Exploring Volterra

by Dawnielle Jacobson | Aug 23, 2019 | Destinations

Volterra’s History

Volterra has been around a long time. The first evidence of a settlement in the area was during the Neolithic Age when settlers moved from “low ground” to the more defensible “high ground” of Volterra. The town sits on a hill about 540 meters above sea level, making it one of the highest spots in Tuscany. Beginning in the 8th century BC there is evidence that the Etruscans settled here and founded the town as Velethri. It eventually became one of the twelve city-states of Etruria and by the 4th century BC, a great stone wall was constructed to fortify the city.

As you walk through the town today, notice all the references to the Etruscans: hotels are named for them, there is a museum dedicated to them, the artisan near the Roman theatre fashions jewelry after Etruscan artifacts, and the great stone gate, Porta all’ Arco, dates from the Etruscan era.

Later came the Romans, then the Florentines, and finally the tourists.

What to see in Volterra 

Piazza Martiri della Libertà

Most likely, this busy square will be your first look at Volterra. It is here all vehicular traffic halts and the town becomes a pedestrian-friendly zone. Tour buses and regional buses stop here as well.

There is a handy, but costly, multi-storied parking garage buried into the hill below the piazza. (Parking € 1.50 /hr. or € 11/ 24 hr. Additional parking is located outside the town walls with steep walks to the city center).

Much of the information contained here has been gleaned from numerous visits and guided walks with my friend and local resident, Annie Adare. Annie showed up in Volterra some years ago, fell in love with the place, decided to stay, and, eventually, fell in love with a local young man as well. She and Francesco married, have two wonderful children, and live just outside the town walls. Through their agency, Tuscan Tour, they arrange American weddings and guided tours of Volterra and the surrounding countryside. Read more about it on their website. 

Porta all’ Arco (Etruscan Arch)

This massive, yet eroded, arch was originally constructed in the 4th century BC as one of many entrance gates into the city.

Notice the oldest stones resemble those that can be seen throughout Italy, like in the Colosseum in Rome. This stone is known as tuffa and is found all over the Italian peninsula. Essentially, the stone is a result of volcanic eruptions where water, lava, and ash meld together to form these huge chunks.

The three almost indistinguishable heads were placed in the tuffa stone arch in the 1st century BC, more than 2,000 years ago! The other more uniform stones date from the 13th century when the Etruscan walls were incorporated into some of the newer fortifications. Many believe this is the only remaining Etruscan round arch with a keystone in place. Many local experts believe the Romans used this arch as the model for their rounded arch and keystone construction technique, which can be seen almost anywhere in the former Empire.

Not only is the Porta all’ Arco famous as an ancient relic, but it also has a WWII connection. It seems that on June 30, 1944, Nazi forces were planning to blow up the arch to slow down the advancing Allied forces. Heartbroken Volterrans quickly conceived a plan to avoid the travesty by ripping up all the stones that paved the via Porta all’ Arco and using them to plug up the gate. Hence, they were able to convince the German commander that the now unusable gate was no longer a threat.

Palazzo dei Priori (City Hall)

Back in the Middle Ages, when Volterra was an independent city-state, it held no allegiance to a pope, an emperor, or other city-states. Therefore, it was important to put their unique “stamp” on things in the form of ornate public buildings.

Volterra’s City Hall, constructed around 1209, was just such a structure. It served as a fortress, a palace, the court, and a public hall of records for centuries. It is believed to be the oldest of any Tuscan city-state and to have served as the model for the famous Palazzo Vecchio in Florence.

The many coats-of-arms embedded in the palace walls chronicle the ruling families of Volterra, dating back a thousand years.

The horizontal “staff” carved into the wall, near the doorway, served as the official “rule” or yardstick for Volterrans who gathered in the palace courtyard to conduct trade.

For €1, it is possible to visit the city council chambers (when not in use) to experience the opulently painted room and its dragon light fixtures.

Il Duomo (La Cattedrale di Santa Maria Assunta)

You can see a portion of the Duomo from the Piazza dei Priori, just to the right of City Hall. There are horizontal black and white stripes on the rear façade, where a little doorway often opens into the Duomo.

To get the full experience of the Cathedral, walk around the block and enter from the cathedral square. The present Cathedral was completed in 1120 and dedicated to Mary and her Assumption into Heaven.

Before entering, look around the square. Here you will find a typical Italian arrangement of a bell tower, a baptistery, and the church. As in Pisa, Florence, Siena, and other towns, this was important because people could not enter the church without being baptized. Hence, a newborn would enter the baptistery from the western door, participate in baptism, exit through the east door, enter the church through the west doors, and finally, participate in worship facing the altar on the eastern end of the cathedral.

CHURCH

The entrance is flanked by two solid marble columns supporting a rounded arch. Higher up, more decorative marble is strategically placed to add detail and ornamentation to the austere stone façade.

Stepping inside, notice the highly polished granite columns symmetrically supporting decorative round arches. In contrast, the floor provides an array of geometrical shapes tying together the interior. Although the cathedral was constructed in the 12th-century Romanesque style, much of the interior dates from a remodeling job completed in the late 16th century by the Florentine Medici family. The ornate and highly decorative gilded ceiling depicts the Assumption. 

Notice the various coats of arms from Volterra families and that of the Medici (the Medici coat of arms contains six “pills” representing their original profession as doctors or medici).

The chapel to the left of the entry door houses several richly painted statues depicting Biblical scenes. They are hundreds of years ahead in their artistic development.

The Rosary Chapel is on the left, just before the Pulpit. The painting is by Fra Bartholomew, completed in 1497. It depicts the Annunciation. Take note of the rich colors and attention to detail, especially in the Virgin Mary.

The ornately carved Pulpit was completed in the 12th century. Its carved scenes detail Jesus’ Last Supper. All the disciples are present, although Judas is down under the table with an evil spirit.

To the right of the altar is the Chapel of the Deposition. Here, richly painted wooden figures depict the removal of Jesus from the cross in three-dimensional form. This work, completed in 1228, is an amazingly realistic representation that shows action and emotion in the figures. It was centuries ahead of its time.

The incandescent windows above the altar, instead of the typical stained glass, are actually made of sheets of alabaster.

BAPTISTERY

The Baptistery is constructed on an octagonal base and dates to the 12th century. The façade consists of the characteristic green and white stripes of marble. There are few decorations inside, but there are two baptismal fonts. The one in the center is by Vaccà in 1760. The octagonal font in the corner is by Sasovino (1502) and depicts the baptism of Christ, with the virtues of Faith, Hope, Charity, and Justice.

TOWER

The bell tower was built in 1493 after the original one collapsed. There is an inscription around the base that recalls this fact.

Museo Etrusco Guarnacci (Etruscan Museum)

The museum houses a treasure trove of Etruscan artifacts tucked away in “old school” display cases. This is the perfect example of artwork that is stashed away and only available for those who take the extra effort to go out of their way (to Volterra) for the experience. Often dusty and neglected, the artifacts chronicle the history of the Etruscan culture dating from 1500 BC.

There is very little English explanation, but you don’t really need it to appreciate the works.

Perhaps the most famous work of art is Ombra della sera (Shadow of the evening), pictured here. This bronze statue has come to symbolize Etruscan society.

Just as important are the numerous funeral urns which were designed to contain the ashes of loved ones who passed away. Each urn is carved with a scene specific to the deceased in hopes that it would present the gods with a favorable impression on their life on Earth.

The museum also contains loads of finely crafted jewelry designed to adorn the Etruscan people. Evidently, they had good taste and plenty of gold with which to work! The artisan on the road above the Roman theater handcrafts fine replicas of the jewelry.

Palazzo Viti

The palace offers an authentic look into the private residence of the nobility. Twelve rooms display ornate decorations, frescoes, fine woven rugs, collectibles, and furniture from the 15th through 20th centuries. The palazzo is actually occupied by the Viti family, so it has a “live-in” appeal. Many say this is the finest residential building in Italy.

Teatro Romana (Roman Theater)

Until the 1950s, this Roman theater and adjacent baths were covered in a pile of dirt, garbage, and debris that had accumulated in the 1,500 years since the fall of Rome. 

The story goes that in the 1950s, a local resident noticed the rounded indention in the Middle-Ages-era wall and sought funding and permission from the government to excavate.  The government, bound by bureaucracy, gave permission to dig but offered no funding. It just so happened the local resident had an association with the “mental hospital” occupying the old Medici-era fortress, so he commissioned the patients to dig at no cost to anyone.  The result of their labors revealed the perfectly preserved 1st-century BC teatro and 3rd-century AD Roman baths.

The theatre stage is typical Roman design with three levels from which the actors would appear: level 1 for mortals, level 2 for heroes, and level 3 (at the top) for gods.  All Roman theatre-goers knew this design, and thus, the playwright had an easy way to present the cast to the audience.

View the Teatro for Free

Via Lungo le Mure runs atop the Middle Ages-era wall, just above the Roman Theatre.  From here, you will have a great view of the ancient Roman ruins and the surrounding countryside to the north.  This is also a great place to enjoy a glass of wine, a moonlit evening, and the quiet side of Tuscany.  No wild after-hours parties! All is quiet in Volterra after 21:00. Go to La Vena di Vino if you want to kick up a ruckus.

Also, from here you can see portions of the four-mile Etruscan city wall, dating from the 4th century BC.  Look to the left and find the distant church, then notice the stone (wall) just below.  These are traces of the Etruscan wall that encircled Volterra and the surrounding valley fields more than 2,500 years ago.  

The Importance of stone

Look anywhere in Volterra and you will find stone. The streets, palaces, churches, and city walls are made of it. Upon close inspection, you’ll find little seashells embedded into this unique stone known as panchino. Volterra, on the western frontier of Tuscany, has always been isolated from society and had to make do with what they had.

Alabaster

Early on, alabastro (alabaster) was discovered in and around Volterra. Previously, this stone was known only in Egypt around the town of Alabastron, famous for antique vases and perfume bottles. Once it was discovered in Volterra, the local craftsmen began duplicating the ancient relics from Egypt.

The alabaster of Volterra is known as chalky alabaster and is particularly soft and easy to carve. It comes out of the ground as a white chunk of stone that is eventually divided into smaller pieces. The Etruscans used only the best alabaster to carve funerary urns and sarcophagi decorated with ornate imagery of the deceased, scenes from their daily life and imaginary journeys beyond the tomb. The Etruscan craftsmen colored the white alabaster with minerals, turning them into richly colored and decorated works of art.

Apparently, the use of alabaster dropped out of vogue during the Middle Ages and Renaissance. It was not until the 17th century that it once again gained popularity. By the 18th century, Volterra’s alabaster was world-famous. According to records, there were sixty alabaster workshops in little Volterra.

Today, even though alabaster does not play an important role in world art, craftsmen still thrive in Volterra. You will find several workshops managed by aged craftsmen passing down their trade to future generations. There are several alabaster workshops in Volterra. All welcome visitors and are happy to have you watch as they sculpt and work the raw alabaster stone.

My favorite is Alab’Arte (gallery and showroom) where alabaster is crafted by locals Roberto Chiti and Giorgio Finazzo. Alab’Arte is just across the street from the Etruscan Museum. Their real-live workshop is across the street and down the hill at the Porta Marcoli. Stop in and watch them in action!

The best places to grab a drink and a meal

La Vena di Vino (The Vein of Wine)

Some years ago, my friends introduced me to this unique wine bar. That first night, I was instantly welcomed by owners Bruno and Lucio and a cast of characters from the town. We spent the evening drinking wine and grappa, singing karaoke, and trying out our Italian and English on each other. Since that night, I’ve held a bond of friendship with the folks I met at this unique enoteca.

Each day, Bruno and Lucio open a few bottles of good Tuscan wine and serve it up with tasty antipasti. Decorating the ceiling is a 1960s vintage Volkswagen Beetle. Downstairs is a vintage dentist’s chair from which one can belt out karaoke to the roaring crowd. This is THE place to hang out, especially in the late evening when the rest of the town sleeps.

Doors are open every day, except Tuesdays, from 11:00-1:00. Wine by the glass runs about €6-€8. Hot food, Italian-cured meats, and antipasti are served all day.

Via Don Minzoni, 30. Tel. 0588 81491. www.lavenadivino.com

Ristorante Enoteca Del Duca

On my first visit to Volterra, yes, the one mentioned above, I discovered Enoteca Del Duca. The evening began with us sitting down for dinner in the formal dining room, and owner/chef, Genuino, arriving at our table to explain what he was going to prepare for us. As we progressed through the multiple courses of antipasti, primi piatti, and secondi, our capable sommelier, Fausto, kept the wine glasses full. For the main course, Genuino came out to carve a huge 4”-thick T-Bone steak.

Hours later, after finishing dinner, and when the other customers left the building, Genuino and Ivanna (his wife and chef) came out to sit with us, have a drink and chat, all in Italian. Luckily, Annie and Francesco were with us, so we picked up much of the conversation. Around midnight, Genuino asked if we would like to see his cave (wine cellar) and sample some special wine. That experience began a lasting friendship with Ivanna and Genuino and many others in Volterra.

Dining here is an event. Depending on the weather, seating is available in a formal dining room, an enoteca wine cave, or on the patio in the back. Regardless of the setting, expect great, freshly prepared regional food. Genuino has a vineyard a few miles outside town where he produces his award-winning Merlot, Giusto alle Balze. Try a bottle or sample the tasty and less expensive San Giovese/Merlot blend known as Marcampo! You can’t go wrong with either.

COST/LOCATION/HOURS: €42 fixed-price sampling menu, €10 pastas, €15-18 main courses. Via Castello, 2 (walking from Piazza Martiri della Libertà, take a right at the first street, it will be right in front of you). Piazza Ma. tel. 0588-81510. Open 12:30-15:00 and 19:30-22:00. Closed Tuesday.

Join us on tour

Ready to kick back, relax and enjoy Volterra? Join David on the Essence of Italy, Best of Italy or the Tuscan Villa Vacation tour.

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Exploring the Cinque Terre

by Dawnielle Jacobson | Jul 26, 2019 | Destinations

What to Do in the Cinque Terre

The Cinque Terre—or “five lands”—is a loose-knit group of villages on Italy’s northern Ligurian Sea.

Swimming

Every town, except Corniglia, has a rocky beach with access to the cool water of the Ligurian Sea. Monterosso al Mare is the only town with a sandy beach, rental umbrellas, and chairs.

If you’re going to the beach, leave your passport at the hotel. Beach attire is appropriate everywhere. Wear a shirt or cover up when going to and from the beach or when dining. There is not much danger of theft or pickpockets in the Cinque Terre, but watch your things when swimming and sitting at outdoor cafés.

Boating

At many of the villages, you can charter a private boat and captain by the hour or for the day. Head out to sea to enjoy a different view of the villages or visit a more remote beach and enjoy swimming or snorkeling in the pristine waters.

Hiking

The Cinque Terre’s five villages are connected by a series of trails which wander through the vineyards, gardens, and olive groves. Originally these trails were constructed to give access to the terraced gardens and to provide a transportation route between villages. Today, the Italian government has designated the entire area a National Park in order to preserve the delicate balance between tourism and conservation. It is also a UNESCO World Heritage Site.

Walking is easy between Riomaggiore and Manarola (approx. 1.2 miles), the famous Via dell’Amore, a paved trail cut into the cliff. Unfortunately, the Via dell’Amore has been closed for the last four years. Trails become progressively more difficult as you proceed west. Manarola to Corniglia (approx. 1.2 miles) features spectacular gardens and sea views. This trail too has been closed for four years. The trail from Corniglia to Vernazza (approx. 2 miles) climbs up through the groves to the highest point of the Cinque Terre with steep, uneven stone steps. The most difficult and scenic hike is between Vernazza and Monterosso (approx. 1.8 miles), with lots of stairs and narrow passages; it offers a stunning panorama of all five towns.

In the past, some of the trails connecting the villages have been closed due to landslides. Always check with the National Park Office before purchasing your “trail pass” and heading out. Be sure to wear comfortable shoes and bring a bottle of water. Do not litter. And don’t forget your sunscreen, hat, and sunglasses.

Dining

Local and freshly caught seafood is a specialty at all restaurants. Expect the seafood to look different and taste better than at home. The area is also famous for its basil pesto, which is especially tasty with the local favorite pasta known as troffie. The focaccia bread is another regional specialty you won’t want to miss.

The Cinque Terre is well known for its fresh and crisp white wine. Even if you normally do not like wine, try it here. The local consortium of growers combines their grapes at each harvest and produce the government regulated Cinque Terre D.O.C. wine. Bottles of this wine sell for €12 in shops and around €18 in restaurants. If you want to try a village-specific wine, ask at a wine shop or restaurant. These wines are produced from specific, defined vineyards, many of which the wine merchant or restaurateur can point out as you are making your purchase. These sell for €18-€28 per bottle. Many restaurants sell their cheapest (but still very good) wine in a carafe, either by the liter (litro), half-liter (mezzo litro) or quarter liter (quartino). Don’t miss out this bargain!

Equally as famous are the two “dessert” drinks. Limoncello is a syrupy and tangy lemon-based drink. Sciacchetrà is a sweet dessert wine made from grapes that have been left on the vine to increase their sugar content.

Tom Hickinbotham – The Cinque Terre

What to See in the Cinque Terre

Monterosso

This westernmost village is the only resort town, with lots of wine shops, artisan shops, hotels, and restaurants. It features a long seaside promenade with sandy beaches. The San Cristoforo hill separates the old town and the new, more modern area. You can take the pedestrian tunnel or walk along the seaside to go between the two.

Hike up the San Cristoforo hill for views of the entire Cinque Terre coastline. Here you will also find the Convento dei Cappuccini and the Chiesa di San Francesco, dating to 1623. A painting of the crucifixion attributed to Van Dyck hangs in the church. The nearby cemetery holds the ruins of an old castle and watchtower built by the Genoese. The 16th-century Aurora Tower stands at the foot of the hill.

In the historical center of Monterosso, you can visit the 13th-century Gothic Church of San Giovanni Battista. Its bell tower originally served as a watchtower. The façade comprises alternating bands of white and green marble, and the interior features a rose window and a Baroque altar. The Oratory of Confraternita dei Neri and the Oratory of Confraternita dei Bianchi are also nearby.

Vernazza

This is perhaps the most photogenic village, so it’s best to visit early or late when the day-trippers are gone. Because of its natural harbor, the town became active in sea trade after coming under the control of Genoa in the 13th century. It is dominated by the ruins of the castles and bastions built to protect it. The Church of Santa Margherita di Antiochia, built in 1318, stands in the small square overlooking the seaside.

Corniglia

Perched 100 meters above the coast, this is the smallest and quietest village. From the train station, there are nearly 400 steps to reach the town. Don’t worry; you can also take the bus, which is usually waiting outside the station with the arrival of each train. The 14th-century Church of San Pietro is one of the best examples of Ligurian Gothic style and has a rose window made of Carrara marble and a 12th-century christening font.

Manarola

From the stations, turn left, through the tunnel, to reach the old town. At the end of the tunnel, walking right (uphill) will eventually bring you to Piazza Papa Innocenzo IV, which offers an amazing view of the sea. In this square, you’ll find the Church of San Lorenzo, built in 1338, with its Gothic façade and Baroque interior. There is also an oratory and bell tower in the square.

Turning left as you exit the tunnel, will take you to the harbor. Here, you’ll notice the boats parked along the street like cars. In the evening, you can watch the local fishermen hoist their boats out of the sea. The café Nessun Dorma provides a good vantage point overlooking the harbor.

Riomaggiore

This is the easternmost village. Trains arrive at the station in the small square, which contains a shop, the park service office and a fountain. Go to the right, through the tunnel, to arrive in the old town. At the end of the tunnel, the main “street” continues uphill to the left. If you turn right and go down the stairs, you’ll reach the harbor and beach.

Walking up the ancient cobbled street to the left will bring you past shops selling food, wine and beach stuff. The street is lined with several bars serving local wine and good food. There are several pizzerias as well. This part of town is surrounded by terraces. The Church of San Giovanni Battista was originally built in 1340, but the façade was rebuilt in the 19th century in a Neo-Gothic style. The marble doors, rose window, crucifix and organ are worth a visit, and there is a nice view of the village from the square.

A castle stands atop the hill to the northwest of the village. It was most likely built in the 13th century to protect against attacks from the sea. Today it is used as a conference center and boasts wonderful panoramic views of the coast. The Oratory of San Rocco, next to the castle, was built in the 15th century in remembrance of those who died from the plague. A cliff-hanging trail leads from the beach to old Nazi bunkers and a hilltop botanical garden.

Ready to kick back, relax and enjoy the Cinque Terre? Join David on the Essence of Italy or Best of Italy tour.

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Rome: Vatican City

by Dawnielle Jacobson | Jul 12, 2019 | Destinations

Vatican City

David shares his tips on what to see when touring the Vatican.

The Grounds

The gardens on the Vatican grounds make up half of the 44 hectares of Vatican City and can be seen from the western side of the museum. On the grounds you will see lawns, woods, gardens, grottoes and fountains. Highlights of a visit to the gardens include: many rare trees, which were donated as gifts to the Vatican from countries around the world; a papal coat of arms made of flowers; a helipad, used by visiting bishops; the head gardener’s house, one of the few residential buildings in Vatican City; and a radio tower at the Marconi broadcast center, named for the scientist who set up the first Vatican broadcast for Pope Pius XI in 1931. You can purchase tickets for a guided tour of the Gardens.

The Courtyards

There are three courtyards enclosed by the Vatican museums. You will see nice views of them from the windows of the various galleries. The Cortile del Belvedere is on the southern end of the museum. It was designed by Bramante in 1503 to connect the two palaces at the north and south ends of what are now the Vatican Museums. The Cortile della Biblioteca is in the center of the museum and was created when Pope Sixtus V built the library across the courtyard. The Cortile della Pigna is at the northern end of the museum. It was also originally part of the Cortile del Belvedere. It is named after the large pinecone (la pigna) at the northern end. It is 13 feet tall and was cast out of bronze in the 1st or 2nd century AD. The pinecone was originally part of a fountain, then moved to the medieval St. Peter’s Basilica, and finally placed at its current location in 1608 when the church was rebuilt.

In the center of the courtyard is the Sfera con Sfera, or Sphere within a Sphere, created in 1990. The sphere has been a feature of Arnaldo Pomodoro’s work since the 1960s, and similar works can be found at the United Nations plaza in New York, the University of California at Berkeley, the Museum of Contemporary Art in Tehran, the Ministry of Foreign Affairs in Rome, and Trinity College in Dublin. The spheres have inspired many conspiracy theories, but most believe they are meant to symbolize the fragility and complexity of the world. From the courtyard you also have an excellent view of the dome of St. Peter’s Basilica.

Pio Clementino Museum

You will start your visit in the Pio Clementino Museum, which is named after the two popes who oversaw its foundation in the 18th century, Clement XIV and Pius VI. The original collection, belonging to Pope Julius II (1503-1513), was expanded and opened to the public. This is the heart of the classical sculpture collection housed in the Vatican Museums.

Pass through the Square Vestibule and enter the Octagonal Courtyard. The two major sculptures here, the Laocoön and the Belvedere Apollo, have been standing in the same locations since the 1500s. The Laocoön dates from around 40 BC. Laocoön was a priest of Apollo. During the Trojan War he warned his fellow Trojans about the Greek wooden horse so Athena and Poseidon, who were supporting the Greeks, sent two giant sea-serpents to kill Laocoön and his two sons. The Belvedere Apollo belonged to Cardinal Giuliano della Rovere before he was elected Pope as Julius II, and he brought it with him from his villa. The god Apollo seems to have just released an arrow from the bow which he originally carried in his left hand. The statue dates from the 2nd century AD and is considered to be a copy of an original bronze statue by Leochares dating from 300 BC.

Wind your way through the museum until you reach the Hall of the Muses. The statues in this room were greatly altered by 18th century restorers. Some of the statues did not originally depict muses and were modified to complete the nine personifications of the arts. The frescoes on the ceiling also depict Apollo and the Muses. The walls behind the statues originally provided landscape backgrounds for the statues, but they were painted over with the red paint in the 1800s. The Belvedere Torso dates from the 1st century BC and is signed by the Athenian sculptor Apollonius. Though there is much speculation as to the identity of the sculpture, the current theory is that it is the Greek hero Ajax contemplating suicide. During the Trojan War, Ajax was so upset when Achilles’ armor was given to Odysseus instead of him that he killed himself. The theory of the statue’s identity is based on the fact that his head is leanly sadly toward his right hand which was gripping the sword. Can you see it? There is also a statue of Bacchus, the god of wine, and a statue of Pan playing the flute.

Next you will enter the Round Hall. The architecture is reminiscent of the Pantheon, with niches to display the Roman-era statues. It is dominated by the huge oval bath at the center of the room, with a circumference of over 42 feet. It was likely used in a large public space in imperial Rome. The floor was artfully reassembled in the 18th century with mosaics dating from the 3rd century AD that were found in two different locations and moved here. The gilded bronze statue of Heracles (or Hercules) was discovered in 1864 beneath the courtyard of a palazzo. It was found buried in a trench and covered with a travertine slab. According to Roman custom, the statue was given a ritual burial with a sacrificial lamb because it had been struck by lightning. The statue shows Heracles leaning on his club with the skin of the Nemean lion draped over his arm. It is dated somewhere between the 1st and 3rd centuries AD.

Move on to the Greek Cross Hall. In the center of the floor there is a mosaic depicting a bust of Athena. The hall is dominated by the two sarcophagi. The Sarcophagus of St. Helena is believed to have held the remains of Helena, mother of Constantine, who died around 335 AD. It was brought to the Vatican in 1777. The sarcophagus is carved with military scenes of Roman soldiers on horseback and barbarian prisoners. The lid of the sarcophagus depicts cupids and victories holding garlands, with two lions at the very top. Scholars believe that the sarcophagus was originally made for a male family member, perhaps Helena’s husband or Constantine himself, given the military decoration. The Sarcophagus of Constantia was made to hold the remains of one of Emperor Constantine’s daughters, most likely Constantia who died in 354 AD. It is decorated on all four sides with garlands and grape vines, and cupids with grapes. Below there are two peacocks, a ram and a cupid with a garland. The lid is decorated with greenery as well.

As you continue upstairs you will enter the Gallery of the Candelabra, named for its massive marble candelabra. The statue of Artemis of Ephesus here is rather unique. The city of Ephesus was founded in what is now modern-day Turkey. The Ionian colonists substituted their Artemis for a local goddess, and the two eventually intertwined to create this version of Artemis. She is often depicted in a sarcophagus-like stance with outstretched arms and a tapered body, and always with the cluster of globules. Some say they represent breasts (as virgin Artemis was the symbol of fertility), but some argue that they represent bull testicles (as the local Ephesian goddess Cybele was associated with bull sacrifices). Be sure to look out the western windows for an impressive view of the Vatican Gardens.

From here you will move to the Gallery of Tapestries. This is a collection of 16th- and 17th-century tapestries. The Flemish tapestries were woven in Brussels by Pieter van Aelst’s school and based on drawings by Raphael’s students. On the other wall hang tapestries depicting the life of Pope Urban VIII.

Next is the Gallery of Maps. The gallery was commissioned by Pope Gregory XIII in 1580. The maps in this room were based on drawing by Ignazio Danti and it took him three years to complete the project. There are 40 panels which run the length of the gallery and map the entirety of the Italian peninsula, including Sardinia and Corsica. Italy was not unified at the time, so each panel features a different region.

The Raphael Rooms

Follow the building around to the southern edge and the Raphael Rooms. These rooms were used by Pope Julius II as his residence, and he commissioned Raphael and his school to do the paintings.

The first room is the Room of Constantine, which was designed to be used for receptions and official ceremonies. The walls depict pivotal scenes from Constantine’s life. Raphael died before the room was completed.

That is followed by the Room of Heliodorus. This room was used for private audiences with the pope. The paintings depict historical moments when faith was threatened to show God’s protection of the Church. The four scenes from the Old Testament on the ceiling were also painted by Raphael.

Next is the Room of the Segnatura. These are Raphael’s most famous frescoes and the first works he completed in the Vatican.  The room is named after the highest court of the Holy See, the “Segnatura Gratiae et Iustitiae,” which met in this room around the middle of the 16th century. Pope Julius II used it as a library and private office. The frescoes represent the three greatest aspects of the human spirit: truth (both theological and philosophical), goodness and beauty. The frescoes on the ceiling depict the allegorical figures of Theology, Philosophy, Justice and Poetry.

In the School of Athens, the greatest philosophers of ancient times are gathered together to share their ideas.  In the center, Plato is pointing up and Aristotle is to the right holding the book Ethics. Pythagoras is in the lower left. Diogenes is lying on the stairs. Euclid is on the right teaching geometry to his pupils. Zoroaster is holding the heavenly sphere and Ptolemy is holding the earthly sphere (he has his back to us). To their right is a man wearing a black hat – this is Raphael’ self-portrait.

Last is the Room of the Fire in the Borgo. The frescoes were commissioned later by Pope Leo X and depict scenes from the lives of Popes Leo III and IV.

The Sistine Chapel

Back downstairs you will enter the Sistine Chapel. The Chapel was named after Pope Sixtus IV, who had the building restored. The frescoes on the walls were painted by some of the greatest painters of the time, including Signorelli, Botticelli, Roselli, Ghirlandaio and Perugino. The 12 frescoes on the side walls follow the lives of Jesus and Moses. Between 1508 and 1512, Michelangelo painted the ceiling. The central stories in the middle of the ceiling depict the creation of the world and the fall of man. They are surrounded by other biblical figures and stories. Michelangelo also painted The Last Judgement on the altar wall, between 1536 and 1541. It shows the souls of the dead rising up to face God and those who are condemned being hurtled into Hell.

From the Sistine Chapel, you can exit to the left to head back to the museum entrance with the spiral staircase or you can exit to the right to enter St. Peter’s Basilica.

St. Peter’s Basilica

This is the heart of the Catholic Church, though it isn’t the official seat of the pope. A shrine was first erected here, at the site of St. Peter’s tomb, in the 2nd century. The first basilica was completed in 349 AD and commissioned by Constantine. In 1506, construction for the current basilica began under Pope Julius II, but it would take more than a century for the building to be completed. Many of the greatest architects from the Roman Renaissance and the Baroque periods played a part in its design. Bernini was most influential in the design of the interior and Michelangelo designed the dome.

The Interior

After much back and forth between the architects over the shorter Greek cross plan and the longer Latin cross plan, the basilica was eventually built on a Latin cross plan. The nave, or long part of the cross, is richly decorated with Baroque stuccos, mosaics, statues and marble columns. The basilica is 615 feet long. As you walk down the nave you will see markings on the floor that compare the length of St. Peter’s to other churches. The niches contain 39 statues of saints who were founders of various religious orders. The vaulted ceiling is decorated with gold stucco. The “paintings” that line the walls are actually mosaics. The pieces of glass are so small that they only appear to be paintings, and some are replicas of actual works.

The nave is lined with chapels, featuring many important religious works. In the first chapel on the right stands Michelangelo’s Pietà. He was only 24 when he completed this work, in 1499. It is the only work that he signed; his name appears on the belt. Most striking about this sculpture is Mary’s youthful, sweet face and Michelangelo’s gift for making stone look like flesh and capturing the folds in drapery. It has been protected by thick glass since an attack in 1972.

At the end of the line of chapels on the right is a statue of St. Peter in the nave. There is some controversy over the date of the statue, but most believe that it was made by Arnolfo di Cambio in the 13th century. The foot of the statue has been worn thin by the millions who have come to the Vatican on pilgrimages over the centuries to touch or kiss St. Peter’s foot.

There are four huge pilasters where the transept (or shorter part of the cross) meets the nave. The four statues represent important moments of the passion of Christ. The four Evangelists: Mark, Luke, John and Matthew are depicted on the four spaces between the arches. The papal altar, a plain slab of marble, stands in the middle of the church. It is located directly above the tomb of St. Peter in the grottoes below the basilica, where many other popes are buried. Only the pope is allowed to say mass here. Bernini’s Baldacchino, an extravagant Baroque canopy, stands above the altar at nearly 100 feet tall and weighing over 100,000 pounds. It was commissioned by Pope Urban VIII in 1624 to fill the empty space between the altar and the dome.

The 448-foot dome was designed by Michelangelo, but it was not completed until 1590. He worked on it until his death in 1564, when his pupil, Giacomo Della Porta, took over the work. The gold inscription at the base of the dome reads “You are Peter and on this rock I will build my Church, and I will give you the keys to heaven.” The drum of the dome alternates double columns with gabled windows. It is possible to climb to the top of the dome and out onto the rooftop for some stunning views of both the interior of the basilica and panoramas of Rome. In the transept, to the right of the altar is the monument to Pope Clement XIII, built in 1784 by Antonio Canova. To the left is the monument to Pope Alexander VII, Bernini’s last work in St. Peter’s completed in 1678.

In the apse behind the altar, is the chair (or throne) of St. Peter, or the Cathedra Petri in Latin. The wooden chair is placed inside a bronze casing designed by Bernini. The upholstery on the casing depicts Christ giving St. Peter the keys to heaven. The window above the chair portrays the Holy Spirit as a dove and is surrounded by a cloud of angels and cherubs.

The Exterior

The façade dates to 1614 and was designed by Carlo Maderno, who lengthened the basilica to create the Latin cross plan. The central window is known as the Benediction Loggia. It is from this balcony that the pope blesses the people gathered in the square on Easter and Christmas. The center bronze door is the Filarete Door, which dates to the 15th century and the old St. Peter’s. The entrance to the dome is on the far right.

St. Peter’s Square

St. Peter’s Square is partially enclosed by two colonnades designed by Bernini. The colonnades are made of four rows of columns, each 5 feet in diameter and 65 feet high. The 140 statues atop the colonnades depict former popes, martyrs, evangelists and other Christian figures and were added over a span of 40 years. Bernini constructed the colonnades between 1656 and 1667.

The marble disks on the ground mark the geometric foci of the square. Standing here, the rows of columns line up perfectly and only one row is visible. This is a testament to Bernini’s architectural genius. There are two fountains in the square. When facing the basilica, the Maderno Fountain is on the left. Pope Paul V commissioned Maderno to replace an older fountain at the site in 1612. He left the lower stone of the old fountain but redesigned the rest. The basin is decorated with steps and small columns and the pedestal on top with four scrolls of stone. The Bernini Fountain was commissioned by Pope Clement X. It took Bernini 10 years to complete it, from 1667 to 1677. To maintain the symmetry of the square, this fountain is an exact replica of the Maderno Fountain.

In the center of the square is an 84-foot ancient Egyptian obelisk. It was brought to Rome from Alexandria by Caligula in 37 AD. The obelisk was removed from the “Circus of Nero” in Rome and placed at the center of the square under Pope Sixtus V in 1586. Moving the obelisk required a workforce of about 900 men and almost 100 horses and took over a year to complete.

To read about sites in Ancient Rome, click here. 

To read about sites in Rome’s Baroque city center, click here.

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