Since its establishment in 1889, the museum has been instrumental in gathering and preserving artifacts from the regions of Lazio, Southern Etruria, and Umbria. The expansion to the adjacent Villa Poniatowski in 2012 further enriched its collection, allowing for a more comprehensive display of the Etruscan and Faliscan cultures. As a testament to its significance, the museum is also the historic venue for the prestigious Premio Strega literary award. The ETRU continues to be a beacon of archaeological and cultural scholarship, offering visitors an unparalleled glimpse into Italy’s ancient past.

Description of the National Etruscan Museum of Villa Giulia (ETRU)

The National Etruscan Museum of Villa Giulia (ETRU), located in the heart of Rome, offers a profound journey into the ancient world of the Etruscans and Falisci. Visitors can explore a rich tapestry of history and culture through meticulously curated exhibits housed within the architectural splendor of Villa Giulia and its annex, Villa Poniatowski. As one traverses the museum’s halls, they are invited to witness the grandeur of Etruscan civilization through a diverse collection of artifacts, each telling a unique story of artistry, religion, and daily life. The museum’s layout is designed to guide visitors through various thematic sections, each highlighting different aspects of Etruscan and Faliscan heritage, from funerary art to religious iconography.

Among the many attractions, the museum’s architectural and artistic sections stand out as key points of interest. The Renaissance architecture of Villa Giulia itself is a masterpiece, offering a glimpse into the opulent lifestyle of the past with its elegant design and lush gardens. The museum also boasts an impressive array of Etruscan sculptures and artifacts, including the renowned Sarcofago degli Sposi and the Apollo of Veio, which provide insight into the sophisticated artistic skills of the Etruscans. Visitors can also explore the Lamine di Pyrgi, a significant historical document that sheds light on the linguistic and cultural exchanges between the Etruscans and other ancient civilizations.

The Architectural Splendor of Villa Giulia

Villa Giulia, a quintessential example of Renaissance architecture, was constructed between 1551 and 1553 under the auspices of Pope Julius III. Designed by the eminent architects Jacopo Barozzi da Vignola, Giorgio Vasari, and Bartolomeo Ammannati, the villa exemplifies the harmonious blend of art and nature that characterizes Renaissance design. Visitors are immediately struck by the villa’s grand facade, which features elegant columns and intricate stonework, reflecting the artistic ambitions of its era. The villa’s layout is meticulously planned, with a series of interconnected rooms and corridors that lead to expansive gardens, offering a serene escape from the bustling city.

Within the villa, the Ninfeo stands out as a focal point of architectural and artistic interest. This sophisticated water feature, adorned with statues and decorative elements, serves as a testament to the villa’s original purpose as a place of leisure and contemplation. The loggias and terraced gardens further enhance the villa’s allure, providing visitors with picturesque views and a tranquil setting to appreciate the beauty of Renaissance art and architecture. These elements not only highlight the villa’s historical significance but also underscore its role as a cultural and artistic hub during the Renaissance period.

The Artistic Treasures of the Etruscan Collection

The museum’s collection of Etruscan artifacts is a treasure trove of historical and cultural significance, offering visitors a rare glimpse into the lives and beliefs of this ancient civilization. The Sarcofago degli Sposi, a terracotta funerary monument, is perhaps the most iconic piece in the collection. It depicts a reclining couple in a convivial pose, symbolizing the Etruscan emphasis on the afterlife as a continuation of earthly pleasures. This masterpiece not only showcases the Etruscans’ exceptional craftsmanship but also provides insight into their social and cultural values.

Another highlight of the museum is the Apollo of Veio, a striking statue that exemplifies the Etruscan mastery of sculpture. This piece, along with other significant artifacts such as the Cista Ficoroni and the Olpe Chigi, illustrates the Etruscans’ artistic prowess and their interactions with neighboring cultures. The museum’s collection also includes a variety of bucchero vases, renowned for their distinctive black finish, which further attest to the Etruscans’ innovative techniques and aesthetic sensibilities.

Exploring the Historical Significance of Villa Poniatowski

Adjacent to Villa Giulia, Villa Poniatowski serves as an extension of the museum, housing additional exhibits that complement the main collection. This historic building, acquired and restored by the Italian state, offers a unique setting for the display of Etruscan and Faliscan artifacts. The villa’s restoration was made possible through the support of the Gioco del Lotto, reflecting a commitment to preserving and promoting Italy’s rich cultural heritage.

Within Villa Poniatowski, visitors can explore a series of rooms dedicated to various aspects of Etruscan life and culture. The exhibits are thoughtfully arranged to provide a comprehensive overview of the Etruscan world, from domestic life to religious practices. The villa’s intimate setting allows for a more personal engagement with the artifacts, enabling visitors to appreciate the intricate details and historical context of each piece. This expansion of the museum not only enhances its educational offerings but also reinforces its status as a premier destination for the study and appreciation of Etruscan civilization.

The Educational and Cultural Impact of ETRU

The National Etruscan Museum of Villa Giulia plays a vital role in the preservation and dissemination of Etruscan culture and history. Through its diverse collection and thoughtfully curated exhibits, the museum provides an invaluable resource for scholars, students, and visitors alike. The museum’s educational programs and interactive displays are designed to engage audiences of all ages, fostering a deeper understanding of the Etruscans’ contributions to art, architecture, and society.

In addition to its permanent collection, the museum hosts a variety of temporary exhibitions and cultural events that highlight different aspects of Etruscan and Faliscan heritage. These initiatives, coupled with the museum’s commitment to accessibility and innovation, ensure that the National Etruscan Museum of Villa Giulia remains a dynamic and relevant institution, dedicated to the exploration and celebration of Italy’s ancient past.

History of the National Etruscan Museum of Villa Giulia (ETRU)

Villa Giulia, a masterpiece of Renaissance architecture, has been a silent witness to centuries of history. Originally constructed as a suburban retreat for Pope Julius III, it has evolved into a prestigious repository of Etruscan and Faliscan artifacts. The transformation of this villa into the National Etruscan Museum marks a significant chapter in the preservation and celebration of Italy’s pre-Roman heritage.

Over the years, the museum has undergone numerous changes, adapting to the evolving needs of cultural preservation and public engagement. From its inception in the late 19th century to its current status as an autonomous museum, Villa Giulia has played a pivotal role in the archaeological and cultural landscape of Rome.

The Renaissance Origins (1551-1553)

The origins of Villa Giulia trace back to the mid-16th century when Pope Julius III, born Giovanni Maria Ciocchi del Monte, commissioned its construction. The villa was designed by renowned architects Jacopo Barozzi da Vignola, Giorgio Vasari, and Bartolomeo Ammannati. It served as a luxurious retreat, embodying the artistic and architectural ideals of the Renaissance. The villa’s gardens, loggias, and the sophisticated nymphaeum were celebrated for their beauty and innovation.

This era marked a period of artistic flourishing, with Villa Giulia standing as a testament to the grandeur and cultural aspirations of the papacy. Its architectural significance and aesthetic appeal made it a landmark of Renaissance Rome, setting the stage for its future role as a cultural institution.

Transformation into a Museum (1889)

In 1889, Villa Giulia was repurposed as the National Etruscan Museum, a decision driven by the need to consolidate and showcase the rich archaeological heritage of the Etruscans and Faliscans. The museum’s establishment was part of a broader effort by the Italian government to preserve and study the artifacts of Italy’s ancient civilizations. This transformation marked a new chapter in the villa’s history, aligning its grandeur with a mission of cultural preservation.

The museum’s founding aimed to gather pre-Roman antiquities from Lazio, Southern Etruria, and Umbria, fostering a deeper understanding of these ancient cultures. The collection, curated with scholarly rigor, provided invaluable insights into the social, religious, and artistic practices of the Etruscans and Faliscans.

Expansion and Modernization (2012-Present)

The early 21st century saw significant developments with the expansion of the museum into the nearby Villa Poniatowski in 2012. This expansion was facilitated by the restoration efforts supported by the Gioco del Lotto, allowing for the display of additional collections and enhancing the museum’s capacity to engage with the public. The integration of Villa Poniatowski represented a commitment to broadening the museum’s cultural and educational offerings.

In the wake of the Franceschini Reform of 2014, the National Etruscan Museum gained autonomy, enabling more dynamic management and programming. Under the leadership of directors such as Valentino Nizzo and, more recently, Luana Toniolo, the museum has embraced innovative approaches to accessibility and public engagement, including interactive exhibits and thematic events. These initiatives have reinforced the museum’s status as a vital center for the study and appreciation of Etruscan culture.

Visiting the National Etruscan Museum of Villa Giulia (ETRU)

Approaching the Museum

Located in the heart of Rome, the National Etruscan Museum of Villa Giulia is a beacon for those interested in ancient civilizations. As visitors approach the museum, they are greeted by the stunning Renaissance architecture of Villa Giulia, originally commissioned by Pope Julius III. The villa’s elegant facade and lush gardens provide a serene introduction to the rich history housed within its walls.

The museum is easily accessible via public transportation, with tram lines stopping nearby, making it a convenient stop for those exploring Rome’s extensive cultural offerings. The approach to the museum is enhanced by the surrounding landscape, offering a glimpse into the historical significance of the site.

Inside the Museum

Once inside, visitors can embark on a journey through the Etruscan and Faliscan civilizations, with the museum’s extensive collections providing a comprehensive overview of these ancient cultures. The exhibits are thoughtfully curated to offer insights into the daily life, art, and beliefs of the Etruscans, with highlights including the renowned Sarcofago degli Sposi and the Lamine di Pyrgi.

Guided tours are available for those who wish to gain deeper insights into the artifacts and their historical contexts. The museum’s layout is designed to facilitate a smooth flow of visitors, allowing for an immersive experience that connects the past with the present.

Practical Tips for Visitors

Visitors are encouraged to take their time exploring the museum, as each exhibit offers unique insights into the Etruscan world. Photography is generally permitted, although flash and tripods may be restricted to preserve the artifacts. It is advisable to check for any temporary exhibitions or events that may coincide with your visit, as these can offer additional perspectives on the museum’s collections.

For those planning a broader itinerary, the museum’s location makes it an ideal starting point for exploring other nearby cultural sites in Rome. The proximity to other museums and historical landmarks allows visitors to create a rich and varied cultural experience, deepening their understanding of Italy’s ancient heritage.

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Over the centuries, the Scuderie del Quirinale has undergone several transformations, reflecting the dynamic history of Rome. In the late 20th century, it was repurposed as a premier exhibition space, following an extensive restoration led by the acclaimed architect Gae Aulenti. Today, it stands as a vital center for art and culture, hosting internationally acclaimed exhibitions that feature masterpieces from artists such as Michelangelo, Caravaggio, and Botticelli. The venue continues to attract visitors from around the world, offering a unique blend of historical architecture and contemporary cultural significance.

Description of Scuderie del Quirinale

The Scuderie del Quirinale, a prominent cultural venue in Rome, offers visitors a unique blend of historical architecture and contemporary exhibition space. Located at the intersection of Via Ventiquattro Maggio and the Salita di Montecavallo, the building is a testament to the architectural prowess of the 18th century, harmoniously blending with the grandeur of the adjacent Palazzo del Quirinale. As visitors approach, they are greeted by the building’s elegant façade, which has been meticulously restored to reflect its original splendor. The Scuderie del Quirinale is not merely a relic of the past; it is a vibrant cultural hub that hosts a variety of exhibitions, showcasing masterpieces from different eras and regions. Visitors can explore the rich history of the building while engaging with the art and culture it houses, making it a must-visit destination for art enthusiasts and history buffs alike.

Inside, the Scuderie del Quirinale is divided into several distinct areas, each offering a unique experience. The ground floor, which originally served as the stables, has been transformed into a spacious exhibition area. Here, visitors can admire the architectural features that have been preserved from the building’s original design, including the vaulted ceilings and robust stone columns. The upper floors, which once housed the carriages, now serve as additional exhibition spaces, offering panoramic views of Rome. The building’s layout allows for a seamless flow between the different exhibition areas, providing visitors with an immersive experience as they move from one gallery to the next. The Scuderie del Quirinale’s commitment to preserving its historical integrity while adapting to contemporary needs is evident in every aspect of its design, making it a prime example of adaptive reuse in architecture.

The Architectural Grandeur of the Facade

The facade of the Scuderie del Quirinale is a striking example of 18th-century architecture, designed by the renowned architects Alessandro Specchi and Ferdinando Fuga. The building’s exterior is characterized by its symmetrical design and classical elements, which reflect the architectural trends of the period. The facade features a series of arched windows and doors, framed by pilasters and topped with decorative cornices. These elements not only enhance the building’s aesthetic appeal but also serve to highlight its historical significance. The central portal, adorned with the papal coat of arms of Clemente XII, serves as a reminder of the building’s origins and its connection to the papacy.

The facade’s design is both functional and decorative, with its large windows allowing natural light to flood the interior spaces. This feature is particularly important in an exhibition space, as it provides optimal lighting for the artworks on display. The building’s exterior has been meticulously maintained, with careful attention paid to preserving its original features while ensuring its structural integrity. Visitors to the Scuderie del Quirinale can appreciate the craftsmanship and attention to detail that went into creating this architectural masterpiece, which stands as a testament to the skill and vision of its creators.

Interior Exhibition Spaces

The interior of the Scuderie del Quirinale is a harmonious blend of historical architecture and modern design, providing an ideal setting for the diverse range of exhibitions it hosts. The ground floor, which once served as the stables, has been transformed into a spacious and versatile exhibition area. The original stone columns and vaulted ceilings have been preserved, adding a sense of grandeur and history to the space. This area is often used for large-scale exhibitions, showcasing works from renowned artists and collections from around the world. The open layout allows for a flexible arrangement of exhibits, accommodating a variety of artistic styles and mediums.

On the upper floors, visitors can explore additional exhibition spaces, each offering a unique perspective on the art and culture on display. The layout of the upper floors is designed to facilitate a natural flow between the different galleries, allowing visitors to move seamlessly from one exhibition to the next. The large windows on these floors provide breathtaking views of Rome, creating a stunning backdrop for the artworks on display. The combination of historical architecture and modern design elements makes the interior of the Scuderie del Quirinale a truly captivating space, offering visitors an unforgettable experience as they explore the art and culture within its walls.

Historical and Artistic Highlights

The Scuderie del Quirinale is home to a wealth of historical and artistic treasures, offering visitors a unique opportunity to explore the rich cultural heritage of Rome. The building’s history is closely intertwined with that of the papacy, as evidenced by the numerous papal symbols and inscriptions found throughout the structure. One of the most notable features is the commemorative plaque on the facade, which bears the inscription of Clemente XII, acknowledging his role in completing the building. This plaque serves as a reminder of the building’s historical significance and its connection to the papal court.

In addition to its historical features, the Scuderie del Quirinale hosts a diverse range of exhibitions, showcasing works from both Italian and international artists. The exhibitions cover a wide range of themes and periods, from classical art to contemporary installations. Visitors can explore the works of renowned artists such as Michelangelo, Caravaggio, and Rembrandt, as well as contemporary pieces that push the boundaries of artistic expression. The Scuderie del Quirinale’s commitment to showcasing a diverse range of art and culture makes it a dynamic and ever-evolving cultural destination, offering something for everyone to enjoy.

History of Scuderie del Quirinale

Initial Conception and Construction (1722-1732)

The conception of the Scuderie del Quirinale began under the auspices of Pope Innocent XIII in 1722. The initial architectural plans were entrusted to Alessandro Specchi, a renowned architect of the period, who was tasked with creating a structure that would serve as the stables for the Papal Quirinal Palace. The site chosen for the Scuderie was originally part of the gardens belonging to the Colonna family, which were ceded to the Camera Apostolica in 1625 to enhance the grandeur of the Papal residence.

Following the death of Pope Innocent XIII in 1724, construction was temporarily halted. It resumed under Pope Clement XII in 1730, who appointed Ferdinando Fuga to complete the project. Fuga maintained the integrity of Specchi’s original design while introducing modifications to the exterior, such as the elevation of the mezzanine floor and the embellishment of the central portals. The building was completed in 1732, marking the beginning of its use as a facility for housing horses and carriages.

Transformation and Adaptation (19th Century)

Throughout the 19th century, the Scuderie del Quirinale underwent significant changes, particularly during the pontificate of Pope Pius IX. In 1865, urban development projects led to the reconfiguration of the surrounding area, including the construction of the Salita di Montecavallo. This necessitated alterations to the Scuderie’s entrance, resulting in the removal of its original ramps and the addition of new architectural elements, such as the lateral wings and terrace.

The modifications during this period were emblematic of the broader transformations occurring in Rome as it transitioned from a papal to a secular city. The Scuderie continued to serve its original purpose until 1938, when it was repurposed as a garage, reflecting the changing transportation needs of the time.

Restoration and Cultural Renaissance (1997-1999)

In the late 20th century, the Scuderie del Quirinale underwent a comprehensive restoration, spearheaded by the acclaimed architect Gae Aulenti. This project, completed between 1997 and 1999, was initiated by the Presidency of the Republic and aimed to transform the building into a premier exhibition space. The restoration was part of a broader effort to prepare Rome for the Jubilee of 2000, highlighting the city’s cultural and historical significance.

The revitalized Scuderie was inaugurated on December 21, 1999, by President Carlo Azeglio Ciampi, in the presence of the Mayor of Rome and the Minister of Cultural Heritage. The inaugural exhibition, “I Cento Capolavori dell’Ermitage,” set the stage for the Scuderie’s new role as a venue for world-class art exhibitions, attracting visitors from around the globe.

Contemporary Role and Significance (21st Century)

Today, the Scuderie del Quirinale stands as one of Rome’s most esteemed cultural institutions. Managed by Ales S.p.A., a company under the Ministry of Culture, the venue hosts a diverse array of exhibitions that showcase both historical and contemporary art. Its strategic location and architectural elegance make it a focal point for cultural events in the city.

The Scuderie’s enduring appeal lies in its ability to adapt to the evolving cultural landscape while preserving its historical essence. It continues to serve as a bridge between Rome’s illustrious past and its vibrant present, offering a space where art and history converge to inspire and educate future generations.

Visiting Scuderie del Quirinale

Approaching the Site

Situated at the intersection of Via Ventiquattro Maggio and the Salita di Montecavallo, the Scuderie del Quirinale presents a striking architectural presence in the heart of Rome. As visitors approach the site, they are greeted by its elegant facade, a testament to the craftsmanship of Alessandro Specchi and Ferdinando Fuga. The building’s historical significance is immediately apparent, with its connection to the Palazzo del Quirinale enhancing its cultural importance.

Visitors can enjoy the exterior view of the Scuderie, which has been meticulously preserved and restored to reflect its original grandeur. The site is easily accessible by foot from nearby attractions, making it a convenient stop on a broader tour of Rome’s historical landmarks. The surrounding area, rich in history and architecture, provides a scenic backdrop for those interested in exploring the city’s past.

Inside the Scuderie

The Scuderie del Quirinale serves as a premier exhibition space, hosting a variety of temporary art exhibitions that attract international acclaim. Spanning approximately 1,500 square meters, the venue’s interior is designed to accommodate a wide range of artistic displays, from classical masterpieces to contemporary works. The exhibitions are carefully curated, often featuring works by renowned artists such as Michelangelo, Caravaggio, and Botticelli.

Access to the exhibitions is typically ticketed, ensuring that visitors can enjoy the art in a well-organized and serene environment. The layout of the exhibition halls allows for an immersive experience, with each room offering a unique perspective on the art and history presented. Visitors are encouraged to take their time exploring the exhibits, as each one provides a distinct narrative that contributes to the overall cultural tapestry of Rome.

Practical Tips for Visitors

For those planning a visit to the Scuderie del Quirinale, it is advisable to check the current exhibition schedule in advance, as the offerings change periodically. This ensures that visitors can align their interests with the available displays. While the site itself is a highlight, its location also allows for easy integration into a larger itinerary that includes other nearby cultural and historical sites.

Visitors should be prepared for potential queues, especially during high tourist seasons, as the Scuderie is a popular destination for both locals and international travelers. Comfortable footwear is recommended, as the exploration of the exhibition spaces and the surrounding area may involve considerable walking. Overall, a visit to the Scuderie del Quirinale promises a rich and rewarding experience, offering insights into both the art world and the historical context of Rome.

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The Museo Storico della Fanteria, located in the heart of Rome at Piazza Santa Croce in Gerusalemme, stands as a testament to Italy’s rich military history. Established in 1956, the museum was inaugurated three years later, on November 11, 1959, by then-President Giovanni Gronchi. This institution is under the jurisdiction of the Comando Militare della Capitale and serves as a repository of the Italian Army’s proud traditions and achievements.

The museum is renowned for its comprehensive collections, which are meticulously organized into three primary sectors: weapons, flags, and uniforms. Visitors can explore an extensive array of exhibits that include a historical library, an archive, and a sacrarium. The museum’s architecture features 35 rooms and five galleries, offering a vivid portrayal of Italy’s military past. Notable artworks, such as the statue of the “Partente” by B. Poidimani and “Redentore sulla croce” by Edmondo Furlan, enrich the museum’s cultural tapestry. Despite its closure in 2023, the Museo Storico della Fanteria remains a significant cultural landmark, with parts of its space now dedicated to art exhibitions.

Description of Museo Storico della Fanteria

The Museo Storico della Fanteria, nestled in the heart of Rome, offers visitors a unique glimpse into the rich tapestry of Italy’s military history. This museum, though primarily dedicated to the infantry, also provides insights into various military specializations and historical epochs. As visitors step into the museum, they are greeted by a collection that spans several centuries, showcasing the evolution of military tactics, uniforms, and weaponry. The museum is divided into distinct sections, each meticulously curated to offer a comprehensive understanding of Italy’s military heritage. Tourists can explore a variety of exhibits, from ancient armaments to modern military artifacts, each telling a story of valor and tradition.

Upon visiting the Museo Storico della Fanteria, tourists will find themselves immersed in a world where history comes alive through the detailed displays of military memorabilia. The museum is not only a repository of historical artifacts but also serves as an educational space where visitors can learn about the strategic and tactical advancements in military history. Among the highlights are the sections dedicated to the two World Wars, which provide a sobering reflection on the past, as well as the impressive collection of military uniforms and flags that illustrate the changing face of the Italian infantry over the years.

The Armory and Weaponry Collection

The armory section of the Museo Storico della Fanteria is a testament to the evolution of military technology and strategy. Visitors are presented with an extensive array of weaponry, ranging from ancient swords and muskets to more contemporary firearms. Each piece is displayed with detailed descriptions, offering insights into its historical context and usage. The collection is not just a display of arms but a narrative of technological progression, showcasing how advancements in weaponry have influenced military tactics and outcomes over the centuries.

In addition to the weaponry, the armory section also includes various military equipment used by the Italian infantry. This includes protective gear, communication devices, and other essential tools that have been part of the soldier’s arsenal. The exhibit is designed to provide a comprehensive understanding of the challenges faced by infantrymen and the innovations that have been developed to overcome them. This section is particularly engaging for those interested in the technical aspects of military history, offering a detailed look at the tools of warfare.

Uniforms and Banners: A Journey Through Time

The uniforms and banners section of the museum offers a vibrant display of the sartorial evolution of the Italian infantry. Visitors can witness the transformation of military attire, from the ornate and colorful uniforms of the past to the more functional and subdued designs of the modern era. Each uniform tells a story, reflecting the changing priorities and conditions faced by soldiers throughout history. The intricate details and craftsmanship of these garments are a testament to the pride and tradition that have long been associated with military service.

Alongside the uniforms, the collection of banners and flags provides a visual narrative of Italy’s military campaigns. These symbols of honor and identity have been carried into battle, representing the spirit and resolve of the troops. The flags are displayed with reverence, each accompanied by information about its significance and the battles in which it was flown. This section of the museum is particularly poignant, offering a glimpse into the emotional and symbolic aspects of military history.

The Sacrario and Artistic Installations

The sacrario, or memorial area, of the Museo Storico della Fanteria is a space dedicated to reflection and remembrance. It houses various artistic installations that pay homage to the sacrifices made by soldiers throughout Italy’s military history. Among these is the striking statue of the “Partente” by B. Poidimani, located on the ground floor. This sculpture captures the solemnity and resolve of a soldier departing for battle, serving as a powerful reminder of the personal cost of war.

Another notable piece is the “Redentore sulla croce” by Edmondo Furlan, situated within the sacrario. This artwork, with its religious undertones, offers a moment of contemplation, inviting visitors to reflect on the broader implications of conflict and sacrifice. The sacrario is a place of quiet dignity, providing a space for visitors to honor the memory of those who have served and to consider the enduring impact of military service on individuals and society as a whole.

Library and Historical Archives

The museum’s library and historical archives serve as a resource for scholars and enthusiasts alike, offering a wealth of information on military history. The library houses a vast collection of books, documents, and photographs, providing insights into the strategies, battles, and personalities that have shaped Italy’s military past. Researchers can delve into primary sources, gaining a deeper understanding of the historical context and the decisions that have influenced military outcomes.

The archives also include personal letters and diaries from soldiers, offering a more intimate perspective on the experiences of those who served. These firsthand accounts provide a human element to the historical narrative, allowing visitors to connect with the past on a personal level. The library and archives are an invaluable resource for anyone interested in exploring the complexities and nuances of military history, offering a comprehensive view of Italy’s martial heritage.

History of Museo Storico della Fanteria

The Conceptualization and Early Efforts (Post-World War I – 1956)

The inception of the Museo Storico della Fanteria can be traced back to the aftermath of World War I. During this period, various regiments of the Italian infantry took the initiative to establish small sanctuaries within their barracks. These sanctuaries were dedicated to preserving the memories and traditions of the infantry, showcasing artifacts and memorabilia that highlighted their valor and contributions. However, the devastation of World War II led to the unfortunate loss or destruction of many of these cherished relics.

In the post-war era, the Italian Army’s General Staff recognized the need to consolidate and preserve the history of the infantry in a more formal setting. General Edoardo Scala was tasked with gathering materials for a dedicated museum, although finding a suitable location proved challenging. It wasn’t until 1956 that General Attilio Bruno succeeded in securing a site adjacent to the Museo Storico dei Granatieri di Sardegna. With the support of military authorities and the Ministry of Defense, the groundwork was laid for the museum’s establishment.

Inauguration and Early Years (1959 – 1986)

The Museo Storico della Fanteria was officially inaugurated on November 11, 1959, by then-President Giovanni Gronchi. This marked a significant milestone in the preservation of Italy’s military heritage. The museum quickly became a repository of historical artifacts, including weapons, flags, and uniforms, meticulously curated to offer a comprehensive overview of the infantry’s evolution. The museum’s layout was designed to provide visitors with an immersive experience, featuring a library, historical archive, and a sacrarium.

In 1986, the museum achieved the status of Ente di Forza Armata, further solidifying its importance within the military and cultural landscape of Italy. This period also saw a concerted effort to enhance the museum’s offerings, with various donations and acquisitions enriching its collection. The museum’s commitment to preserving and showcasing Italy’s military history remained unwavering, attracting visitors from around the world.

Renovations and Modernization (1990 – 2016)

The 1990s heralded a new era for the Museo Storico della Fanteria, as it underwent significant renovations to modernize its facilities. These efforts were aimed at enhancing the visitor experience, ensuring that the museum remained a relevant and engaging destination for future generations. The renovations included updates to the exhibition spaces, as well as the introduction of new technological elements to aid in the interpretation of the museum’s extensive collection.

In 2016, the museum reopened after a period of closure for further renovations, unveiling a special exhibition dedicated to the First World War. This exhibition was part of a broader initiative to commemorate the centenary of the conflict, offering visitors a poignant reflection on the sacrifices and contributions of the Italian infantry during this tumultuous period. The museum’s dedication to preserving and interpreting military history continued to be a cornerstone of its mission.

Recent Developments and Current Status (2023 – Present)

As of 2023, the Museo Storico della Fanteria remains closed to the public. This closure has been attributed to ongoing considerations regarding the museum’s role and function within the broader context of Rome’s cultural heritage landscape. Portions of the museum’s space have been repurposed for art exhibitions, reflecting a shift in focus and utilization.

Despite its closure, the museum’s legacy endures, serving as a symbol of Italy’s rich military history and the enduring spirit of the infantry. The Museo Storico della Fanteria continues to be a subject of interest and study, with ongoing discussions about its future and potential reopening. The museum’s history, marked by resilience and adaptation, remains a testament to the enduring significance of preserving and celebrating Italy’s military heritage.

Visiting Museo Storico della Fanteria

Exploring the Museum’s Offerings

Visitors to the Museo Storico della Fanteria can anticipate an immersive experience into the rich history of Italy’s infantry. The museum is renowned for its extensive collection, which is meticulously divided into three primary sectors: arms, flags, and uniforms. Each section offers a unique glimpse into the evolution of military attire and weaponry, showcasing artifacts from various periods, including the First and Second World Wars. Notably, the museum also houses a library and historical archive, providing an invaluable resource for those interested in military history.

The museum’s interior is thoughtfully designed to guide visitors through its 35 rooms, which include five galleries and various antechambers. Among the highlights are significant donations and acquisitions, including paintings, drawings, and sculptures. The ground floor features the striking statue of “Partente” by B. Poidimani, while the sacrarium houses the poignant “Redentore sulla croce” by Edmondo Furlan. These artistic pieces complement the historical artifacts, offering a comprehensive cultural experience.

Incorporating the Museum into a Broader Visit

Given its location in Rome, the Museo Storico della Fanteria can be seamlessly integrated into a broader exploration of the city’s historical and cultural landmarks. Situated near the Piazza Santa Croce in Gerusalemme, the museum is accessible from several key transportation hubs, including the San Giovanni and Manzoni stations. This makes it an ideal stop for those embarking on a day of sightseeing in Rome.

Visitors may consider pairing their museum visit with a tour of nearby attractions, such as the Basilica di Santa Croce in Gerusalemme or the Colosseum, to enrich their understanding of Rome’s historical tapestry. This approach allows tourists to appreciate the interconnectedness of military history with the broader cultural and historical narratives of the city.

Visitor Tips and Ticket Information

While planning a visit to the Museo Storico della Fanteria, it is advisable to check for any temporary exhibitions that might be on display, as these can provide additional insights into specific historical themes or figures. Although the museum is currently closed, it is worth monitoring future developments regarding its reopening, as the institution has previously hosted notable art exhibitions in its space.

When the museum is operational, tickets are typically available for purchase on-site. It is recommended that visitors allocate sufficient time to explore the museum thoroughly, given its extensive collection and the depth of information available. Engaging with the museum’s offerings can provide a profound appreciation for the history and heritage of Italy’s infantry, making it a worthwhile addition to any itinerary focused on Rome’s cultural and historical heritage.

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History of the Borghese Gallery

The Borghese Gallery, situated in the Villa Borghese Pinciana, stands as one of the most iconic sites of Rome’s artistic and cultural heritage. Its history unfolds in several stages, from the foundation of Cardinal Scipione Borghese’s private collection and the Baroque period that turned the villa into a showcase of 17th-century art and architecture, to its transition into a state museum and the renovations and modern updates over the past decades.

Foundation and the Baroque Period

The Origins of the Collection

In the early 17th century, Cardinal Scipione Borghese—nephew of Pope Paul V—began to assemble an art collection that soon became one of the most prestigious in the world. His refined taste and innovative vision enabled the acquisition of Renaissance and Baroque masterpieces from Caravaggio and Titian to Bernini, resulting in a collection that, from its inception, symbolized the Borghese family’s artistic excellence and patronage.

Constructing the Villa

Alongside building the collection, in 1607 the Borghese family decided to establish a villa on the Pincio hill, a strategically located area in northern Rome. Initially designed by Flaminio Ponzio and later completed by Giovanni Vasanzio, the project aimed to display the artworks within an elegant and harmonious architectural setting. Its style referenced classic Italian villas of the Renaissance (such as Villa Medici and Villa Farnesina), featuring a large portico and a richly adorned terrace, creating a place where art and nature intersect in an unforgettable fusion.

The Baroque Era

With the rise of the Baroque style, the villa and its collection became symbols of Rome’s vibrant artistic scene. The baroque taste, marked by expressive exuberance and detailed ornamentation, found full expression both in the acquired works—like Bernini’s monumental sculptures—and in the architectural and decorative enhancements that enriched the building. In this period, the Borghese Gallery was not just a repository of works but a living environment whose spatial layout, decorative elements, and lighting created a cohesive vision of artistic magnificence.

The Transformation into a Museum

State Acquisition and Opening to the Public

In 1891, all the artworks housed in the 12 rooms of the picture gallery of Palazzo Borghese in Via Ripetta were transferred to the piano nobile of the Villa Borghese Pinciana, paving the way for its conversion into a museum. In 1902, following the Italian State’s acquisition of the collections belonging to the Borghese Fidecommesso, the Borghese Gallery was officially recognized as a public museum.
Negotiations for this transfer were lengthy and complex, often called “the deal of the century.” The villa and gardens were purchased for 3.6 million lire—a seemingly modest figure at the time—which allowed Italy to retain an invaluable artistic legacy intact.

The First Directors and the Museum’s Organization

Giovanni Piancastelli (1845–1926) became the Gallery’s first director, succeeded in 1906 by Giulio Cantalamessa, formerly in charge of the Gallerie dell’Accademia in Venice. Their leadership contributed to shaping the Gallery as an outstanding institution, open to the public and committed to preserving and enhancing art.

Restorations and Updates

Throughout the 20th century, the Borghese Gallery underwent numerous restoration projects to preserve both the building and its works of art. In 1983, the museum was closed for a thorough renovation that lasted 14 years, restoring the original appearance of the plasterwork, statues, and the historic two-ramp staircase. It reopened in June 1997, recapturing its former prestige and functionality.
In 2013, the Borghese Gallery ranked as the ninth most visited Italian state museum, attracting almost 500,000 visitors, reflecting a steady global interest in the Borghese heritage. In 2015, Italy’s Minister of Cultural Heritage and Activities and Tourism, Dario Franceschini, appointed Anna Coliva as director of the Gallery; since November 2020, it has been directed by Francesca Cappelletti. These administrative updates further strengthened the museum’s management and promotion, ensuring continuous enhancement of both its collection and building.

The Museum

The Borghese Gallery is a museum presenting an extraordinary collection of Renaissance, Baroque, and Neoclassical art in a lavishly decorated environment. Carefully selected and thematically grouped, the artworks are displayed across various rooms, each highlighting the magnificence and historical significance of the masterpieces on view. Below is an exhibit layout that emphasizes not only the artistic excellence of the pieces but also a narrative of art history spanning different centuries.

Exhibition Layout

The rooms of the Borghese Gallery are arranged to create a storyline: each space possesses its own identity, shaped by its themes and displayed works. Below is a detailed overview of the museum’s 20 rooms.

Portico and Entrance Hall (Salone di Mariano Rossi)

This introductory space welcomes visitors into classical themes. The area features busts of Roman emperors, an impressive mosaic depicting gladiatorial fights, and a colossal statue of Bacchus as the focal point.

Key works: busts from classical antiquity, gladiator-fight mosaic, and a colossal statue of Bacchus.

Room I (Paolina’s Room)

Formerly called “Sala del Vaso,” this room is notable for decorative reliefs from the 18th and 19th centuries. Its centerpiece is the Neoclassical marble sculpture by Antonio Canova, “Pauline Borghese as Venus Victrix”, which matches the vaulted ceiling frescoes portraying “Stories of Venus and Aeneas.”

Main work:

• Pauline Borghese as Venus Victrix (Canova)

Room II (David’s Room)

Also known as “Sala del Sole,” this space features Bernini’s David at its center. An allegorical fresco, “The Fall of Phaeton” by Francesco Caccianiga, adorns the ceiling, drawing inspiration from Ovid’s Metamorphoses.

Key works:

• David (Bernini)
• Fresco “The Fall of Phaeton” (Caccianiga)

Room III (Apollo and Daphne)

This room houses Bernini’s famous marble sculpture “Apollo and Daphne”. A thematically coordinated ceiling complements the piece, alongside other Hellenistic and Roman works, weaving a dialogue between myth and art.

Main work:

• Apollo and Daphne (Bernini)

Room IV (Room of the Emperors)

Richly adorned with stucco, marble, and frescoes, this hall contains portraits of Roman emperors. Among the highlights is Bernini’s “The Rape of Proserpina”, accompanied by a copy of the “Borghese Artemis”.

Main work:

• The Rape of Proserpina (Bernini)

Room V (Hermaphroditus Room)

This room showcases the renowned “Sleeping Hermaphrodite”, a sculpture exemplifying the beauty of mixed forms. Complementary to the main piece, a mosaic depicting a fishing scene evokes everyday life in ancient Rome.

Key works:

• Sleeping Hermaphrodite
• Fishing Scene Mosaic

Room VI (Aeneas and Anchises)

Dominating this space is Bernini’s “Aeneas, Anchises, and Ascanius”, a sculpture exploring the concept of piety and family through intense and dramatic representation, typical of Baroque sculpture.

Main work:

• “Aeneas, Anchises, and Ascanius” (Bernini)

Room VII (Egyptian Room)

This room forges a visual link to ancient Egypt with a 2nd-century intricate mosaic, displayed alongside sculptures such as the “Satyr on a Dolphin.” The environment highlights Roman art in close dialogue with Egyptian culture.

Key works:

• 2nd-century Egyptian-style mosaic
• Satyr on a Dolphin

Room VIII (Silenus Room)

Dedicated to Caravaggio, this room focuses on intense and narratively charged masterpieces. Prominent among them are “David with the Head of Goliath” and “Boy with a Basket of Fruit”, exemplifying the artist’s revolutionary use of chiaroscuro.

Main work:

• David with the Head of Goliath (Caravaggio)

Room IX (Dido’s Room)

This area emphasizes Italian Renaissance painting, including works by Botticelli, Pinturicchio, and Raphael. It outlines the evolution of painting in Umbria and Tuscany, capturing the transition in themes and techniques typical of the Renaissance.

Key works:

• Renaissance selection (Botticelli, Pinturicchio, Raphael)

Room X (Hercules Room)

This space highlights the feats of the hero Hercules. On display are Mannerist paintings by figures such as Parmigianino and Correggio, as well as allegorical sculptures, including Alessandro Algardi’s “Allegory of Sleep”, presenting a dramatic interpretation of mythological themes.

Key works:

• Mannerist paintings focused on Hercules
• “Allegory of Sleep” (Algardi)

Room XI (Ferrarese Painting)

This hall celebrates the Ferrarese school with works by Mazzolino and Garofalo, reflecting the cultural and artistic dynamics of Ferrara, particularly after the city’s incorporation into the Papal States.

Key works:

• Works from the Ferrarese school (Mazzolino, Garofalo)

Room XII (Bacchants’ Room)

Showcasing early-16th-century Lombard-Venetian art, this space includes pieces by Lorenzo Lotto and Sodoma. The exhibited works delve into mysticism and religious content typical of that era’s painting.

Key works:

• Early 16th-century selection (Lotto, Sodoma)

Room XIII (Fame’s Room)

Though small, this richly decorated room features an “Allegory of Fame” and houses Bolognese masters’ works. It underscores the significance of glory and renown in 15th-century art.

Main work:

• “Allegory of Fame”

Room XIV (Lanfranco’s Loggia)

Originally an open loggia, this gallery now hosts Lanfranco’s fresco “Council of the Gods”, together with Bernini’s sculptures. Altogether, they celebrate the mythological and artistic grandeur crossing different centuries.

Key works:

• “Council of the Gods” (Lanfranco)
• Bernini’s sculptures

Room XV (Aurora’s Room)

This hall features paintings illustrating the evolution of Mannerism in Italy. Of note is Bassano’s “The Last Supper”, shown alongside works by Dosso Dossi, collectively evoking the emergence of a new artistic dawn.

Key works:

• “The Last Supper” (Bassano)
• Works by Dosso Dossi

Room XVI (Flora’s Room)

Dedicated to the goddess Flora, the hall spotlights themes of nature and its beauty. Through works by Marcello Venusti and Pellegrino Tibaldi, the Renaissance is reinterpreted under a mythological lens, praising fertility and natural abundance.

Key works:

• Works themed on Flora (Venusti, Tibaldi)

Room XVII (Count of Angers’ Room)

Housing 17th-century artworks strongly influenced by Flemish and Dutch painting, this room highlights cultural and artistic exchanges between Italy and Northern Europe during that period.

Key works:

• 17th-century selection of Flemish and Dutch painting

Room XVIII (Jupiter and Antiope)

Dedicated to Flemish Baroque masterpieces, featuring works such as Rubens’ “Susanna and the Elders”, contrasting innocence with worldly corruption. Its vibrant palette and dynamic composition typify Baroque mastery and its ability to transform religious subjects into powerful visual experiences.

Main work:

• “Susanna and the Elders” (Rubens)

Room XIX (Helen and Paris)

Adorned with scenes from the Trojan epic, this hall houses works by Domenichino and Barocci focusing on themes of love and tragedy from Greek mythology.

Key works:

• Trojan-themed selection (Domenichino, Barocci)

Room XX (Cupid and Psyche)

This room pays homage to the mythological love story of Eros and Psyche, shown through Venetian masters like Giorgione, Titian, Veronese, and Bellini. The visit culminates with Titian’s famous “Sacred and Profane Love”, symbolizing the eternal duality of passion.

Main work:

• Sacred and Profane Love (Titian)

Major Works

Besides the diverse collections spread across its various rooms, the Borghese Gallery holds some of the most emblematic pieces in Western art. These masterpieces form the core of the museum’s collection, essential for understanding the artistic evolution from the Renaissance to Neoclassicism.

Apollo and Daphne (Gian Lorenzo Bernini, 1622–1625) – Room III

A monumental marble sculpture capturing the myth of Apollo and Daphne at the very moment she transforms into a laurel tree to evade the god’s advances. Noted for rendering movement and metamorphosis in stone, it stands as a defining piece of the Baroque era and a pinnacle of Bernini’s sculptural artistry.

David with the Head of Goliath (Caravaggio, 1609–1610) – Room VIII

An oil painting depicting the biblical hero David in victory over Goliath. Caravaggio deploys revolutionary chiaroscuro effects to carve a dramatic contrast of light and shadow, emphasizing both tension and triumph, marking this work as a testament to his artistic innovation.

Pauline Borghese as Venus Victrix (Antonio Canova, ca. 1800) – Room I

A Neoclassical marble sculpture in which Canova depicts Pauline Borghese in the form of Venus, goddess of love. The work exalts idealized beauty through harmonious forms and perfect proportions, reflecting the refined aesthetic and sculptural technique that made Canova one of the greatest masters of his era.

The Deposition (Peter Paul Rubens, 1601) – Room XVIII

An oil painting portraying the solemn act of Christ’s removal from the cross. Rubens uses vigorous brushstrokes and vivid colors to infuse emotional intensity and dramatic tension, making this masterpiece a prime example of Baroque flair and its ability to transpose sacred subjects into immersive visual narratives.

Sacred and Profane Love (Titian, 1513) – Room XX

One of Titian’s most celebrated works, this oil on canvas explores the dichotomy between spiritual and earthly love. Its composition—rich in symbolism and bold colors—blends Venetian painting’s refinement with a profound reflection on the conflicting nature of human emotions.

Saint Dominic (Titian, ca. 1565) – Room XX

An oil painting of Saint Dominic, rendered with a commanding and charismatic presence. Warm lighting and richly layered detail give the scene a solemn spirituality, while the portrait highlights the saint’s inner grandeur and determination—a hallmark of Titian’s Renaissance craftsmanship.

Madonna and Child (Giovanni Bellini, ca. 1510) – Room IX

In this classic oil on panel, the Virgin Mary with Child epitomizes Venetian Renaissance art. Bellini’s delicacy of color and meticulous attention to detail create an atmosphere of serenity, instantly conveying both the sacred nature and the elegance of the piece.

The Rape of Proserpina (Gian Lorenzo Bernini, ca. 1621) – Room IV

A sculptural tour de force in marble that captures Pluto’s forceful abduction of Proserpina. Bernini turns stone into a vibrant narrative of motion: the intensity of action and the delicacy of form merge into a visually enthralling drama.

David (Gian Lorenzo Bernini, ca. 1623) – Room II

This marble sculpture portrays the biblical hero David just as he readies himself, loaded with youthful resolve, to confront Goliath. Marked by muscular tension and dynamism, it exemplifies Bernini’s baroque brilliance, highlighting courage and energy.

Aeneas, Anchises, and Ascanius (Gian Lorenzo Bernini, ca. 1617) – Room VI

A marble group celebrating familial bonds and the virtue of pietas, depicting Aeneas alongside his father Anchises and young Ascanius. Flowing composition and expressive faces evoke an aura of heroism and filial duty, reinterpreted through intense Baroque styling.

Baglioni Deposition (Raphael, ca. 1507) – Room IX

An oil painting illustrating the dramatic Baglioni deposition, balanced in its composition and expertly using light. The piece embodies the pathos and grace typical of the Renaissance, showcasing Raphael’s ability to convey profound emotions through painting.

La Fornarina (Raphael) – (not directly listed but presumably belongs among Raphael’s works if needed.)

Lady with a Unicorn (Raphael, ca. 1506) – Room IX

An oil painting depicting a noblewoman accompanied by a unicorn, symbol of purity and mystery. The elegant design and refined color palette cast the painting in an enchanting light, making it a clear manifestation of its symbolic significance and Raphael’s high artistic caliber.

Young Man’s Portrait (Raphael, 1503–1504) – Room IX

This oil painting portrays a young male figure, exalting his strength, nobility, and poise. Raphael merges a balanced composition with a subtle depiction of light, resulting in a portrait that embodies the Renaissance ideal of male beauty.

Preaching of St. John the Baptist (Paolo Veronese, ca. 1562) – Room XV

A large oil painting on canvas illustrating St. John the Baptist’s powerful sermon. Teeming with figures and brilliant colors, it conveys the fervor of the message and the saint’s presence—an emblem of Veronese’s capacity to transform religious subjects into majestic visual tableaux.

The Preaching of St. Anthony to the Fish (Paolo Veronese, 1580–1585) – Room XV

An oil painting on canvas showing Saint Anthony preaching to the fish—an extraordinary representation. Its dynamic composition and luminous color palette exemplify Veronese’s innovative approach, blending sacred and surreal elements in a captivating visual narrative.

Susanna and the Elders (Peter Paul Rubens, 1607) – Room XVIII

This oil painting dramatizes the biblical story of Susanna, accentuating her innocence amid the intrusion of onlookers. Rubens’ vibrant hues and dynamic figural arrangements impart a strong emotional force, making the scene an emblematic example of Baroque drama and sensuality.

Amalthea with the Infant Zeus (Gian Lorenzo Bernini, ca. 1620) – Room III

A marble sculpture representing Amalthea, the mythical goat who nursed the infant Zeus. Bernini imbues the animal with surprising realism and animated expression, bringing stone to life in a testament to his technical skill and flair for evoking vitality in marble.

Busts of Scipione Borghese (Gian Lorenzo Bernini, ca. 1625) – Room IV

A series of marble busts depicting patron Scipione Borghese. Detailed with striking realism, these portraits accentuate Borghese’s distinctive features and commanding personality, emphasizing the family’s prominence and the refined artistry of Baroque sculpture.

The Truth (Gian Lorenzo Bernini, ca. 1620) – Room XIV

A marble sculpture personifying Truth as a symbol of moral and intellectual purity. With balanced composition and intricate carving, the piece conveys authenticity and candor—a symbolic reflection on ethical ideals via art.

Bust of Pope Paul V (Gian Lorenzo Bernini, ca. 1620) – Room IV

A marble bust depicting Pope Paul V with understated gravity and accuracy. Highly detailed in both the visage and attire, it conveys papal majesty, reflecting Bernini’s ability to capture the subject’s essence and historical importance with consummate technical expertise.

Boy with a Basket of Fruit (Caravaggio, 1593–1594) – Room VIII

An oil painting on canvas portraying a young boy carrying a fruit basket. Caravaggio’s signature dramatic chiaroscuro lends the subject an intense, lifelike presence, transforming an everyday moment into a deeply affecting scene.

Sick Bacchus (Caravaggio, 1593–1594) – Room VIII

In this oil painting, Caravaggio depicts a languishing Bacchus. The raw expression of human frailty, underscored by marked contrasts of light and shadow, exemplifies the painter’s flair for capturing human vulnerability with realism and poignancy.

Madonna of the Palafrenieri (Caravaggio, 1605–1606) – Room VIII

An oil on canvas in which the Virgin Mary appears alongside the Palafrenieri, figures emphasizing her protective and sacred role. Intense lighting and Caravaggio’s realistic approach infuse the work with deep spiritual resonance, making it instantly recognizable.

St. Jerome Writing (Caravaggio, 1605–1606) – Room VIII

An oil painting depicting Saint Jerome in the throes of writing, symbolizing the pursuit of knowledge and spiritual contemplation. Its meticulous detail and dramatic use of chiaroscuro convey the saint’s solemn introspection and an aura of intimate reflection.

St. John the Baptist (Caravaggio, 1609–1610) – Room VIII

An oil on canvas of St. John the Baptist delivering a passionate sermon. Profound lighting and Caravaggio’s realistic detail highlight the prophet’s charisma, demonstrating the artist’s innovative approach to sacred depictions.

Leda with the Swan, copy from Leonardo da Vinci (Cesare da Sesto, ca. 1515–1520) – Room III

An oil painting produced as a reworking of Leonardo da Vinci’s famed original. Leda appears with a swan, symbol of divine intervention, in an elegant composition echoing Renaissance tradition; though its artistic merit chiefly derives from reinterpreting an iconic theme.

Danäe (Correggio, ca. 1531) – Room III

An oil painting capturing the mythological moment with Danäe portrayed in an intimate scene. Noted for its warm glow and sensuous depiction, the piece epitomizes Correggio’s skill at merging mystery and beauty into a visually compelling narrative.

Venus and Cupid with a Honeycomb (Lucas Cranach the Elder, ca. 1531) – Room IX

An oil on panel featuring Venus and Cupid, symbolizing sweetness and sensuality. Its harmonious arrangement and subtle coloring make the work immediately identifiable, combining mythological motifs with the distinct aesthetic of German Renaissance art.

Melissa (Dosso Dossi, ca. 1522–1524) – Room XV

An oil painting portraying the mythological figure Melissa in a richly hued and dynamic composition. Dosso Dossi imbues the scene with a sense of vitality and lightness, elegantly interpreting classical myths in a style foreshadowing Mannerist tendencies.

The Passionate Singer (Giorgione, ca. 1508–1510) – Room XX

An oil on panel depicting a young singer immersed in music. Soft lighting and a poetic ambiance create a delicate image, emblematic of Venetian Renaissance innovation and Giorgione’s subtle emotional resonance.

The Flute Player (Giorgione, ca. 1508–1510) – Room XX

An oil painting capturing a tranquil musical moment with a young man playing the flute, bathed in dreamy, luminous surroundings. The harmonized tones and balanced composition conjure a captivating mood typical of Giorgione’s refined artistic vision.

Madonna and Child between Saints Flavian and Onuphrius (Lorenzo Lotto, 1506) – Room IX

An oil on panel showing the Virgin with Child, flanked by Saints Flavian and Onuphrius. The sacred composition and careful detailing convey profound spirituality, highlighting Lotto’s sensitivity in depicting religious themes with intimacy and nuance.

Portrait of a Gentleman (Lorenzo Lotto, ca. 1535) – Room IX

An oil painting capturing a gentleman with particular attention to his persona and character. The precise details and understated presentation showcase the Renaissance approach to portraiture, fostering elegance and introspection in the subject.

The Pianerlotto’s Portrait (Parmigianino, ca. 1531) – Room IX

An oil painting in which Parmigianino’s elongated lines and delicate shading define the sitter’s features. Exemplifying Mannerism, the piece stands out for its stylish grace and skillful use of light, instantly marking it as an artistic gem of its era.

The Crucifixion between Saints Jerome and Christopher (Pinturicchio, ca. 1475) – Room IX

An oil painting depicting the Crucifixion framed by Saints Jerome and Christopher. Its balanced layout and painstaking detailing convey intense spiritual insight, typical of the Umbrian 15th-century tradition and Pinturicchio’s narrative flair.

Tobias and the Angel (Savoldo, ca. 1527) – Room XX

An oil painting featuring Tobias guided by an angel in a moment of deep spirituality. Subtle color schemes and an intimate composition create a contemplative atmosphere, highlighting the connection between the divine and humankind with great delicacy.

The Flight of Aeneas from Troy (Federico Barocci, ca. 1580) – Room VI

An oil painting portraying the dramatic escape of Aeneas from the ruins of Troy. Barocci’s dynamic composition and vibrant palette bring out the heroism and desperation of the protagonist, providing an immersive glimpse of this famous mythological episode.

Joseph Sold by His Brothers (Bacchiacca, ca. 1520) – Room IX

An oil painting illustrating the biblical moment when Joseph is betrayed and sold by his brothers. The scene underscores the anguish and heartbreak with purposeful composition, immediately signaling the theme of familial betrayal.

The Arrest of Joseph’s Brothers (Bacchiacca, ca. 1520) – Room IX

Here, Bacchiacca depicts the instant Joseph’s brothers are arrested, emphasizing the moment of divine justice. The lifelike facial expressions and tension in the figures convey the dramatic urgency of the episode, exemplifying the vigor of Renaissance storytelling.

The Search for the Stolen Cup (Bacchiacca, ca. 1520) – Room IX

An oil painting capturing the frantic quest for a missing cup. The composition focuses on the characters’ gestures and expressions of alarm, guiding our gaze toward the center of the narrative with a skillful manipulation of lighting.

Finding the Stolen Cup in Benjamin’s Sack (Bacchiacca, ca. 1520) – Room IX

An oil on panel portraying the surprising discovery of the stolen cup in Benjamin’s sack. The painting accentuates the contrast between bewilderment and relief upon the cup’s location, using adept control of volumes and light to heighten the scene’s climax.

These artworks represent only a fraction of the treasures held within the Borghese Gallery, which remains a key destination for art and history enthusiasts worldwide.

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This immense heritage was made possible through the progressive enrichment with masterpieces from the Renaissance up to the twentieth century. The Vatican museum complex, with 54 museums in total and 70,000 works, of which only 20,000 on display, is spread over 1400 rooms, chapels and galleries, and is the custodian of an extraordinary legacy of masterpieces, beauty and history as well as a symbolic place of dialogue between cultures and religions.

History

Seniority

One of the most cultured popes of the church, Pope Nicholas V , in the first year of his pontificate, 1447, decided to have his own chapel frescoed by Friar Giovanni da Fiesole, in the century Guido di Pietro, called Beato Angelico .

The famous Franciscan painter painted a cycle of frescoes on the life of Saints Stephen and Lorenzo thus giving birth to the construction of the Niccolina Chapel , the first nucleus of the future Vatican Museums.

In 1470, Pope Sixtus IV began work on the famous Sistine Chapel erected by the architect Giovanni dei Dolci , commissioning the decorations from important Renaissance artists such as Botticelli and Perugino who made the frescoes on the walls.

Pope Alexander VI (Borgia), successor of Niccolò V, followed his example and entrusted the decoration of his private chapel to the painter Bernardino di Betto, known as Pinturicchio who in 1494 completed a enchanting cycle of frescoes in the various rooms.

Vatican Museum: the birth

But the one who is believed to be the true founder of the Vatican Collections is Pope Julius II Della Rovere who in 1506, with significant changes, brought his large private collection of classical sculptures as a dowry by placing them in the Courtyard of the Statues, today the Cortile Ottagono .

He then added other works to the palace by purchasing the most famous ancient sculptures of the time to create the Cortile del Belvedere, of which he entrusted the project to Donato Bramante .

The most important event of Pope Julius II in 1508 was the decision to fresco the ceiling of the Sistine Chapel by commissioning Michelangelo who made them from 1508 to 1512 depicting facts and characters from the Old Testament.

Pope Paul III completed the cycle of decorations by always commissioning Michelangelo from the fresco of the Last Judgment on the west wall behind the altar, a long work carried out in the period from 1534 to 1541.

The Pope Sixtus V was the last to perform major construction projects, giving the task to the architect Domenico Fontana including the new headquarters of the Apostolic Library and the new papal palace which is the current residence of the pope.

The building was completed during the pontificate of Clement VIII  by Taddeo Landini , to whom we owe the splendid Sala Clementina , decorated by Giovanni and Cherubino Alberti and Paolo Bril . In 1580, Pope Gregory XIII commissioned the Gallery of Maps on the west side of the Belvedere courtyard.

From the seventeenth century to today

The Scala Regia, one of the most important masterpieces by Gian Lorenzo Bernini, was the only major 17th-century work carried out in the Apostolic Palace, under Alexander VII and connects the Basilica of San Pietro with the Raphael rooms and the Sistine Chapel.

In 1807, the construction of the Chiaramonti Museum, consisting of the Chiaramonti Gallery, the Lapidary Gallery and the Braccio Nuovo , was started by the classical sculptor Antonio Canova . Pope Gregory XVI opened the Etruscan Museum in 1837 with finds from the excavations from Etruria and in 1839 the Egyptian Museum with excavations and monuments from Egypt.

The definitive return of the Pope to the Apostolic Palace in the Vatican will take place only with Pius IX (1846 – 1878) following the political unification of Italy and the capture of Rome in 1870.

inauguration

Even if Pope Julius II granted only to artists, nobles and scholars the privilege of admiring some masterpieces of art exhibited in the Palazzetto del Belvedere (now part of the Pio-Clementino Museum), the Vatican Museums were opened to the public only in 1771 by will by Pope Clement XIV .

What to see: the Museums

The Museums, before telling the story of the prestigious collections, symbolize the representative environments of the popes who have followed one another over the centuries. The immense collection accumulated by the Roman Catholic Church boasts some of the most famous Roman sculptures and the greatest masterpieces of Renaissance art in the world.

Vatican picture gallery

In the 18 large rooms of the Vatican Pinacoteca, one of the most important art galleries in Europe, you can admire masterpieces of art from the period between the eleventh and nineteenth centuries. Of course, the predominant space is dedicated to the Renaissance with the artists who have most distinguished it.

Around the end of the eighteenth century Pope Pius VI created the collection with only 118 magnificent paintings, some of which were transferred by Napoleon to Paris for the Treaty of Tolentino (1797). After the fall of Napoleon in 1817, the paintings returned to the possession of the Church also thanks to the commitment of the sculptor Antonio Canova. and hence the idea of ​​setting up a modern art gallery open to the public.

Pope Pius XI in 1932, with the aim of enhancing and making known the huge historical and artistic heritage of the popes, inaugurated the new art gallery created by the architect Luca Beltrami with works ranging from the Middle Ages to the 1800s.

In the following years the collection continued to expand with donations from private individuals and purchases reaching today’s nucleus of 460 canvases, divided chronologically and according to the school: from the so-called Primitives of the twelfth to the nineteenth century.

Great artists of the history of Italian art are present in the collection with their masterpieces: Giotto , Beato Angelico , Perugino , Pinturicchio , Raffaello , Giovanni Bellini , Leonardo , Tiziano , Veronese , Caravaggio , Peter Wenzel  and the tapestries of Pieter van Aelst .

Among the most famous paintings we mention:

• Giotto: Stefaneschi Polyptych
• Raphael: Madonna of Foligno, Oddi Altarpiece and Transfiguration
• Leonardo da Vinci: Saint Jerome in the desert
• Caravaggio: The Burial of Christ
• Perugino: Madonna and Child with Saints and Resurrection of San Francesco al Prato
• Filippo Lippi: The Marsuppini Inconoration , tempera on wood
• Olivuccio di Ciccarello: Works of Mercy
• Jan Matejko: John III Sobieski frees Vienna from the siege of the Turks, the largest museum painting.

Pio-Clementino Museum

Founded by Pope Clement XIV in 1771 and enlarged from 1775 to 1799 by his successor Pius VI, the museum originated to enhance and promote the most important Greek and Roman works of art from the Vatican.

It is the largest of the Vatican museums with its fourteen exhibition rooms, divided on two levels which present works and archaeological finds from the third century BC to the nineteenth century. Among the most famous statues: Apollo del Belvedere , a Roman bronze copy based on the Greek original, which was probably made by Leochares (330-320 BC) and the Apoxyomenos (1st century AD), in marble, Roman copy from an original bronze of Lysippus (third quarter of the 4th century BC).

The most famous work of the museum, found in 1506 among the ruins of the Baths of Titus in Rome, is the sculptural group of Laocoonte, a Roman copy of the first century AD from the Greek bronze original of the second century BC, by Aghesandro , Polydoro and Athenodoro , sculptors of Rhodes.

The exceptional masterpiece received the admiration of Michelangelo who called him “a portent of art” and was purchased by Pope Julius II for the Vatican. The museum itinerary starts from the Greek Cross Room and is completed with the Candelabra Gallery in this order:

• I Greek Cross Room : Sarcophagus of Saint Helena, Sarcophagus of Constance both in red porphyry
• II Round Hall : colossal statue of Antinous (130 AD), marble statue of the goddess Demeter, colossal head of Hadrian (early 2nd century), colossal statue of Hercules
• III Hall of the Muses : Belvedere Torso (1st century BC), Statues of the Muse Talia, of the Muse Calliope, of Apollo playing the zither (3rd century BC), all in marble.
• IV Hall of the Animals : Sculptural group with marine Centaur, Statue of Meleager (ca. 150 BC), Sculptural group with Mithra kills the primeval bull (2nd century AD), all in marble. Jaguar statue (1795) in alabaster
• V Gallerie delle Statu e: Statue of sleeping Ariadne, (2nd century BC), Pair of candelabra (2nd century AD), Eros of Centocelle, (4th century BC), Statue of Apollo sauroktonos, Statue of wounded Amazon, Roman copy from the Greek bronze urinal of Phidias (ca. 330 BC), dedicated to the Artemis of Ephesus.
• VI Sala dei Busti : Statue of Jupiter Verospi (III century AD), Portrait of Menelaus with parade helmet (II century), Portrait of Julius Caesar (30 – 20 BC), Bust of Trajan (108 – 111 AD ca. ), Portrait of Antoninus Pius (around 148 AD), Bust of Marcus Aurelius (around 164 – 166 AD), Bust of Commodus in his twenties (around 180 AD), Portrait of Caracalla, all marble works
• VII Cabinet of Masks : Statue of Venus crouching, (III century BC)., Marble statue of Aphrodite Cnidia (half of the IV century BC), made by Praxiteles, sculptural group of the Three Graces (II century AD)
• VIII Cortile Ottagono : Apollo of the Belvedere (130-140 AD), statue of a river god (2nd century AD), sculptural group of Laocoon with his children wrapped in the coils of two snakes (first half of the 1st century AD), Statue of Hermes (beginning of the 2nd century AD), Statue of Happy Venus (ca. 170 AD), Statue of Triumphant Perseus with the head of Medusa (1800 – 1801), by Antonio Canova, Sarcophagus with Roman general and sarmats (ca. 180 AD) , all works in marble.
• IX X, Round vestibule and Cabinet of the Apoxyomenos : Statue of the Apoxyomenos (1st century AD), marble, Roman copy from a bronze original of Lysippos (ca. 4th century BC), Portrait of the so-called “Ennio” with the head girded from a laurel wreath (mid 2nd century BC), Ara Casali (early 3rd century AD) with scenes of Trojan and Roman legends
• XI Vestibule : here is one of the entrances to the Scala del Bramante (early 16th century), built by Pope Julius II, to create an external entrance to the building. Of particular interest: Relief with a war bireme, in marble
• XII Square vestibule : Sarcophagus of Lucio Cornelio Scipione Barbato (mid 3rd century BC), in nephro (gray variety of tuff)
• XIII Sala della Biga : Cassa di biga (I sec. DC), in marmo, Discobolo (II sec. DC), copia romana da un originale bronzeo che di Mirone (560 – 550 aC)
• XIV Galleria dei Candelabri : Sarcophagus with reliefs with Scenes from the myth of Protesilaos (170 AD), Pair of candelabras (early 2nd century AD), Sarcophagus with reliefs depicting the Massacre of the Niobids (160 AD), Statue of child choking goose, Tyche (Fortuna) of Antioch on the Oront, sitting on the rock, Statue of Atalanta (1st century BC), attributed to Praxiteles, Persian warrior statue, all marble works.

Pio Cristiano Museum

The works exhibited in the Pio Cristiano Museum which houses sarcophagi and statues dated between the 2nd and 5th centuries AD come from the Lateran palace, papal residence until 1304. Its foundation in 1854 was the work of Pope Pius IX who decided to build a few years after the beginning of the excavations entrusted to the Commission for Sacred Archeology.

The museum is divided into two large sections: the section that shows architectural, sculptural and mosaic monuments, and the section that collects epigraphic material, divided by age and subjects.

The most famous archaeological find of the Pio Cristiano Museum is the statue of the ” Good Shepherd with lamb “, dated 300-350 ca. AD made by an anonymous sculptor. The white marble sculpture was found in the Catacombs of San Callisto, and is the oldest statue in the world of Jesus Christ, the first representation of Christ ever.

The work depicts a young shepherd with long curly hair with a sleeveless tunic, a shoulder bag and a lamb on his shoulders. The statuette is the only piece found of a bas-relief originally decorated on a particularly rich sarcophagus.

Museo Aramaic

The Chiaramonti Museum takes its name from Pope Pius VII (Barnaba Niccolò Chiaramonti), who commissioned the project from Antonio Canova and was inaugurated in 1807. The canons for the arrangement of the works were established by Canova himself, who aspired to jointly exhibit the three arts sisters :

• sculpture
• architecture
• painting

The section of sculpture rich in miles of ancient finds, including portraits of emperors, gods, friezes and reliefs of sarcophagi. The architecture section characterized by the shelves obtained from ancient architectural frames and the painting in the cycle of frescoes made by young artists of the time with Canova himself as patron.

There are three galleries that make up the museum:

• The Chiaramonti Gallery
• The New Arm
• The Lapidary Gallery

The collection of the Chiaramonti gallery, a large arched construction, contains about a thousand sculptures, imperial portraits, sarcophagi and friezes. A colonnade 300 meters long and 6.70 meters wide, designed by Bramante, has marble works from the Roman Empire on both sides of the long corridor, mostly copies of Greek originals. Heracles with his son Telephus, Dionysus with Satyr, a copy of the cloaked Niobe.

The Braccio Nuovo houses famous statues, imperial portraits and Roman copies of famous Greek originals in the 28 large arched niches on each side, 15 rectangular niches for statues and 32 pedestals for busts. The barrel vault, decorated with stucco rosettes, is interspersed with 12 windows that illuminate the works of art on display. Of significant importance is the colossal statue of the Nile, a Roman copy of Greek sculptures of the first century AD and the statue of Augustus found at Prima Porta, a Roman copy of Doriphorus , on the original by the Greek sculptor Polycletus (440 BC) and two splendid peacocks in gilded bronze.

In the Lapidary Gallery there is the largest collection of this type in the world. There are about 3400 “pages” engraved on slabs, stones, macaws, sarcophagi from the 1st to. C. to the VI century AD. C. distributed in 48 walls according to the theme: religion, emperors, army, professions, family, Christianity etc … The gallery is an invaluable source for getting to know the ancient world, peoples, nations, social classes and international relations.

Egyptian Gregorian Museum

The vestiges of the ancient pharaohs acquired by the popes at the end of the 18th century are housed in rooms decorated by the sculptor painter Giuseppe De Fabris in an Egyptian retro style.

It was Pope Gregory XVI who founded the Egyptian Gregorian Museum in 1839. The structure houses monuments and artifacts from ancient Egypt coming in part from Rome and Villa Adriana near Tivoli as well as the rich finds and statues that had been transported to Rome during the dominion of the emperors.

The museum occupies nine rooms, the last two of which house finds from ancient Mesopotamia and Syria-Palestine. The second room has some sarcophagi of painted mummies, jewels and other funeral ornaments. The fine black basalt statues of a fountain that decorated the villa of Emperor Hadrian are in the third room.

In room 5 there are wonderful statues of pharaohs, queens and deities dating back to the 21st century BC. Sculptures, inscriptions and reliefs of ancient Assyria, Anatolia and other Middle Eastern cultures are located in the other rooms.

Etruscan Gregorian Museum

The Gregorian Etruscan Museum founded by Pope Gregory XVI in 1837, presents archaeological finds from southern Etruria such as vases and bronzes from Hellenized Italy with finds from the Roman era. The collection also includes a large collection of finds discovered in 1828 during excavations carried out on the sites of some of the most important cities of ancient Etruria and in the tombs near Vulci.

In the rooms you can admire the original sixteenth-century pictorial cycles, including frescoes by the painters Federico Barocci and Federico Zuccari, Santi di Tito and Niccolò Circignani called il Pomarancio , as well as tempera murals of great interest dating back to the end of the eighteenth century.

The famous Mars of Todi is a technically perfect lost wax bronze figure, but not yet at the spirit level of the unsurpassed Greek models. It is one of the very rare relics of the ancient Italic statuary that has survived to the present day and depicts a warrior dressed in armor and originally also wearing a helmet that was lost but was lost. A very famous Greek amphora by the painter and ceramist Exekias showing Achilles and Ajax playing dice.

Ethnological museum

The chapels

Many were the popes who had their chapel built in the inhabited palaces, a private place of meditation and prayer often embellished with decorations and frescoes of inestimable value made by famous artists of the time and decorated with memorabilia and ancient statues.

Among these chapels the most famous is the Sistine Chapel which boasts a cycle of frescoes unique in the world both on the walls and on the vault.

Sistine Chapel

The Sistine Chapel is one of the chapels of the Apostolic Palace and owes its name to Pope Sixtus IV Della Rovere who had it built using the foundations and walls of the old Cappella Magna , a fortified hall of the Middle Ages. The project of the architect Baccio Pontelli aimed to use the medieval walls up to a third of their height.

Construction began at the beginning of 1475, and the works were completed in 1483. The rectangular building is 40.9 meters long, 13.4 meters wide and 20.7 meters high, while the ceiling is flat.

The frescoes on the walls respectively show oriental scenes from the life of Jesus and Moses and were made by great Renaissance painters such as Sandro Botticelli , Pietro Perugino , Domenico Ghirlandaio , Cosimo Rosselli and Luca Signorelli .

The chapel has gained international fame especially for the frescoes painted in the vault by Michelangelo Buonarroti from 1508 to 1512 commissioned by Pope Julius II which represent important episodes from the Old and New Testaments .

Above all, the most famous and iconic scene ” The Creation of Adam ” is a work of world renown and frequently reproduced. Show how God the Father gives life to Adam by touching him with his outstretched finger. The frescoes were shown to the public in November 1512 and depict scenes from Genesis for a total of 520 sq m painted with 115 real characters.

Twenty five years after the frescoes on the vault, Pope Clement VII asked the Florentine genius to decorate the wall behind the altar by sacrificing the existing works of Perugino. Michelangelo thus created, from 1535 to 1541, the Last Judgment, painting the large wall with 300 figures, almost all the males and angels shown in their nakedness.

It is possible to deepen the topic of the Sistine Chapel on the dedicated page:

Chapel of Niccolina

The Niccolina Chapel, one of the chapels of the Apostolic Palace, was devoted to a private place for the prayer of Pope Nicholas V who had it frescoed by Friar Beato Angelico who used the gold of the Americas as a decorative element in the rich architectural details.

The first two Christian martyrs were the subject of the frescoes, with San Pietro , San Lorenzo and Santo Stefano, following the biblical story of the Acts of the Apostles. Unfortunately, the Deposition of Christ, once placed above the altar, has been lost , but most of the works of the Angelic Brother are fortunately still well preserved, in particular the lunettes in the arches of the room and the wonderful vault with the four Evangelists.

The visit to the chapel is not included in the usual tourist tours, but can be seen by special groups with reservations.

The rooms

There are numerous rooms in the Vatican palaces which over the centuries have been the homes of popes or private studios. These places have always hosted collections of paintings or frescoes. Among the rooms of the Vatican museum, Raphael’s are the most famous.

Raphael’s Rooms

Realized by Raphael and his students between 1508 and 1524, the four rooms were inside the second floor apartment of the Pontifical Palace that Pope Julius II della Rovere (1503 to 1513) had chosen as his own residence .

At the death of Julius II, only two of the rooms were completed. It was Pope Leo X to continue the project which, after Raphael’s death in 1520, was completed by his assistants Gianfrancesco Penni , Giulio Romano and Raffaellino del Colle completing the cycle of frescoes in the Sala di Costantino. The four rooms represent historical events divided as follows:

• Room of Constantine : with the frescoes of the Vision of the Cross, Battle of POnte Milvio, Baptism of Constantine, Donation of Rome, Triumph of the Christian religion
• Room of Heliodorus : with the frescoes of The expulsion of Heliodorus from the temple, Mass in Bolsena, The meeting of Leo the Great and Attila, the Liberation of St. Peter
• Room of the Segnatura : with the frescoes of the Dispute of the Blessed Sacrament, Parnassus, the school of Athens, the  cardinal virtues
• Borgo’s Fire Room : with the frescoes of The Oath of Leo III, The Coronation of Charlemagne, Fire in the Village, The Battle of Ostia.

The Borgia apartments

Bernardino di Betto, also known as Pinturicchio, together with his assistants had the task of designing the private apartments of Pope Alexander VI Borgia. Describing legends and stories from the Old and New Testaments, the artist frescoed six rooms from 1492 to 1495. The main rooms are named after the motifs of their frescoes:

• Sala delle Sibille
• Hall of Creed
• Madonna room
• Hall of Saints

The decoration of the Pontifical Hall of the 16th century is the work of Giovanni da Udine and Pierin del Vaga, pupils of Raphael. Pope Leo XIII after a complete restoration of the rooms by the painter Ludwig Seitz opened them to the public.

Today part of the modern art collection is on display in the Borgia apartment, although in most of these rooms there is a collection of modern religious art commissioned by Pope Paul VI in 1973. The collection includes about six hundred paintings, sculptures and graphics by Italian and international artists such as Gauguin , Chagall , Klee and Kandinskij .

The monumental entrance

The Vatican Museums, following the example of historical museums such as the Uffizi , the Louvre , the Prado and the Hermitage have been organized and structured as a model of a large museum system since the late 1930s for a correct and profitable reception of visitors.

In order to visit the splendid collections of art, archeology and ethnology created by the various popes over the centuries, in February 2000 another entrance was opened with the coat of arms of Pope Pius XI flanked by the statues of Raphael and Michelangelo, in the part north of the Vatican walls, next to the old one in viale del Vaticano, not far from the oldest one from the courtyard of San Damaso.

To facilitate the exit of the huge flow of daily visitors from the museum complex there is the futuristic double helical spiral staircase on the ramp with its railing designed by the architect Giuseppe Momo in 1932, embellished by the bronze reliefs created by the Roman sculptor Antonio Maraini .

How to get there:
Metro A (Ottaviano and Cipro stop) – BUS 34, 46, 64, 98, 190F, 881, 916, 916F, 982, N5, N15, N20 (Cavaleggeri / San Pietro stop) 590 (Risorgimento stop) 23, 492, N11 (Risorgimento / Porta Angelica stop) 23, 49, 492, 982, 990, N10 (Crescenzio / Risorgimento stop) 32, 81 (Risorgimento stop) 49 (Viale Vaticano / Vatican Museums stop) 31, 33, 180F, 247 (Cipro stop / Metro A) 23, 492 (Michelangelo’s Bastioni stop) – Tram 19 (Risorgimento / San Pietro stop) – FL3, FL5 (Roma San Pietro station).

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