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How long are the lines to get to CARAVAGGIO exhibition in Rome?

How long are the lines to get to CARAVAGGIO exhibition in Rome?

Old May 7th, 2010, 06:39 PM
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How long are the lines to get to CARAVAGGIO exhibition in Rome?

Are the lines too long? Assuming Mondays will be worst since all other museums are closed. Not sure what time I would make it there therefore don't want to make a reservation. How strict they are about times of reservations? If we miss our spot that we reserved for, will we loose our tickets?
We'll be there on Monday, May 10. Can't wait!!!
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Old May 7th, 2010, 07:47 PM
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I plan to do the same, but in June. I wonder how in advance you have to purchase the ticket to see the exhibition. I do not want to miss on that for sure!
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Old May 7th, 2010, 08:41 PM
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You can get in without queing using the Carravagio card and go when you want without the reservation (but only once), plus free 24h bus to all the basilicas where Carravagio's paintings are. I enjoyed all those basilicas and they were free.
http://www.trambusopen.com/index.cfm?id=caravaggiobus ride
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Old May 7th, 2010, 08:44 PM
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Correct link
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Old May 8th, 2010, 04:51 AM
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Tickets for the Caravaggio exhibition are sold out, so your only options are to buy the Caravaggio Card or stand in (the very long) line. The exhibition hours have been extended to 11 pm on Friday and Saturday and to 10 pm on Sunday.
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Old May 8th, 2010, 07:43 AM
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Nadia - you are a life saver! 40 Euros are well worth it, considering how much time we will save. Thanks for the link.
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Old May 8th, 2010, 09:02 AM
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Here is part of my March 2010 Rome trip report -- I discuss the Caravaggio show. You may be interested:

The Caravaggio show at the Scuderie (stables) of the Quirinale:
The first time we went, we could not get in. Without a timed ticket it was hopeless. We went to an Internet point and booked. Book as early in the morning as possible -- even with timed tickets, it gets very crowded after about 10:30 am. Perhaps the evening is quiet, too. Dunno.

On our FIRST try:

"We reached the Quirinale around 11 am.

"On one side of the door was the line-up of people with reservations -- people who stood outside through the intermittent cloud-bursts to get in with their timed ticket.

"Occasionally, a bored guard-ette allowed 5 or 6 of them into the building. I heard one older man humbly thank this woman for admitting him.

"These were the elect.

"On the other side of the door were the damned: the People with No Reservation. There were a lot of them. These people could be admitted only after all the people with reserved tickets got in and a sufficient number of people inside decided to depart.

"Switch to Plan B...."

And here is the report of our visit to this wonderful show on our SECOND try:

"There has been such pressure for admission to the show that they now open 30 minutes early, at 9:30 rather than 10 am. Very few people seem to know this and the online reservation system has not been amended to allow 9:30 bookings.

"We arrived at 9:30, joined a short queue and soon were admitted despite having tickets for 10 am. This was all quite providential, as the crowds soon became dense. We were able to contemplate the pictures in peace; no one arriving later could do that.

"The show is not large -- we went through in 1.5 hours -- but it contains all the best and most famous of the master’s works. There are loans from the Hermitage, The National Gallery in London, the Metropolitan in NYC and a couple of other US museums (Kansas City and Fort Worth -- who knew?) plus items commandeered from top Italian museums: The Uffizi, Barberini, Capitoline, Corsini, Borghese and the privately owned Doria-Pamphilj.

"There is even one stunning painting from a private Rome collection -- the rejected original of The Conversion of St Paul, of which the very different second version is in S.ta Maria del Popolo.

"The narrative that accompanied the works is one of the most intelligent I have ever encountered. The way of grouping the pictures - some chronologically, others thematically, was illuminating and very sensitive.

"I felt very civilized, among civilized art-lovers in a very civilized institution (once you get past the front gate) and in the presence of masterworks of a mercurial (but always civilized) genius of Baroque painting.

"We are charmed by a gaggle of well behaved school-kids with their teacher. They cannot be more than 6 years old. Caravaggio seems a trifle advanced a subject for kids this young but Italians would not agree.

"Everywhere we have seen groups of students -- mostly teens but some much younger -- who have been brought to see great works of art. True, some of the teens spend their time groping each other or texting absent friends. Others are polite but bored. But some are rapt.

"The 6 year olds are seated on the floor while the teacher explains a painting of Judith Beheading Holofernes. The scene shows Holofernes at the exact point of death - his head half-severed, his blood spurting -- as Judith cuts through the remaining flesh of his neck. Very Grand guignol.

"If this were Canada, parents would be asked to sign a waiver, certifying that they accept their child’s exposure to 1. “potentially disturbing” and 2. “faith-based” subject matter. I start liking Italians more.

"Berlusconi is right: “Italy is a Catholic country”. Catholicism -- itself the source of violence in the past -- is quite at home with horror and human suffering. It’s intrinsic to mortal man’s flawed and sinful state.

"I am also struck by the light reflecting from the canvas onto the upturned faces of the children in this darkened room. The effect is purely Caravaggesque -- the chiaroscuro of the faces of putti in one of the master’s canvases."
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