
Two great ships of the present period were anchored in the faraway harbor, and beyond the ships there loomed layers of mountains beneath a rich blue sky, and to the right there stood the very Arch of Constantine which still stood in Rome to this day, finely detailed in gold as if it had never been ruined, and the columns of another Roman building, once splendid, now a fragment standing high and proud, though a dark castle loomed beyond.
Ah, such complexity, such inexplicable combinations, such strange matter, and yet every human face so compelling, every hand so exquisitely wrought.
I thought I would go mad just looking at the faces. I thought I would go mad just looking at the hands.
I wanted nights to memorize this painting. I wanted at once to listen at the portals of scholars who could tell me what it was about, for I myself couldn't possibly decipher it! I needed knowledge for this. And more than anything, its sheer beauty spoke to my soul.
All my gloomy years were gone as if a million candles had been lighted in this chapel.
"Oh, Pandora, that you could see this!" I whispered aloud. "Oh, Pandora, if only you knew of this!"
There were other paintings in the unfinished Sistine Chapel. I gave them a passing glance until my eyes hit upon two others by this same Master, and these were as magical as the first.
Once again there was a multitude of persons, all with the same divine faces. Garments were rendered with sculptural depth. And though I recognized the Christ with his winged angels appearing in more than one place in this exquisite fresco, I could not interpret these paintings any more than I could the first.
It didn't matter finally what these paintings meant. They filled me utterly. And in one, there were two maidens rendered so sensitively and yet so sensuously that I was amazed.
The old art of the churches and the monasteries would never have allowed such a thing. Indeed it had banished such carnality completely.
Yet here in the Pope's chapel were these damsels, one with her back to us, and the other facing us, a dreamy expression in her eyes.
"Pandora," I whispered. "I have found you here, found you in your youth and in your eternal beauty. Pandora, you are here on the wall. "
I turned away from these frescoes. I paced the floor. Then I went back to them, studying them with my uplifted hands, careful not to touch them, just moving my hands over them, as if I had to look through my hands as well as through my eyes.
I had to know who this painter was! I had to see his work. I had fallen in love with him. I had to see everything ever done by him. Was he young? Was he old? Was he alive? Was he dead? I had to know.
I went out of the chapel, not knowing whom to ask about these marvelous achievements, for surely I could not wake the Pope in his bed and ask him, and in a dark street at the very top of a hill, I found an Evil Doer, a striding drunkard with a dagger ready for me, and I drank my fill of blood in a rush of eagerness that I had not felt in years.
Poor sad victim. I wonder if in my taking of him I gave him some glimpse of those paintings.