Vatican Private Tour

The bronze canopy known as the Baldachin, stands at 200 meters tall in St. Peter’s Basilica, towering above the main altar. Its bronze was said the have been taken from the Pantheon ceiling in order for renowned artists Gian Lorenzo Bernini and Francesco Borromini (who would later become competitive rivals) to create the collaborative canopy. Meticulous planning and intricate techniques were used to create a soft fabric effect, similar to that of traditional cloth canopies. It was the first example in which Bernini combined sculpture with architecture, and it marked a pivotal moment in the Baroque movement.

This charming courtyard is adequately named after its bulky bronze pinecone sculpture. Upon its unearthing near the Pantheon, curious contemporaries went straight to work to discover the origins of the mysterious treasure. They concluded that it had been brought to Rome from Hadrian’s Villa in Tivoli, which would make it approximately 2,000 years old today. More interestingly, though, the pinecone functioned as a fountain – a wine fountain! Legend has it that Emperor Hadrian, known for his lavishly luxurious lifestyle, apparently had the pinecone rigged to pour white wine on one side and red on the other.

The larger-than-life Apollo Belvedere stands at over 7 feet tall and was once thought to exemplify aesthetic perfection by 18th century neoclassicists. Its origin however, stems all the way back to the 2nd century when a solid block of white marble was masterfully chiseled into the stunning icon we see today: Apollo with soft curls and a flowing cape providing a drastic contrast to the toned musculature of his body as he releases an arrow from his bow.

Much mystery surrounds the sculpture of Laocoon and his sons, in which the three are depicted near life-sized, suffering an attack by giant sea serpents. The characters stem from ancient Roman and Greek Mythology so its legend is well known but its age remains uncertain with approximations being placed between 27 BC and 68 AD. The impressive work, created by three Greek sculptors, Agesander, Athenodoros and Polydorus, serves as an excellent example of Hellenistic Baroque style.

Walk in the very footsteps of Renaissance master Raphael. In the public portion of the Papal Apartments, you will find the four Raphael Rooms: the Hall of Constantine, the Room of Heliodorus, the Room of the Signatura, and the Room of the Fire in the Borgo: Each were named after and attributed to Raphael himself though he did receive some assistance from his students. The artist spent more than 16 years of his life on these fascinating frescoes and one could almost spend an equal amount of time admiring them.

While one might feel inclined to question the relevance of a mere sculpted torso - with no arms, legs, or face - it is worth noting that the Sistine Chapel would not have been the same without the Belvedere Torso. The ancient statue dates back to the 1st century BC and was brought to Rome the 1400s. During his reign, Pope Julius II called upon Michelangelo to recreate its missing limbs but the artist declined, as he believed the torso was perfect. So perfect in fact that he studied it for years and used it as a model for many characters featured in the Sistine Chapel, including Christ himself in The Last Judgment.

Decadent details adorn this hemispherical vault from top to bottom. Tread lightly on intricate 3rd century mosaics that pave the floor beneath you as you make your way past stunning statues and circle round the decadent red porphyry bath of Nero. A bronze statue of Hercules looks down on visitors as they gaze upward towards the coffered dome ceiling, which was modeled after that of the Pantheon.

Neighbouring the Round Room, is the Greek Cross Hall which houses two towering Egyptian style statues from Hadrian’s Villa, a 4th century mosaic of Minerva and two grand sarcophagi of red Egyptian porphyry. Here you will learn a bit about the ancient Romans’ fascination with Egypt, discuss the lavish lifestyle of Emperor Hadrian and have a chance to formulate your own opinion on the ongoing debate about whom the sarcophagi were intended for.

2nd century candelabras pave the way through the gallery amongst a mesmerising collection of marble statues. In ancient Rome, the poor used oil lamps for illumination but the rich used sturdy candelabra which line this corridor today. The 19th century floors, decked with perfectly symmetrical patterns of coloured marble, surround a hyper-realistic 2nd century still-life mosaic at the centre of the room – together highlighting the masterful skill in Rome’s stonework throughout the centuries.

The incredible story-telling tapestries hanging in this gallery were designed and woven in Brussels by the students of Raphael. The elaborate works of wool and silk were displayed for the first time in 1531, draped along the lower walls of the Sistine Chapel. In fact, they were originally made for the purpose of insulating the Chapel during cold winters. Instead, they now line the walls of their very own gallery, mapping the story of Christ in chronological order – and with some advanced ‘shifting perspective’ techniques to be admired, as well.

This gallery is one of the most impressive of the Vatican Museums. Light beams in through the windows illuminating the various shades of gold that adorn the corridor. The 40 maps, representing the regions of Italy, were frescoed onto the walls between 1580 and 1583. Even without aircraft technology, these artists managed to portray amazingly accurate overviews of the regions. What’s more, the ceiling was painted to exhibit a brief history of events that had taken place in each of the corresponding regions below them.

In 1508, Pope Julius II summoned Michelangelo to Rome asking him to paint the ceiling of the Sistine Chapel. Michelangelo, who considered himself a sculptor and not a painter, respectfully declined the commission. Unsurprisingly, the pontifex did not take the artist’s “no” for an answer (they didn’t call him the “Warrior Pope” for nothing) and thus Michelangelo was forced to spend the next 4 years of his life unwillingly frescoing the chapel’s enormous vault. But, as much as Michelangelo loathed his neck-breaking chore, the fruit of his labor was spectacular, perhaps one of the greatest pictorial decorations in all of western art.

Spanning out from the sides of St. Peter’s Basilica and centring on a towering Egyptian Obelisk, are the colonnades of St Peter's Square, designed by famed architect Gian Lorenzo Bernini. An aerial view offers a symbolic perspective in which the shape of the stunning piazza resembles a keyhole. This was not an accident! It was, in fact, designed in reference to the keys handed to Saint Peter by Christ – the key to the church and the key to the city. Every week, visitors from all around the world gather here to receive a public address and a blessing from the Pope himself.

The crown jewel of the Vatican holds some of the city’s most magnificent must-sees within its towering walls. Bernini’s powerful contributions include his work on the bronze Baldachin, St Peter’s throne and his enormous sculpture of Saint Longinus. Michelangelo’s marvellously sculpted the Pietà that is known to move witnesses to tears, but nothing tops (literally) his magnificent dome. Even for those who are not religious, the church offers incredible feats in both architecture and art, which surround you from all angles – a truly stupendous experience.

Upon entering St Peter’s Basilica, each guest is quickly greeted by Michelangelo’s magnificent marble sculpture: The Pieta - one of his most famous masterpieces. Carved from a solid block of white marble, it depends Jesus’ body lying across the lap of Mary. Interestingly, this is the only work that Michelangelo ever signed or, in this case, carved his name on. Contemporary artist, Vasari, claims that Michelangelo had overheard some onlookers doubting his ability to have created the sculpture, so he broke into the church and carved “MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T]” (Michelangelo Buonarroti, Florentine, made this) across Mary’s sash. Afterwards, he regretted the act and vowed to never sign his works again.