Skip-the-Line Vatican, Sistine Chapel & St. Peter's Basilica

Every visit to the Vatican Museums begins in the Pinecone Courtyard; one of the most beautiful patios of the entire Apostolic Palace. Needless to say, the courtyard takes its name from the colossal pinecone sculpture perched at its northern end. The statue, which is completely cast in bronze and stands almost 13 feet tall, is said to have belonged to a temple of the Egyptian goddess Isis in ancient times. Later on, it would come to adorn both the Pantheon and the old St. Peter’s Basilica before it finally ended up in its current home, where it has been standing proudly for over 400 years.

Few other works of antiquity have wielded such an effect on modern artists as the Apollo Belvedere. Since its rediscovery in the late 1500s, this Roman copy of a Greek bronze original has inspired countless sculptors and painters, including the Renaissance wunderkinds Michelangelo and Canova. Goethe is said to have been “shaken” by the beauty of the sculpture and the German scholar Winckelmann claimed that it was "the highest ideal of art among all the works of antiquity". For many centuries, the statue Apollo of Belvedere was the symbol and model for male beauty and a synonym for aesthetic perfection.

This marble showpiece is one of the most esteemed works of the Vatican collection but one very important enigma regarding its origin remains unresolved – who made it? Some experts speculate that Michelangelo himself sculpted the Laocoön in an attempt to pass it off as an invaluable antiquity (which would explain why the statue is in such excellent condition) but, so far, no one has been able to prove this controversial theory. While the question of whether the Laocoön is indeed the result of a cunning forgery or truly a piece made by an ancient Greek sculptor is still up for debate – no one can deny its timeless beauty.

Headless, legless and armless, this sculpture fragment may not look like much at first sight and thus is often overlooked by the casual passerby. What most visitors don’t realise, is that this modest marble trunk has been an invaluable spring of inspiration for artists throughout the centuries, contributing to give life to some of the most esteemed masterpieces in the entire Vatican collection. Michelangelo was greatly influenced by the piece; so much in fact, that the peculiar twisted pose of the torso is replicated by the Renaissance master up to 20 times in the Sistine Chapel frescoes alone.

As you walk into this hall, you’ll find yourself completely surrounded by ancient statues of Roman and Greek gods and heroes. While the marble sculptures are certainly worth admiring, the 13-foot tall bronze rendering of Hercules completely steals the show. The colossal piece is remarkably unique; as it is the only statue of gilded bronze that has been preserved since antiquity. Historically, bronze sculptures were often melted down to make weaponry in times of war but, luckily, the Hercules lay buried underground until the 19th century, which saved it from this unfortunate destiny.

This hall got its name from its unusual architectural shape – seen from above, its ground plan takes the form of a cross. While most visitors don’t take the time to stop here on their beeline march to the Sistine Chapel, this Egyptian themed hall is a favorite amongst tour guides. Some of the interesting pieces housed here are the twin sets of sphinxes, sarcophagi and telamones but also the stunning 3rd century mosaic at the center of the floor. It's meticulously laid around the head of the Medusa, whose image on the ground protected the householders from evil forces, according to the ancient superstition.

While the sculptures on display in this gallery have stood their ground for centuries, the walls and the roof of the corridor were constructed only some 200 years ago. In fact, this entire space used to be an open loggia (an outdoor sculpture garden of sorts) and one of the favourite places for previous popes to come for a refreshing stroll on particularly stifling summer days. We would have loved to see Pope Francis meandering across the sunlit marble displays, we can’t imagine any ambiance could be more fitting than that of the present gallery. The ceiling is especially impressive, boasting stunning 3D-like frescoes.

The art of the Vatican is filled with curious optical illusions. One of the most illustrious examples of “moving perspective” artwork can be found in the Tapestry Gallery, more specifically in the wall hanging depicting the resurrection of Christ. Amazingly, visitors who look into the eyes of Jesus will find that his glance eerily follows them as they make their way along the hallway – an incredible trompe l'œil feat by the 16th century weavers who created it! The eye-deceiving effect was achieved by using threads of different density, creating an illusionistic play of light and shadow.

With the development of cartography in the 16th century, maps became fashionable as a palace decoration and Pope Gregory VIII did not hesitate to jump on the bandwagon. He commissioned some of his favorite artists to paint the walls of this gallery with representations of all the Italian regions that were under Papal power at the time. Incredibly, the ambitious project was completed in only 18 months and the result was nothing short of spectacular. To this day, the Gallery of Maps is one of the most notable in the entire museum complex and curious visitors linger here to admire the topographical depictions in detail.

In 1508, Pope Julius II commissioned Michelangelo to revamp the Sistine Chapel ceiling. Michelangelo, who didn’t consider himself a painter, was strongly hesitant to accept the task and even signed the contract as "Michelangelo, sculptor”. According to rumours, it was Michelangelo’s arch-rival Bramante who convinced the Pope to entrust Michelangelo with the painting. He hoped that Michelangelo's reputation would be damaged if his work wasn’t satisfactory – after all, he had no previous experience with this kind of assignment. It’s safe to say that the plan fell flat; the Sistine Chapel came to be an unparalleled masterpiece.

This 250,000 square foot piazza is not only the largest in Rome but also one of the most beautiful. It’s a superb example of religious architecture, designed in the 17th century by Renaissance mastermind, Gian Lorenzo Bernini. While the square is of enormous proportions; the draftsman did not want it to feel intimidating. Starting from the Basilica portico, he encircled almost the entire perimeter of the plaza with colonnades, seeming to embrace the visitors. Today, St. Peter’s Square is visited by roughly 6 million people yearly and every single one is still welcomed by the famous “open arms” of Bernini’s colonnade.

St. Peter’s Basilica is the second largest Christian structure in the world and the biggest building in Rome at a staggering 613 feet in length. The construction of the church began in the early 1500s as an ambitious project by Pope Julius II, known for his elaborate taste in art. 120 years, four artistic styles and seven architects later, the world could finally feast their eyes on the completed St. Peter's Basilica, which, to this day, is marvelled at by millions of pilgrims and tourists annually. The Basilica is located on the Vatican Hill, not far from the Circus of Nero, where the first Apostle Peter suffered his martyrdom.

When Michelangelo was commissioned to sculpt the Pietà, he arrogantly vowed that it would be “the most beautiful work in marble Rome has ever seen.” A lot to live up to for a young and inexperienced sculptor, but Michelangelo’s creation did not only meet the expectations – it exceeded them! Everyone was astonished by the achievement; in less than two years, the 25-year-old artist had indeed carved the most remarkable sculpture ever made from of a single block of marble. The sculpture soon gained world fame and pilgrims would travel to the Vatican from all around the globe to behold the incredible masterpiece.

To complete this 120 ton canopy, Gian Lorenzo Bernini was in desperate need of large quantities of bronze. Unfortunately, this precious metal was a rare commodity in Italy in the early 1500s and when no more could be found, Pope Urban XIII gave Bernini permission to harvest the bronze from the portico of the Pantheon. Needless to say, this did not sit well with the Roman people and the shrewd deed gave rise to the proverb "what the barbarians do not do to Rome, the Barberini (the family of the
pope) certainly did". But the stunning result of the larceny, as you can see, may just have been worth all the ill will.