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mistress of the vatican.pdf - End Time Deception

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Eleanor Herman<br />

and Mascambruno found himself in <strong>the</strong> enviable position <strong>of</strong> selling<br />

papal indulgences and <strong>of</strong>fices without having to split <strong>the</strong> money with<br />

a member <strong>of</strong> <strong>the</strong> pope’s family.<br />

Throughout history, art has been a primary tool <strong>of</strong> propaganda, a means<br />

<strong>the</strong> powerful used to awe <strong>the</strong>ir subjects into submissive obedience. When<br />

poor wretches stood blinking in wonder at temples, pyramids, statues,<br />

and obelisks, <strong>the</strong>y meekly emptied <strong>the</strong>ir pockets <strong>of</strong> <strong>the</strong>ir last penny to<br />

give to <strong>the</strong> tax man. It was clearly no use arguing with a power that<br />

could produce such marvels.<br />

Art was also a means <strong>of</strong> grasping at eternity from beyond <strong>the</strong> grave.<br />

Olimpia knew that <strong>the</strong> pope would not live forever. Even worse, she<br />

would not live forever. And <strong>the</strong> line started by Camillo might dwindle<br />

and die out, as so many noble families did. But if she left behind her<br />

extraordinary palaces, gardens, and fountains, a part <strong>of</strong> Olimpia Maidalchini<br />

Pamphili would live for all eternity, proclaiming <strong>the</strong> wealth,<br />

power, and position to which <strong>the</strong> dowerless girl from Viterbo had<br />

risen.<br />

As work finished up on her magnificent Piazza Navona palace,<br />

Olimpia took a long hard look out her front windows and didn’t like<br />

what she saw. The vegetable sellers were long gone, by papal decree. But<br />

<strong>the</strong> plain fountains in <strong>the</strong> piazza—low enough for donkeys and horses<br />

to drink from—were unimpressive. She resolved to turn <strong>the</strong> area into a<br />

worthy replacement <strong>of</strong> Emperor Domitian’s grand marble stadium.<br />

There was no room for a garden, <strong>of</strong> course, in <strong>the</strong> highly trafficked<br />

piazza, but Olimpia could create pleasure grounds none<strong>the</strong>less, complete<br />

with a resplendent fountain in <strong>the</strong> center, unique in all <strong>the</strong> world.<br />

When she discussed her plan with <strong>the</strong> pope, Innocent liked <strong>the</strong> idea <strong>of</strong><br />

a fountain. He was also interested in resurrecting an obelisk that <strong>the</strong><br />

emperor Caligula had brought to Rome from Egypt in <strong>the</strong> first century.<br />

The obelisk had been knocked down by Totila <strong>the</strong> Goth in a.d. 547<br />

and now lay in five pieces, poking out <strong>of</strong> <strong>the</strong> dirt outside <strong>the</strong> Saint Sebastian<br />

Gate. Innocent decided to incorporate <strong>the</strong> obelisk into <strong>the</strong> design<br />

<strong>of</strong> <strong>the</strong> fountain.<br />

q<br />

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