He uses a Fuji camera and photographs the men during trips to the cities during Easter. It is, he says, a “clean and honest product that simply advertises Rome and its most eloquent symbol: the Catholic clergy”.īut confession time: “They are not all priests, and they are not all from Italy,” says Pazzi, himself a Catholic, who has spent the past few decades visiting Rome and Seville to take these pictures. But the motivation is pure, says the calendar’s 60-year-old Venetian photographer, Piero Pazzi. Much like the Pirelli calendar, published by the UK subsidiary of the Italian tyre manufacturing company, the connection between the images and the subject being promoted can feel, at times, tangential. Broadly speaking, each “priest” is “hot”. December, the unequivocal favourite among calendar fans, rarely changes – he is pictured holding a copy of Le vie di Roma close to this cassocked chest.
Some wear a cappello romano (a type of wide-brimmed hat), others a clerical collar. Next year marks 20 years since the “calendario Romano” was first published, during which time it has grown from labour of love to cult souvenir.Įach month of the A4 flip calendar is represented by a nameless man of the cloth, photographed in black and white and usually against an ornate liturgical backdrop. The hot priest calendar is not its official name but, over the past two decades, the moniker has stuck (for reasons clear to anyone who’s seen it).
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