Crypt and Museum of the Capuchin Monks



It was early when Emily, Peter and I set out from St. John’s, around 8:45. We knew that the Capuchin Crypt and Museum opened at 9 o’clock, and wanted to get the trip in before the rest of the day’s activities. I’d already been to the Crypt on my last visit to Rome, but the place was so magical for me that I wanted to go back and experience it again. Luckily, I’d found some willing companions to accompany me on my quest.
First order of business: Breakfast. We stopped across the street for a quick pastry and coffee; a typical RomeKids’ morning treat. After our snacking, we wandered down the Via Marcantonio Colonna to the Metro stop. The church and Crypt are located just off of the Piazza Barberini, which would have been a quick and convenient ride had the metro stop been open. As Barberini was closed, (and would continue to be so for the foreseeable future), we decided to instead get off at Spanga and take a pleasant walk down to the Piazza Barberini, poking our heads into storefronts along the way. 
After a quick glance around the Piazza Barberini, we headed over to the Church, a massive stone facade shaded by a long line of tall, leafy trees. We climbed the imposing staircase to the small door that led to the museum, paid the fee, and we were in! 
The museum was just as I remembered it; a large collection of relics, friary apparel, religious artifacts, and artwork. As before, I really liked the set up of the space. Each display case was well lit and well labeled, and easy to take at your own pace. Of course, my favorite item in the collection is Caravaggio’s St. Francis in Prayer, a magnificent work depicting St Francis gently holding a skull reverently. The last time I visited the glass covering the painting shined too much in the light and made it hard to view; however, I was pleased to find during my visit that they had fixed this problem. 
After making our way through the museum, the three of us came to the Crypt. Despite the fact that I had already been there once before, I was still struck with the same amount of awe that I had experienced visiting the ossuary for the first time. There is something about that place that has a weight that you can feel on your soul. Religious or not, (I certainly am not very religious myself), there was a solemness to the air that seemed enhanced by the intricate bone creations adorning every surface. I think the most startling aspect of the space is the presence of the monks themselves. It’s startling at first to witness them, with their dead, dry hands clutching their rosaries. If you look closely you can still make out expressions and features on their wrinkled faces. They are undeniably people, and that changes the way we interact with the dead. Bones are bones, but coming face to face with a person in eternal prayer is a different experience entirely. 
Finally we visited the church up above. During my last visit, the church had been closed, so I was excited to take a peek inside. I received a very welcome surprise: I had no idea that the church was the home of Baroque painter Guido Reni’s St. Michael defeating Satan, one of my favorite works. Possibly one of the most recognizable paintings, though I doubt many actually know who created it. I’ve seen it on several book covers, and I suspect it will be on many more. We made our way back the way we came after leaving the church, but not before I bought some post cards. I was glad that I came back to see it again, and who knows. Maybe next time I visit Rome I’ll visit the monks in their long wait for salvation once again.

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