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mistress of the vatican.pdf - End Time Deception

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Mistress <strong>of</strong> <strong>the</strong> Vatican<br />

Gregorio Leti about <strong>the</strong> cardinal nephew. 8 And indeed, Camillo’s favorite<br />

part <strong>of</strong> his vaunted position was <strong>the</strong> honor, precedence, and income<br />

he received, along with those dazzling red robes. We can picture him<br />

trying <strong>the</strong>m on in front <strong>of</strong> a full-length mirror, tilting his biretta rakishly<br />

and admiring <strong>the</strong> result. The only thing he hated about his job<br />

was <strong>the</strong> work.<br />

Camillo was horrified that his uncle expected him to sit in an <strong>of</strong>fice<br />

all day and meet with ambassadors and o<strong>the</strong>r cardinals who talked about<br />

<strong>the</strong> most boring subjects—politics, finance, defense, and trade agreements.<br />

His visitors, for <strong>the</strong>ir part, were insulted that as <strong>the</strong>y spoke<br />

about matters <strong>of</strong> international urgency, <strong>the</strong> cardinal nephew was doodling<br />

on a piece <strong>of</strong> paper—sketching gardens and designs for his new<br />

villa.<br />

As soon as his uncle became pope in 1644, Camillo decided to build<br />

a villa on a large property his fa<strong>the</strong>r had bought in 1630. Located on <strong>the</strong><br />

top <strong>of</strong> Janiculum Hill, with a magnificent view <strong>of</strong> Saint Peter’s dome,<br />

<strong>the</strong> land was just begging for a pleasure house with extensive gardens.<br />

As cardinal nephew, Camillo now had unlimited funds to build his<br />

dream villa, which he called Bel Respiro for its fresh, bracing air. He<br />

hired <strong>the</strong> sculptor Alessandro Algardi to work with him, and soon <strong>the</strong><br />

villa began to rise.<br />

While digging <strong>the</strong> foundations, Algardi realized he was actually<br />

building on an extensive ancient Roman cemetery that included <strong>the</strong><br />

tomb <strong>of</strong> Nero’s bodyguard. This was a happy turn <strong>of</strong> events because <strong>the</strong><br />

excavators unear<strong>the</strong>d quantities <strong>of</strong> statuary that Camillo wanted to use<br />

on <strong>the</strong> façade. Unfortunately, many torsos were lacking heads, and <strong>the</strong><br />

heads <strong>the</strong>y found were missing torsos; and arms and legs had disappeared<br />

during destruction by Goths, Vandals, and Saracens. Camillo<br />

solved this problem by having Algardi glue available heads on available<br />

bodies and sculpt <strong>the</strong> parts that were missing, <strong>the</strong>n strew <strong>the</strong> finished<br />

product all across <strong>the</strong> façade.<br />

At first glimpse <strong>the</strong> villa is an impressive confection, pale blue, covered<br />

with white statues and friezes that look like elaborate frosting on<br />

an ornate wedding cake. But upon closer inspection, <strong>the</strong> heads and bodies<br />

clearly don’t match—<strong>the</strong> heads are too big, or too small—and <strong>the</strong>re<br />

[ 187 ]

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