Niccoline Chapel

The Sistine Chapel ceiling (Italian: Soffitto della Cappella Sistina), painted in fresco by Michelangelo between 1508 and 1512, is a cornerstone work of High Renaissance art. The Sistine Chapel is the large papal chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV, for whom the chapel is named. The ceiling was painted at the commission of Pope Julius II. The ceiling's various painted elements form part of a larger scheme of decoration within the chapel. Prior to Michelangelo's contribution, the walls were painted by several leading artists of the late 15th century including Sandro Botticelli, Domenico Ghirlandaio, and Pietro Perugino. After the ceiling was painted, Raphael created a set of large tapestries (1515–1516) to cover the lower portion of the wall. Michelangelo returned to the chapel to create The Last Judgment, a large wall fresco situated behind the altar. The chapel's decoration illustrates much of the doctrine of the Catholic Church, serving as the location for papal conclaves and many other important services.Central to the ceiling decoration are nine scenes from the Book of Genesis, including The Creation of Adam. The complex design includes several sets of figures, some clothed and some nude, allowing Michelangelo to demonstrate his skill in depicting the human figure in a variety of poses. The ceiling was immediately well-received and imitated by other artists, continuing to the present. It has been restored several times, most recently from 1980-94.

The conservation-restoration of the frescoes of the Sistine Chapel was one of the most significant conservation-restorations of the 20th century. The Sistine Chapel was built by Pope Sixtus IV within the Vatican immediately to the north of St. Peter's Basilica and completed in about 1481. Its walls were decorated by a number of Renaissance painters who were among the most highly regarded artists of late 15th century Italy, including Ghirlandaio, Perugino, and Botticelli. The Chapel was further enhanced under Pope Julius II by the painting of the ceiling by Michelangelo between 1508 and 1512 and by the painting of the Last Judgment, commissioned by Pope Clement VII and completed in 1541, again by Michelangelo. The tapestries on the lowest tier, today best known from the Raphael Cartoons (painted designs) of 1515–16, completed the ensemble. Together the paintings make up the greatest pictorial scheme of the Renaissance. Individually, some of Michelangelo's paintings on the ceiling are among the most notable works of Western art ever created. The frescoes of the Sistine Chapel and in particular the ceiling and accompanying lunettes by Michelangelo have been subject to a number of restorations, the most recent taking place between 1980 and 1994. This most recent restoration had a profound effect on art lovers and historians, as colours and details that had not been seen for centuries were revealed. It has been claimed that as a result "Every book on Michelangelo will have to be rewritten". Others, such as the art historian James Beck of ArtWatch International, have been extremely critical of the restoration, saying that the restorers have not realised the true intentions of the artist. This is the subject of continuing debate.

The Sistine Chapel (; Latin: Sacellum Sixtinum; Italian: Cappella Sistina [kapˈpɛlla siˈstiːna]) is a chapel in the Apostolic Palace, the pope's official residence in Vatican City. Originally known as the Cappella Magna ('Great Chapel'), the chapel takes its name from Pope Sixtus IV, who had it built between 1473 and 1481. Since that time, the chapel has served as a place of both religious and functionary papal activity. Today, it is the site of the papal conclave, the process by which a new pope is selected. The fame of the Sistine Chapel lies mainly in the frescoes that decorate the interior, most particularly the Sistine Chapel ceiling and The Last Judgment, both by Michelangelo. During the reign of Sixtus IV, a team of Renaissance painters that included Sandro Botticelli, Pietro Perugino, Pinturicchio, Domenico Ghirlandaio and Cosimo Rosselli, created a series of frescos depicting the Life of Moses and the Life of Christ, offset by papal portraits above and trompe-l'œil drapery below. These paintings were completed in 1482, and on 15 August 1483 Sixtus IV celebrated the first mass in the Sistine Chapel for the Feast of the Assumption, at which ceremony the chapel was consecrated and dedicated to the Virgin Mary.Between 1508 and 1512, under the patronage of Pope Julius II, Michelangelo painted the chapel's ceiling, a project that changed the course of Western art and is regarded as one of the major artistic accomplishments of human civilization. In a different political climate, after the Sack of Rome, he returned and, between 1535 and 1541, painted The Last Judgment for Popes Clement VII and Paul III. The fame of Michelangelo's paintings has drawn multitudes of visitors to the chapel ever since they were revealed five hundred years ago. According to recent studies, the Sistine Chapel is influenced by the thought of Joachim of Fiore. The monk and philosopher thus influenced the vision and the iconographic project for the representation of the Last Judgment. Michelangelo's frescoes with an eschatological theme are therefore an artistic development of the various Joachim writings of the 12th century about the apocalypse and the last days.

The Borgia Apartments are a suite of rooms in the Apostolic Palace in the Vatican, adapted for personal use by Pope Alexander VI (Rodrigo de Borja). In the late 15th century, he commissioned the Italian painter Bernardino di Betto (Pinturicchio) and his studio to decorate them with frescoes.The paintings and frescoes, which were executed between 1492 and 1494, drew on a complex iconographic program that used themes from medieval encyclopedias, adding an eschatological layer of meaning and celebrating the supposedly divine origins of the Borgias. Five of the six apartments include frescoes painted in the vault. The upper register of the vaults contain paintings, while the lower registers are decorated with tapestries and gold. Recent cleaning of Pinturicchio's fresco The Resurrection has revealed a scene believed to be the earliest known European depiction of Native Americans, painted just two years after Christopher Columbus returned from the New World.The Borgia Apartments includes six rooms: Room of the Sibyls, Room of the Creed, Room of the Liberal Arts, Room of the Saints, Room of Mysteries, and Room of Pontiffs. The Room of Sibyls and the Room of Creed include frescoes of the Old Testament prophets and sibyls. These room also pay homage to the planets. In the Room of Liberal Arts, Pinturicchio has represented the liberal arts as female figures through his frescoes in the vault. The Room of Saints consists of frescoes detailing the lives of seven notable saints, including Barbara, Catherine, Anthony, Paul, Susanna, and Elizabeth. Pinturicchio's last room, the Room of Mysteries, contains frescoes with New Testament subject matter, including the Nativity, Ascension, Adoration of the Magi, and other scenes.The Room of the Pontiffs was erected before all the other buildings, between 1277 and 1280. Built between 1447 and 1455, the Room of the Liberal Arts, Saints, and Mysteries were referred to as "secret rooms" by Pope Alexander VI's master of ceremonies, Johannes Burchard. As of 2019, the suite was open to tourists.

The Collection of Modern and Contemporary Art is a collection of paintings, graphic art and sculptures in the Vatican Museums. It occupies 55 rooms: the Borgia Apartment (apartment of Pope Alexander VI) on the first floor of the Apostolic Palace, the two floors of the Salette Borgia, a series of rooms below the Sistine Chapel, and a series of rooms on the ground floor. Approximately 250 artists created over 500 pieces that are displayed in the Borgia Apartments. The Collection was officially introduced to the public on June 23, 1973.A permanent contemporary art gallery was installed on the premises in November 2021.

The Sala Regia (Regal Room) is a state hall in the Apostolic Palace in Vatican City. Although not intended as such, this broad room is really an antechamber to the Sistine Chapel. It also connects to the Pauline Chapel and is reached by the long staircase known as the Scala Regia. To the left of the entrance formerly stood the papal throne, which is now at the opposite side before the door leading to the Pauline Chapel. The hall was begun under Pope Paul III by Antonio da Sangallo the Younger and was completed in 1573. The elegant barrel vault is graced by the very impressive plaster decorations of Perino del Vaga. The stucco ornaments over the doors are by Daniele da Volterra. By 2019, the room and staircase were open to tourists who visit the Apostolic Palace. The walls were decorated by Livio Agresti, Giorgio Vasari and Taddeo Zuccari. The frescoes depict momentous turning-points in the history of the Church, including the return of Pope Gregory XI from Avignon to Rome, the Battle of Lepanto, three panels narrating events surrounding the St. Bartholomew's Day massacre, the raising of the ban from Henry IV, the reconciliation of Pope Alexander III with Frederick Barbarossa and Peter II of Aragon offering the Kingdom to Pope Innocent III. The hall was originally used for the reception of princes and royal ambassadors, hence its name. Consistories were held in it, but were later transferred to the Saint Peter's Basilica on November 19, 2016, and the area has also provided an occasional musical recital in the presence of the pope; during a conclave it was used as a promenade for the cardinals.

The Vision of Constantine is an equestrian sculpture by the Italian artist Gian Lorenzo Bernini, located in the Scala Regia by St. Peter's Basilica in Vatican City. Originally commissioned as a free standing work of art within St. Peter's itself, the sculpture was finally unveiled in 1670 as an integral part of the Scala Regia - Bernini's redesigned stairway between St. Peter's Basilica and the Vatican Palace. Unlike other large works by Bernini, art historians have suggested that this work was almost entirely undertaken by him - no other sculptors have been recorded as receiving payment. Bernini's overall fee was 7,000 Roman scudi.

Scala Regia (Ecclesiastical Latin: [ˈskala ˈredʒi.a], Italian: [ˈskaːla ˈrɛːdʒa]; English: Royal Staircase) is a flight of steps in the Vatican City and is part of the formal entrance to the Vatican. It was designed by Gian Lorenzo Bernini. The official entrance to the Apostolic Palace is the Portone di Bronzo at the north side of St Peter's Square. The door opens to the Scala Regia, which leads up to the Sala Regia, which in turn connects to the Sistine Chapel and the Pauline Chapel. Tourists are allowed to climb the staircase to enter the Sala Regia. The Scala Regia was built by Antonio da Sangallo the Younger in the early 16th century and was restored by Gian Lorenzo Bernini from 1663 to 1666. The site for the stairs, a comparatively narrow sliver of land between church and palace, is awkwardly shaped with irregular converging walls. Bernini used a number of typically theatrical, baroque effects in order to exalt this entry point into the Vatican. The staircase proper takes the form of a barrel-vaulted colonnade that necessarily becomes narrower at the end of the vista, exaggerating the distance. Above the arch at the beginning of this vista is the coat of arms of Alexander VII, flanked by two sculpted angels. At the base of the stairs, Bernini placed his equestrian statue of the Roman emperor Constantine the Great. It is meant to display the event, before the Battle of the Milvian Bridge when at Saxa Rubra north of Rome along the Tiber, Constantine sees a vision of the cross with the words In Hoc Signo Vinces (In this sign, you will conquer). The phrase appears prominently placed as a motto on a ribbon unfurled with a passion cross to its left, beneath a window over the Scala Regia, adjacent to the statue of Constantine. Emperors and other monarchs, having paid respects to the Pope, descended the Scala Regia, and would observe the light shining down through the window, with the motto, reminiscent of Constantine's vision, and be reminded to follow the Cross. In Bernini's statue of Constantine, he is awed and his horse rears, as Constantine realizes that he will win only with the power of the Christ. The moral of this story would not have been lost upon royal visitors to the pope, or for that matter, Cardinals accompanying a deceased pontiff's cortege, who are meant to see the leader of the church as the embodiment of the divine power that over-rules the kings of the world. This theme is often repeated in Vatican artworks such as Giulio Romano's fresco of The Battle of Milvian Bridge, located in the Sala di Costantino ("Hall of Constantine") as well as the marble relief in St. Peter's of Algardi's Fuga d’Attila. Pope Clement IX later installed a statue of Charlemagne at the opposite end of the portico of St. Peter's Basilica, as a pendant to that of Constantine.

The Last Judgment (Italian: Il Giudizio Universale) is a fresco by the Italian Renaissance painter Michelangelo covering the whole altar wall of the Sistine Chapel in Vatican City. It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity. The dead rise and descend to their fates, as judged by Christ who is surrounded by prominent saints. Altogether there are over 300 figures, with nearly all the males and angels originally shown as nudes; many were later partly covered up by painted draperies, of which some remain after recent cleaning and restoration. The work took over four years to complete between 1536 and 1541 (preparation of the altar wall began in 1535). Michelangelo began working on it 25 years after having finished the Sistine Chapel ceiling, and was nearly 67 at its completion. He had originally accepted the commission from Pope Clement VII, but it was completed under Pope Paul III whose stronger reforming views probably affected the final treatment.In the lower part of the fresco, Michelangelo followed tradition in showing the saved ascending at the left and the damned descending at the right. In the upper part, the inhabitants of Heaven are joined by the newly saved. The fresco is more monochromatic than the ceiling frescoes and is dominated by the tones of flesh and sky. The cleaning and restoration of the fresco, however, revealed a greater chromatic range than previously apparent. Orange, green, yellow, and blue are scattered throughout, animating and unifying the complex scene. The reception of the painting was mixed from the start, with much praise but also criticism on both religious and artistic grounds. Both the amount of nudity and the muscular style of the bodies has been one area of contention, and the overall composition another.

The Cortile del Belvedere (Belvedere Courtyard or Belvedere Court) was a major architectural work of the High Renaissance at the Vatican Palace in Rome. Designed by Donato Bramante from 1505 onward, its concept and details reverberated in courtyard design, formalized piazzas and garden plans throughout Western Europe. Conceived as a single enclosed space, the long Belvedere court connected the Vatican Palace with the Villa Belvedere in a series of terraces connected by stairs, and was contained on its sides by narrow wings. Bramante did not see the work completed, and before the end of the sixteenth century it had been irretrievably altered by a building across the court, dividing it into two separate courtyards.

The Gallery of Maps (Italian: Galleria delle carte geografiche) is a gallery located on the west side of the Belvedere Courtyard in the Vatican containing a series of painted topographical maps of Italy based on drawings by friar and geographer Ignazio Danti.The gallery was commissioned in 1580 by Pope Gregory XIII as part of other artistic works commissioned by the Pope to decorate the Vatican. It took Danti three years (1580–1583) to complete the 40 panels of the 120 m long gallery.

The Cappella Paolina (the Pauline Chapel) is a chapel in the Apostolic Palace, Vatican City. It is separated from the Sistine Chapel by the Sala Regia. It is not on any of the regular tourist itineraries. Michelangelo's two frescoes in the Cappella Paolina, The Conversion of Saul and The Crucifixion of St Peter were painted from 1542 to 1549, the height of his fame, but were widely viewed as disappointments and even failures by their contemporary audience. They did not conform to the compositional conventions of the time and the subject-matter is depicted in an unorthodox manner. Despite the importance of the chapel and the significance of their subjects, the frescoes were generally neglected and overlooked in favor of Michelangelo's nearby masterpieces in the Sistine Chapel.An Italian scholar has recognised Michelangelo's face both in the Saint Paul and Saint Peter paintings by facial superimposition.