Before I begin it is worth noting that the 'Study after Velasquez's portrait of Pope Innocent X' is simply Bacon's own personal interpretation of Velasquez's original painting. In fact, Bacons interpretation took over 20 years of experimentation to complete. Perhaps this is why it has been so hard for scholars to come to a conclusion as to what Bacon's 'Study after Velasquez's portrait of Pope Innocent X'  means. For some the screaming mouth (which is the most prominent feature of the papal depiction) suggests some kind of existential agony, perhaps revealing the 'pathos of human vulnerability and loss of faith and conviction' as quoted from this article. 
_______________________________
Planning my sounds...

Our brief: 'To prove that sound is not subservient to images.' This sound project as it has developed has left me a little bit stumped. I have been stumped because I have trouble visualising how I can recreate sounds in my head. Typically when I try and tackle creative challenges that involve images I do my best to visualise what I want to put on that screen because you know, thats jus how I do HOWEVER, trying to visualise sound is hard and trying to think of ways to recreate that sound you are thinking of is even harder. Nevertheless, using the image itself in conjunction with the analysis above I feel like I have a rough idea of how I want the piece to progress. I want the piece to begin with the stillness that is depicted in Velasquez's original portrait by recreating the ambience of a cathedral (such as echoed footsteps fading away and the echoed murmur of prayer) combined with the Pope shuffling around in his chair such as wood creaking, light breathing and his robes making light noises as they shift with the moving body of the wearer. This is to set up for a change in pacing and to ultimately build up to the scream which is the climax of Bacons portrait. I want to make the second portion of the piece have more supernatural tones, with ghostly whispering and a rushing of wind. As the piece continues the rush of wind will become greater and the whispers will become louder. We will hear the Pope begin to tense up, clutching his chair, trying to resist the alluring yet conflicting things the 'whispers' are saying to him. As he resists the voices will become more persistent and grow more impatient. The wind will become stronger, forcing the Pope into the back of his seat.

That's all I've got so far and I hope to spend a bit of time in the studio tomorrow experimenting with some of these ideas. However, I'll keep you updated as I slowly but surely develop my ideas and make a lil bit of progress...Wish me luck

SOURCE(s)
Analysis of Bacon's study for Velasquez's Pope Innocent X