There’s something to be said for planning ahead. I visited the Musée du Louvre without doing a smidgen of research beforehand and paid dearly for it. I mean sure, I knew some things about it – I’m not entirely ignorant all the time, you know – for instance, I know that it is an art museum (one of the biggest and certainly the most visited in the world), it’s most recognised for those two glass pyramid thingamajigs in the compound, it’s really big and houses the most famous painting in the world.

What I didn’t know – which I now do – is that it’s bigger than I’d anticipated, contains about half a million works of art, is divided into eight curatorial departments and spread over multiple floors, is a biatch to navigate (especially for someone like me who can’t read a map to save her grandmother’s life), and contains the most famous painting in the world that is just …

… wait, I’m not going to give everything away just yet. You’ll have to read my whole post to find out – oh stop griping, life isn’t fair and you know it.

So anyways, we go to the Louvre and there’s a line going into the pyramid. We get in and make our way to the ticket counter: entrance fee: €9; multimedia headset: €6. Not having done any research, I’m not aware (come to think of it, I’m not fully awake either) that there are in fact, three entrances to three different wings – Richelieu, Sully and Denon. We wander into Richelieu because it’s the nearest. Headsets on, we bid each other adieu and go our separate ways with an agreement to meet back at the ticket counter in three hours.
I am now going to take a deep breath and stand tall, unashamed to confess that I spend a good half hour (okay, maybe more) trying to understand the multimedia guide. It’s proffering an ear-load of instructions, none of which makes any sense. I don’t see any of the sculptures / paintings / nude people / walkways / whatever it keeps talking about. I’m inspecting the sculptures and can’t find any code to punch into the headset for the English audio explanation. It gets a little frustrating because the only source of information is the placards and they’re all in French. Come to think of it, what does Richelieu mean anyway? (It’s a rhetorical question; don’t answer.)
After what seems like an eternity, I give up and venture into the museum sans multimedia headset tour guide. Because I’m in the Richelieu wing, I find myself in the French sculpture department. Lo and behold, everywhere I turn, I’m blinded by flashing cameras. I remember seeing the ‘No Flash Photography’ signage outside but in here, it’s zoo-like. Even the museum personnel, dressed smartly in uniforms and sitting in their designated corners, look a little resigned, like they’ve given up trying to battle the hordes of bug-eyed tourists scampering all over the place, desperate for that perfect Look-Mom-I’m-At-The-Louvre shot.
This scene brings to mind another thing that I saw earlier: a ‘No Food’ signage outside. That’s when I spy an elderly American couple sitting on a bench, masticating a croissant, a blasé look on their faces that can only be perfected after having spent sufficient time in Paree.

I really enjoy wandering amidst the French sculptures, marveling at the detailed expressions on every face, the anatomically correct chiseled bodies and of course, the naked chicks – gotta love the naked chicks.


I discover that most of the works don’t have a code, which means they don’t come with English audio explanations, which means you don’t know what you’re looking at because all the placards are in French. With visitors streaming in from all over the world, you’d think they’d at least have the descriptions translated into English. It’s a little frustrating, to say the least, which is why this is one of my favourite paintings.

Sometimes, words are not necessary. Just as music is a universal language, so is nipple-crimping. Haha … this one did have an English explanation though and let me tell you, it is fascinating.

Along the way, I chance upon Napoléon’s Apartments. It’s where the world conqueror used to stay when he was in Paris. Done up in the opulent style fit for an emperor, it is magnifiqué.

That said, I can’t imagine living in a place like this. I’d be restraining the urge to burst into the first stanzas of All I Ask Of You every time the chandeliers lit up.
I am well into the third hour of my three-hour allotment when I notice the time. Only then does it hit me that I’m still in Richelieu. I haven’t gone anywhere near Denon, haven’t even grazed the surface of the Italian greats – Michelangelo (my personal favourite) … Donatello … Raphael … and of course, Leonardo Da Vinci … which leads me to the Mona Lisa. Yes, it’s cliché but it’s like going to Champs-Élysées and not paying homage to the Louis Vuitton boutique or to Rue Cambon and not snapping a picture of No 31. It’s just something you have to do not necessarily because you want to but because God has ordained it that way.

And so, obediently, I make my way to Denon (which, in retrospect, is the wing I should have started with in the first place). I walk up the stairs – the stairway to heaven – and see a bunting with the Mona Lisa on it. Oh good. It’s near.
Now, either Parisians are not very good with signages or I’m directionally-challenged because I march down the long, long, long hallway only to get to the end and find that there’s no Mona Lisa. To make a long story short, I wind up asking several museum personnel where the old lady is. Finally, after much walking and asking, I get there.
Can you hear the angels singing? The hallelujah choruses? Can you see the bright light beaming down from heaven? Yeah well, I can’t either because there are …

… way too many people!

And all of them are here to see …

… the Mona Lisa.
Yes, I know. My thoughts exactly. Well, to be precise, two thoughts. The first is, “What? That’s it??!!” followed by, “I’ve seen this picture somewhere before.”

So do her eyes really follow you across the room, you ask? Who knows? She’s too tiny, too far away and too well-protected – the painting is displayed behind a bullet-proof, climate-controlled glass fortress. But who can blame her? For such a venerated work of art, she’s been through more than her fair share of abuse – crazies have stolen her, doused her with acid, thrown rocks at her, sprayed her with red paint and hurled tacky museum souvenirs at her. But yet here, she still stands (or rather, sits). It’s pretty amazing when you do take time to think about it: this is a painting that’s over 500 years old. The same painting that Da Vinci had laboured over for years. The actual one that bears every stroke of his brush, that he had looked at and touched half a millenium ago. Wow. No wonder it’s behind bullet-proof, climate-controlled glass. Hmm, maybe I should take a closer look.

Nope, that’s it – that’s as close as I’m going to get. Look at that guy cam-whoring in front of the Mona Lisa. Hey dude, get a room. Hahaha.
The Louvre is definitely worth a second visit. It’s an incredible museum and if you really want to comb through even a small fraction of its artworks, will take days.
A few points to note though:
1. Plan your route beforehand
2. Wear really comfy shoes
3. Bring in the map and headset (it does help)
4. Bring water and a camera (you don’t want to miss the opportunity to snap your very own Wikipedia-like Mona Lisa shot now, do you?)
5. And keep everything in a knapsack or something so you have your hands free to touch the sculptures and paintings – just kidding. Although I was rather disturbed to see several visitors getting touchy-feely with the nudies.