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(Русский) ШЕДЕВРЫ ЭПОХИ РИМСКОГО БАРОККО

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Villa and gallery Borghese private tour

+39 329 448 3644   info@rusrim.com  +39 389 59 75 184

All tours will start and finish from
Piazza della Repubblica 20 – Rome 00100
or prefered places your Hotel.
Payment at the end of the tour

 Borghese Gallery private tour

3h tour with private guide from 1 to 5 pax Eur 50/h

galleria borghese rusrimгалерия боргесе екскурзиякараваджо рус рим тур

Gallery Borghese tour

Tour with private guide  Gallery Borghese – Rome

рим-барокко-турAmong the various museums located in the Villa Borghese complex, the most important is undoubtedly Galleria Borghese, situated in the Casino nobile (lodge) of the 17th century villa built for cardinal Scipione, where the important collection of painting and sculpture gathered during the 17th century, later integrated by acquisitions of the 18th and 19th centuries, is exhibited. Today the itinerary through the gallery includes eight rooms on the ground floor as well as the great entrance hall and the chapel, with statues in the center of the rooms, surrounded by the paintings on the walls and the decorations of the ceilings, which conStituted the thematic thread of the 18th century layout as well. In the entrance hall late Roman Statues line the walls, while the Roman statue of Marco Curzio, restored by Pietro Bernini, occupies the back wall. Canova’s Pauline Bonaparte as Venus Vic’trix may be admired in the hall known as del Vaso (of the vase).

villa borgese laghetto rusrim tours
Villa Borghese lake – Private tour in Rome

The room of the Sun (dd Sole) houses painting and sculpture such as Bernini’s David, a painting by BattiStello, and two controversial Still-lifes, attributed to Caravaggio by Zeri. Six of the twelve paintings by Caravaggio owned  by Scipione hand in the room of Silenus (del Silena). The upper storey of the gallery, with thirteen additional rooms, focuses principally on paintings, exhibited in chronological order and by schools. Thus it is possible to retrace the principal phases of Italian and Flemish painting between the fifteenth and 18th centuries, including many absolute masterpieces (Antonello da Messina, Raphael, Titian, Correggio, Guido Reni, Gian Lorenzo Bernini, Rubens, Pietro da Cortona). In addition to Galleria Borghese, the villa also houses the refined Cam Museo (home museum) of the sculptor Pietro Canonica, in the 17th century construction by Gallinaro, known as the Fortezzuola (little fort) after it was transformed to a medieval style by the Asprucci’s in 1793. The Museo Carlo Bi/otti, opened q ite recently. is housed in the ex-Orangerie of the villa. known as Casino dei Giocbi d’Acqua (Fountains) during the 18th century. These rooms house the collection donated by the museums namesake, an halo-American entrepreneur and internationally known collector, including at numerous nucleus of paintings and sculptures by Giorgio de Chirico, Andy Warhol, Gino Severini and Giacomo Manzu.

TITIAN, SACRED AND PROFANE LOVE

GALLERIA BORGHESE TOUR WITH PRIVATE GUIDE

Amore Sacro e Amore Profano - TIZIANO
SACRED AND PROFANE LOVE – TITIAN – Rome Gallery Borghese indiviual tour

The work was painted by Titian in 1514, when he was 25 years old, for the wedding between Nicolo Aurelio, the Venetian Secretary of the Council of Ten, whose coat of arms is represented on the sarcophagus and Laura Bagamtto. daughter of the judge, from Padova. A fountain decorated with has relief like an antique sarcophagus fills the long side of the canvas, dividing the painting into two parts. Another caesura is caused by the branches behind the cherub who is Stirring the water with his arm. T he background is also unusual: on one side there is a church and a flock of sheep, and on the other a fortified city and two rabbits, symbols of love and fertility. Critics have long discussed the marked contrasr between the two female figures seated on the edge of the fountain, a contrast which had an illustrious precedent. In Fact Pliny recounts that the Greek sculptor Praxiteles had made two sublime Statues of Venus, one clothed and one without clothes. The two equally perfect women symbolise on the one hand «brief earthly happiness», with the attribute of the pct of jewels, and the other «eternal heavenly happiness», holding the burning flame of God’s love in her hand. The dressed Venus should therefore probably be interpreted as the pure bride who, close to Love, is assisted by the goddess Aphrodite in person. The gesture of the cherub stirring the water, source of life, in a sarcophagus. therefore probably represents love as intermediary between heaven and earth. The title is the result of a late 18th century interpretation based on a moralistic reading of the clothed figure. The universal fame of Titian’s work was confirmed in 1899, when Rothschilds the bankers offered a greater price For this painting than the estimated worth of the whole ofVilla Borghese including the works of art.

 

Villa and Galleria Borghese tour

 

 

CARAVAGGIO, DAVID WITH THE HEAD OF GOLIATH

GALLERIA BORGHESE INDIVIDUAL TOUR

A three-quarters view of David is presented, emerging From behind a dark curtain, sword in hand and proudly intent on observing the head of Goliath, still bleeding after the decapitation.

davide e golia caravaggio - Borghese gallery tour
Davide and Golia – Caravaggio – Borghese Gallery individual tour

Although the head of the giant is already severed, it is Still strongly expressive. The emotive sensitivity expressed on the wrinkled Forehead. in the mouth opened in the final breath, and in the intense, suffering glance of Goliath, is also felt in the flesh of the torso and the expression on the face of David. The brown trousers and torn shirt which he is wearing contain passages of great pictorial synthesis, involving the use of long, separate brushstrokes and the juxtaposition, in the case of the shirt, of pure whites and greys, in a subtle play of transparency. Caravaggio used his own self-portrait for the head of Goliath, while in the David the features of  his «little Caravaggio» are reproduced. A recent hypothesis suggests that the David is a youthful portrait of the artist, which would make the painting a double self—portrait. With conflicring feelings of disgust and pity, with one hand David brandishes his sword, on whose blade are letters which are not easy to decipher, but which may form the morto «Humilitas Occidit Superbiam»; the biblical hero is in fact a model of virtue. If one accepts the hypothesis that Scipione Borghese had commissioned Caravaggio for the work, it probably belongs to the last Roman period and would therefore be from before 1606. However, some scholars attribute the simplification of forms, the essential quality of the composition and the rapid application of brushstrokes to a later period. In this case the painting may be interpreted as a gift, sent by the attiSt to Cardinal Scipione Borghese in the expecration of being granted grace, as the lasr attempt at drawing attention to the desperation of his circumstances and his wish to return to Rome.

VILLA BORGHESE

Individual tours in Rome with private guide
villa borghese map
VILLA BORGHESE MAP

In 1605, Cardinal Scipione Borghese, nephew of Pope Paul V and patron of Bernini, began turning this former vineyard into the most extensive gardens built in Rome since Antiquity. The vineyard’s site is identified with the gardens of Lucullus, the most famous in the late Roman republic. In the 19th century much of the garden’s former formality was remade as a landscape garden in the English taste (illustration, right). The Villa Borghese gardens were long informally open, but were bought by the commune of Rome and given to the public in 1903. The large landscape park in the English taste contains several villas. The Spanish Steps lead up to this park, and there is another entrance at the Porte del Popolo by Piazza del Popolo. The Pincio (the Pincian Hill of ancient Rome), in the south part of the park, offers one of the greatest views over Rome.

A balustrade (dating from the early seventeenth century) from the gardens, was taken to England in the late 19th century, and installed in the grounds of Cliveden House, a mansion in Buckinghamshire, in 1896. The Piazza di Siena, located in the villa, hosted the equestrian dressage, individual jumping, and the jumping part of the eventing competition for the 1960 Summer Olympics. In 2004, a species of Italian snail was discovered, still living on the balustrade after more than 100 years in England.

Today the Galleria Borghese is housed in the Villa Borghese itself. The garden Casino Borghese, built on a rise above the Villa by the architect Giovanni Vasanzio, was set up by Camillo Borghese to contain sculptures by Bernini from the Borghese collection, including his David and his Daphne, and paintings by Titian, Raphael and Caravaggio.
The Villa Giulia adjoining the Villa Borghese gardens was built in 1551 – 1555 as a summer residence for Pope Julius III; now it contains the Etruscan Museum (Museo Etrusco).

The Villa Medici houses the French Academy in Rome, and the Fortezzuola a Gothic garden structure that houses a collection memorializing the academic modern sculptor Pietro Canonica. In the 1650s, Diego Velázquez painted several depictions of this Villa’s garden casino festively illuminated at night. Before electricity, such torchlit illuminations carried an excitement hard to conceive today.
Other villas scattered through the Villa Borghese gardens are remains of a world exposition in Rome in 1911.
The Galleria Nazionale d’Arte Moderna located in its grounds has a collection of 19th- and 20th-century paintings emphasizing Italian artists.
Architecturally the most notable of the 1911 exposition pavilions is the English pavilion designed by Sir Edwin Lutyens (who later designed New Delhi), now housing the British School at Rome.

The villa’s gardens feature in one of Respighi’s Pini di Roma

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Excursions and walking tours in Rome with art guides

Individual excursions with private guide in Rome, Vatican, Tivoli, Roman Castles and other central Italy towns

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Small group tours in minivans ensuring the highest level of comfort. Our vehicles are fully equipped with all the options required for  long trips, including air conditioning.
An English speaking private guide will be at your disposal for the whole day and will arrange the most satisfactory tour with you.

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ROME PRIVATE TOURS

ROME and AROUND ROME PRIVATE TOURS

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30 Car tours in Rome – Lazio, Tuscany and Umbria

Rome, Vatican, Florence, Siena, Tivoli, Roman Castles, Ostia, Arezzo, Assisi, Pompeii and Amalfi

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Reservation excursions in: Rome, Tivoli, Roman castles – Castelli Romani, Viterbo, Ostia Antica, Lazio lakes, Tuscany, Florence,Siena,Chianti, Bolsena lakes, Arezzo, Assisi, Orvieto, Civita di Bagnoregio, Naples, Pompeii, Amalfi, Positano, with departure from Rome,Civitavecchia, Fiumicino and Ciampino  Rome airports
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Private tour Vatican Museum and S Peter basilica

+39 329 448 3644   info@rusrim.com  +39 389 59 75 184

All tours will start and finish from
Piazza della Repubblica 20 – Rome 00100
or prefered places your Hotel.
Payment at the end of the tour

Private tour of the Vatican Museum and Saint Peter basilica

Excursion 50 Eur/h from1 to 6 pax

Individual excursions in Rome and Vatican with private guide in English, French, Bulgarian, Russian and Ukrainian
3 h tour from Rome and Vatican daily excursions from Civitavecchia Fiumicino and Ciampino airport
  •  Микеланджело ВатиканаКапела Систина РусримThe Belvedere Garden The idea of creating the Vatican Museums came about at the beginning of the Ili”‘ century when Cardinal Giuliano della Rovere became Pope, taking the name Julius II (1503-1513), and had important classical stat-ues such as the .Ipollo and the Laocoon transferred to the Vatican   anti   placed   in  the   Belvedere   Palace   garden,   which   had   been

Ватикана папски апартаменти transformed into a courtyard. The courtyard was designed by Donato Bramante, Nvho had drawn in-spiration from literary descriptions and the remains of villas and ancient palaces to recreate a natwal  environment wills the ancient

Vaticano Rusrimmarble stat-ues placed amongst orange, lemon, myrtle and has trees accompanied by a continuous flow of water from Ilse fountains. The classical statues were harmoniously positioned along the walls of Use courtyard in niches and in the centre as part of the fountain. This environment edified mid delighted the men of letters and assists who cause to Rome as guests of the Pope to study classical antiquities. The

raffaelloBelvedere Palace was built in the 15’h century for Innocent VIII (Cybo. 1-184-1492) as a papal summer residence. The view over the Ro-man countryside must have been spectacular. though it has now been replaced Its the sight of the city’s Prati and Trionfale areas. For the most part the original architecture has been retained. although Ilse Palace was altered in the 18th century. IVe can still reconstruct its original ap-pearance thanks to a series of drawings, engravings, maps and eleva-tions from the le and 17″‘ centuries. The main facade was dominated by a loggia with two avant-corps at the far ends and a craws of merlons running all the way around building. The Palace was actually part of a much huger complex. as this engrav-ing by Mario Cartaro clearly shaves. It can be seen on Ilse right, to Ilse north, with Ilse Garden holding Julius II’s statuses and its view over the roman cOuntr•side. On the opposite side to use south we cars sec the complex of the Papal Palace, first built by order of Pope Nicholas III  (Orsini. 1277-1280) who look into consideration the potential of the Vatican in becoming the fixed papal residence, fully aware of the importance of living in proximity to Peter’s tomb. The former papal residence was the Lateran and it was only after the Avignon Exile (1300-1377) that the Pope lived permanently at the Vatican. This illustration also Shows the connecting courtyard designed by Donato Bramante. Bramante and Ain. 11 were able to come to it unique understanding as their inten-tions converged to satisfy one in his search for a universal architectural language and the other in his plan to recover the splendour of ancient Rome. brought to life again in a Christian setting. lit this case Bramante’s study and reintroduction of classical architecture in the expression of a universal language Nvas operative in Julius Is plans to reorganise the Papal Palace, Among the various renovation projects. the architect designed the Belvedere Courtyard to link the summer Palace , ith the …

  •  The tournament and the joust In the joust two knights at a time with their lances at resc galloped towards each other trying to unseat their opponent. The tournament on the other hand. was a simulated battle between two groups of knights. each fighting to overpower the other and become manners of the battlefield. These tests originated in France and appeared in Italy from the l2‘” century onwards.The tournaments were held to celebrate victories, peace, alliances. marriages, religious festivals and important political events. Originally they hardly differed from real battles to the point where. at the end of the day. it was not unusual for many participants to suffer injuries or even death. Over time. and after numerous outcries. the games became less and less violent and took on the form of grand festivals in which participants used blunted weapons without their sharp points or covered them with a shield. It was not until the l7″‘ century, however. that the displays definitively shed their primitive nature involving the representation of a battle and became contests of grace and agility. often choreographed with music. Besides the sculptm‘es in the niches other statues were reused as ornaments for the fountains. Luder the papacy of Leo X (Medici, 1515-1521). Julius ll’s successor. a new discovery was added to the pontifical collection: the colossal statues of the Nile and the Tiber. These were placed in the centre of the courtyard among the orange trees on high plinths with the Medici coat of arms. the Nile with its back to the Laocoon and the Tiber opposite. Durhig Statua del nilo e Tevere - Vatican individual tourJulius II’s reign two other statues were added and used as fountains. ‘I”he-iriadnc was positioned in the corner of the courtyard above a sarcophagus held up by dolphins which served as a basin, and an ancient statue of a river thought to he the ‘Ii’gris or the Arno was placed in the niche at the other end of the same wall, it too being reduced to a fountain on a sarcophagus supported by turtles. The last additions were the world famous Torso. particularly admired by Michelangelo who declared himself to be a ‘disciple of the Belvedere Torso’, placed near the fragment of Hercules and Antaeus anti a statue identified as Henncs standing in the niche next to the Palace’s entrance. The walls of the. courtyard also held marble masks which were thought to have come from the Pantheon. This collection of sculptures transformed the Vatican into an ideal Parnassus – the hill of the Muses which inspired the creative process in all its forms – the very one which Raphael painted at aromid the same time on one of the walls of Julius 11’s apartment on the third floor of the Papal Palace with the intention of recapturing and studying the work of classical civilisations, a practice which was considered to be very important during the Renaissance. The testimony of an anonymous ambassador from the Veneto region. who saw the Belvedere Garden when he made his visit of allegiance to the new Pope Adrian VI (Florensz, 1522—1525). is very effective in providing a description of the area. He recounts a beautiful garden with lush grass. laurds. a magnificent orange tree and more particularly the ancient statues of the Tiber and the Nile which gushed with water. the Apollo. the Lam-muand finally the exquisite l‘tmus.
  • What is a museum? According to the International Council of Museums (ICoM)”a museum is a non-profit, permanent institution in the service of society and its develop-ment, open to the public. which acquires, conserves, researches, communi-cates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.” Why a museum? Every time we enter a museum and walk through the various rooms we make an ideal journey, a sort of itinerary of the soul which allows us to re-turn to
    The vatican museum - tour with guide
    Vatican museums – Private tours Rome and Vatican

    the origins of Man and consequently to piece together the collec-tive identity of the whole of humanity on its voyage through history. During this eternally unique and fascinating journey, however, we must keep in mind that we are faced with a fragmented situation. incomplete in the partial and fragmented display of each work of art and of each object which can never-theless restore traces of truth to us, like the fragments of a mirror. The origin of the word Where does the word “museum” come from? The term has ancient Greek origins stemming from the noun museion or rather “temple, shrine, or seat of the Muses” — the goddesses who, according to ancient mythology, in-spired creative thought in all its shapes and forrns.They were the supreme inspirers of Man’s intellectual activities such as poetry, oratory, music, histo-ry, mathematics and astronomy. Originally the seat of the Muses was prob-ably meant to be on a hill or in a wood and not in a building. The noun museion. referring to a building, was used to indicate the Great Museum ofAlexandria in Egypt, a religious institution in which study and re-search were placed under the protection of the Muses.This museum was built in the century sc and included lodgings for the academic commu-nity of men of letters and scientists, rooms and porticoes for reading, study-ing and conversing, various works of art and more especially the great cul-tural institution of the famous library. Both these institutions were founded on the initiative of the ruling Ptolemy dynasty and represented a cultural reference point for the whole of the Mediterranean at the time, contain-ing specially dedicated areas and a building for teaching and research under the auspices of the Muses. Plato and Aristotle also organised their schools, the Academy and the Lyceum respectively, as places conceived for the cult of the Muses. The birth of the museum as an institution The museum as an institution has deeply-rooted and distant origins and was founded thanks to our inclination for gathering together and collecting all kinds of objects at risk of being damaged over time. The first collections of art had religious connotations both in ancient Egypt and in Greece, for example the objects of worship in the temples and grave goods. In Roman times the practice of secular collecting arose after great military conquests and the arrival of the spoils of war in Rome. Noble hous-es and villas, temples and porticoes were filled with works of art, especial-ly of Greek origin. This is supported by historical sources and by archaeo-logical findings. Pliny, for example. in his Naturalis Historia lists a series of Greek statues and paintings in the so-called Portico of Octavio, and findings at Pompeii and Herculaneum like the series of bronze portrait sculptures of philosophers in the library of the Pisoni family villa. In the Middle Ages the Church, and therefore all places of worship, became the favoured destination for commissions and collections of works of art as educational and religious [ messages could be communicated through them. for example the frescoes or the mosaics depicting the episodes of the Old and New Testaments or the lives of saints along the churches’ naves, which were aimed at bringing wor-shippers and pilgrims closer to the great themes of faith (Bibb° pauperum, the [ Bible of the Poor) using a simple and immediate means of communication. In the 15. century and then during the Renaissance with the renewed in-terest in the study of classical antiquity, the spread of humanistic culture j and the reconsideration of works of art from an independent aesthetical Ipoint of view, there was not a court in Italy which did not also become a home for ancient works of art and a source of commissions for contempo-rary craftsmen. Milan. Mantua, Ferrara. Urbino and Florence came to house i splendid collections and the very same artists and humanists became coi-1 lectors. With Humanism collecting became a method of investigation and the collector became a philosopher, a theologian who would search for the order of the world in his collections. Collections began to blossom with naturalta,artificialia and mirabilia which included antiquities (Egyptian. Greek. Roman and Christian), gems, coins. marble objects, scientific and musical in-, struments, portraits of illustrious men, fossils, minerals, coral, various other objects (talismans. lamps, ethnographic findings from far away continents, stones), rare animals (crocodiles. shells) and plants (exotic fruits). Essential-ly these collections did not just include man-made objects (artificialia), they also included natural discoveries (naturalia) and items which excited admi-ration (mirabilia). For the humanists from Petrarch and Poggio Bracdohni to Retro Bembo at the beginning of the 16°’ century. a paradigm of all this was

  • The Vatican Museums in the sixteenth and seventeenth centuries
    Papa - Giulio II - Vaticano
    Papa Giulio II – Musei Vaticani

    During the Counter-Reformation in the middle of the 16‘” century the tradition of collecting was opposed and expurgaled with harsh words; in reference to the ancient sculptures collected in the Vatican. St. Pius V (Ghislieri, 1566-1572) declared: ‘sunt idola profana’ (‘these are profane idols“). F urlherrnore, the great new construction site of St. Peter‘s required unprecedented effort and attention so the Popes of the l7m century had to concentrate on the colossal project. indirectly imposing athe “study”, a place where books joined all the various antiquities constitut-ing a local variation on the European model of the so-called “Wunderkam-mer” or “cabinets of curiosities”, embryos of the Museum as we recognise it today, a laboratory of history and knowledge of the world. The penetration of Humanism in Rome was at the root of the Papal col-lections and their usage by scholars and artists, as well as the collections on display in the large houses and courtyards of the great families. These collections revealed refined cultural awareness and they became tools for orchestrating agendas and political plans. Julius II’s plans for the statue gar-den, for example, can be interpreted in this light. He gathered together sculptures which called to mind the protagonists of the Trojan War such as the Laocoon, the Apollo and the Venus Felix reminiscent of Aphrodite, and the group of Hercules and Telephus reminiscent of Aeneas with his son Ascanius. The Pope wanted to create a real Virgilian theme which would link the stat-ues together to communicate a precisely-conceived political agenda. Just as Virgil celebrated the origins of Rome through the Trojan War and Aeneus’ adventures in the Aeneid in accordance with Augustus’ political agenda to exalt the city’s centrality and the imperial family, Julius II used his “Virgilian” statues and played on his own name lulius  put himself in the direct line of the Gens liulia, Caesar and Augustus’ family, with the aim of heralding a new golden age for recently-established Christian Rome. There was also a public dimension to collecting in Rome which became more marked after Sixtus IV’s (della Rover, 1471-1481) “dbnation” CO the Roman people of large bronzes with great symbolic value.They were trans-ported from the Lateran CO Capitoline Hill and became the nucleus of the future Capitoline Museums. However, it was during the 18 century. the Age of Enlightenment, that the modern concept of the Museum took shape, that is to say a public institu-tion open to everyone aiming to safeguard cultural heritage and promote its understanding.This institution was therefore a creature of the Enlight-enment in Europe; it was during this era that an architectural space was designed for the first time to give a universally recognisable form to the museums. Previously, works of are had been simple decorative elements in the large houses and villas which received them. Now a new awareness arose which underlined the importance of making the cultural heritage formerly restricted to the enjoyment of a limited and elite circle acces-sible to everyone. It also exposed the necessity of designing a building, a home for the works to be collected; a container conceived especially for its contents.This century, therefore, witnessed the birth of the great mu-seums and after various expansion works and changes to the organisation of the collections. Clement XII (Corsini, 1730-1740) decreed the opening of the Capitoline Museums.

 

  • Bramante’s Staircase (Scala del Bramante) A little further on, alter passing
    scala del Bramante - Vatican museum individual excursion
    Scala del Bramante Vatican private tour

    Iltrough a small vestibule, we come to Rramante’s Staircase, a spiral flight of stairs enhanced by a gran-ite colonnade made for Julius II (della Rovere, 1503-1513). The graded ramp was built as one of the entrances to the Palace and its structure with wide and low steps made it possible to go up and down easily even on horseback. It is characterised by an elegant colonnade which displays the three architectural orders, Doric, Ionic and Corinthian, changing ac-cording to the level you are on as you move upwards from the bottom.

 

  • Octagonal Courtyard (Cortile Ottagonale) Moving back, we come to the Octagonal Courtyard, the heart and ini-tial location of the Vatic. Niuseunts.
    Octagonal Courtyard - vatican individual tour
    Octagonal CourtyardVatican museum tour

    Originally there was a square, or-ange tree garden decorated with statues Julius If had built Icy Bramante. The Apollo, the Laocoon and the Izernis Felix were installed in the three cappelleile (small shrines) along the Courtyard’s main wall, the one the Pope’s guests would see in front of them as they arrited in the garden front Rratnante’s Staircase. In the le century Clement XIV ordered the open area to be closed off by an octagonal portico designed by Simonetti, giving the Courtyard its current appearance. The shorter sides are called Cabinets (Gabinetti), and here we eats admire the most important statues adorning Julius II’s ancient courtyard.

 

  • The statuary The statues and their origins When we admire masterpieces of classical statuary we have to remember that we are standing before Roman copies of Greek statues. Statues, in Greece. were linked to politics and religion so we must try to imagine there outdoors. in temples, shrines. the Agora. libraries, theatres. gymnasia and as ornaments on tombs. The military campaigns conducted by the Romans in the Mediterranean af-forded various opportunities of coming into direct contact with the thriv-ing centres of Greek civilisation and the inevitable result was that countless Greek works of art — the spoils of war — began to flow into Rome.The first objects came from Syracuse, which was seized and sacked in 212 BC by Gen-eral Marcus Marcellus.According to the historian Livy the conquest of Syra-cuse was ‘the very beginning of enthusiasm for Greek works of are (XXV), and this was corroborated in Marcellus’ biography, written by the Greek Plutarch, in which we can read that the General ‘to illustrate his triumph. and adorn the city, carried away with him a great number of the most beautiful ornaments of Syracuse. For, before that. Rome neither had, nor had seen. any of those fine and exquisite rarities: nor was any pleasure taken in graceful and elegant pieces of workmanship: (Life of Marcellus, 21). Seeing as the origi-nals did not satisfy demand, Roman copies began to be made of the Greek originals and entire schools transferred their activities to Rome to work for the buyers.This became one of the main factors in facilitating the mania for private collecting reflecting Catholic tastes which, far from appreciating the shapes and forms of Greek art, concentrated on making the works fit in with their architectural setting. The materials The materials chosen so make the statues were extremely diverse: wood. terracotta, bronze, limestone, and marble with a preference for the white varieties, porphyry and granite. The favoured materials were usually the durable ones. partly due to the need to withstand outdoor conditions and atmospheric agents. For the same reasons. as well as for aesthetics. the statues’ surfaces were painted. also partly to mitigate the violent effects of the light. There was a progressive transition from full to partial polychromy, fache-tated by the artists’ discovery of the marble’s beauty. However, the use of colour on the statues never completely disappeared. just as the artists also continued to spread a protective layer of wax on them. Distinctive colours were also used on the bronzes as well as embellish-ments in enamel. ivory and mother of pearl for the natural rendering of the eyes and mouth. Unfortunately most of the Greek statues in bronze have been lost as they were melted down in later eras. so the existence of origi-nals is extremely rare and the result of fortuitous circumstances. Luckily the Roman copies in marble from the original Greek bronzes have been mostly well preserved and handed down to us intact.Thanks to these statues, and by studying and comparing various copies of the same model in reliefs, on coins and in glyptics. we can laboriously trace back to the archetypal form of the Greek original. How can a Roman marble copy be told apart from a Greek bronze original? The presence of supports reveals the works true origins as metal has more elasticity than stone and does not break as easily.The protruding parts of a the “study”, a place where books joined all the various antiquities constitut-ing a local variation on the European model of the so-called “Wunderkam-mer” or “cabinets of curiosities”, embryos of the Museum as we recognise it today, a laboratory of history and knowledge of the world. The penetration of Humanism in Rome was at the root of the Papal collections and their usage by scholars and artists, as well as the collections on display in the large houses and courtyards of the great families. These collections revealed refined cultural awareness and they became tools for orchestrating agendas and political plans. Julius ll’s plans for the statue gar-den, for example, can be interpreted in this light. He gathered together sculptures which called to mind the protagonists of the Trojan War such as the Laocoon, the Apollo and the Venus Felix reminiscent of Aphrodite, and the group of Hercules and Telephus reminiscent of Aeneas with his son Ascanius. The Pope wanted to create a real Virgilian theme which would link the stat-ues together to communicate a precisely-conceived political agenda. Just as Virgil celebrated the origins of Rome through the Trojan War and Aeneus’ adventures in the Aeneid in accordance with Augustus’ political agenda to exalt the city’s centrality and the imperial family, Julius II used his “Virgilian” statues and played on his own name lulius  put himself in the direct line of the Gens liulia, Caesar and Augustus’ family, with the aim of heralding a new golden age for recently-established Christian Rome. There was also a public dimension to collecting in Rome which became more marked after Sixtus IV’s (della Rovere, 1471-1481)  the Roman people of large bronzes with great symbolic value. They were transported from the Lateran  Capitoline Hill and became the nucleus of the future Capitoline Museums. However, it was during the 18 century. the Age of Enlightenment, that the modern concept of the Museum took shape, that is to say a public institu-tion open to everyone aiming to safeguard cultural heritage and promote its understanding.This institution was therefore a creature of the Enlight-enment in Europe; it was during this era that an architectural space was designed for the first time to give a universally recognisable form to the museums. Previously, works of are had been simple decorative elements in the large houses and villas which received them. Now a new awareness arose which underlined the importance of making the cultural heritage formerly restricted to the enjoyment of a limited and elite circle acces-sible to everyone. It also exposed the necessity of designing a building, a home for the works to be collected; a container conceived especially for its contents.This century, therefore, witnessed the birth of the great mu-seums and after various expansion works and changes to the organisation of the collections. Clement XII (Corsini, 1730-1740) decreed the opening of the Capitoline Museums.  I metal statue do not need co be supported while sculptures in stone need  help to stop these parts from cracking away from the, main structure. It goes without saying that artists who used bronze had almost unlimited free-dom in portraying moving or stretched out figures. The revolutionary new developments in statuary: the study of anatomy and naturalise The oriental influence on early Greek statuary is clear. The workmanship, the use of proportion and the poses of the figures are taken from Egypt (which boasted a long tradidon in large-scale sculpture) both for the stat-ues depicted standing and seated as well as those in motion. Soon, however, Greek statuary broke away from the earlier traditions and chose a new di-rection. Egyptian artists portrayed objects irrespective of the, position in space following a two-dimensional concept of reality.The unvarying aspects in their execution were therefore the front-facing position of the statues whether seated or standing, their great size (Egyptian statues were colos-sal). their lack of autonomy from the architecture (the statue could be con-fused with an architectural element in place of a pillar or column), the lack of anatomical detail and study of a portrait and the preference for durable materials. In ancient Egypt reality was represented as it was thought to be and not how a was actually perceived by the eye. Communicating an idea was considered to be the most important thing, for example the illustration of religious and cosmic principles, rites and cults and the celebration of the Pharaoh’s divinity. In the ancient world traditions generally carried great weight and resistance to innovation was strong, especially in Egypt where some conventions re-mained practically the same for millennia.The open spirit of the Greeks and thee- readiness for research and change lessened these traits and although they recognised she value of traditions. followed a code of expression and a system of binding rules, Greek artists made constant advances, moving away from abstraction and drawing nearer to naturalism; statues made their first steps into three-dimensional space. Soon after, Greek sculptors had to deal with problems linked to the representation of the body in motion, its twists and turns. and they realised that it did not necessarily have to stand on the soles of the feet, just as it did not have to face forward. Another great innovation was the study of anatomy with Man being the absolute centre of attention of Greek artists. The first step in this direc-liOn was the need to make statues life-size instead of the colossi of Egyp-‘ descent. and this led to more attention being given to anatomical detail sbrough the careful observation of still and moving bodies: athletes became ibe pre-eminent source of inspiration. Consequently, attention to anatomi-tai detail manifested itself in a love for the human body. its harmony, beauty ingourThis led the artists, right up the Hellenistic era, to avoid poi-‘saying the body’s declining forms like illness and old age whenever possible. preferred to depict subjects like gods, heroes. illustrious men, athletes the deceased, whose likenesses were destined for temples. shrines, por-ticoes and funerary monuments. Artists In the ancient world wrests in the ancient world were considered mostly to be artisans and in the Greek world the distinction was also very subtle.Technical ability was so im-portant for the Greeks that the expression “well made” was the highest combent an artisan, or a technites, could receive.Art was therefore considered so be an ability and the concept of original and independent artistic creation rernained beyond ancient ways of thinking.

 

  • Apollo Cabinet (Gabinetto dell’Apollo) Around the portico of Ihe courtyard in a clockwise direction we come the Apollo Cabinet.  Statue of Apollo “del Belvedere”
    Apollo - Vatican museum private tour
    Apollo – Vatican individual tour

    was statue was brought to the Vatican by Julius II and placed in one of the niches around the courtyard. It was admired by Winclvelmann Goethe and at an even earlier time by Michelangelo. It is a Roman copy the Hadrian era (II century Ad) or a bronze original by the sculpture – Leochares (IV century BC) which was displayed in the Agora of Athens. It depicts Apollo, who almost seems to appear before the viewer as a sudden apparition in all his divine magnificence. According to ancient mythology  Apollo, the god of music and poetry, was represented on the mytical mountain of Parnassus to preside over the Muses, who were tought by the ancients to inspire all the foremost intellectual activities of Man. In this regard, Raphael’s representation of Parnassus in Julius Its study on the second floor of the Papal Palace is eNtraordinary. Apollo was also a warrior god, capable of bringing about a quick death by striking with his bow anal arrow. In Homer’s Iliad, for example, he fights for the ‘firojans against the Greeks. The statue shows the god (tressed as an archer. In his left hand he holds the bow and in Isis right he grasps the arrow he has just drawn from the quiver. The god’s gaze is magnificent as he looks towards an undefined and faraway point in the distance. He has a chlamys, a sort of mantle, thrown over his how-arm and there is a snake on the tree trunk reminiscent of his victory at Delphi over Pythons, Gala’s monstrous serpent child. The tripod is also well-known as one the emblems of Apollo, also a god of divination, on which Pythia, a sort priestess, sat to (lel iVer her prophecies. A solemn feast was held at Delp to commemorate Python’s death and Apollo’s purification. Although this statue is a copy it displays all the originality and the achiev ments of Greek sculptors in the 4° century BC giving us the chance to a preciate Use statue’s movement in three dimensional spare.

 

  • South porticoStatue of Rivers (known as Tigris or Arno) and sarcophagus with Ainazonomachy Julius II’s “garden” held a series of statues used as parts of fountains as is the ease of this statue of Rivers. This fluvial statue is a Roman copy from the Hadrian era (2nd century AD) of a Greek prototype from the He lenistie era. Alexander’s foundation of the Empire was a highly important event Statue of Neptune - Vatican individual tourfor Greek art as it became the figurative language of almost the known world; at the same time Greek art came into contact and interacted with other cultures. We therefore refer to art from the era following the 5th and ,4th centuries BC not as Greek but Hellenistic art, as this name evoked tlse title given to the empires founded by Alexander’s successors in the East, who divided the territory into three great Kingdoms (the Kingdoms of Macedonia, Syria and Egypt). In the high Hellenistic age (from the 3rd century Bc) one of the characteristics of the statuary- was the variety of figurative themes represented. They did not just portray gods. mythical heroes, illustrious characters and athletes, as artists did in the classical era, they also depicted children, animals, personifications of the natural world, foreigners and barbarians. This statue of the fluvial deity is known to be the result  a series of restorations, with have allowed the statue to be used to form the higher section of the fountain for the Statue Garden with a basin made of a sarcophagus with an Amazonomacky. Which parts have been restored? The first is the right arm holding lire water-bearing vase, which is deco-rated with a ring bearing the Medici coat of arms. ‘this emblem initially caused the work to be identified as a personification of the river Arno. but in actual fact the Medici coat of arms refers to Pope Leo X (Medi-ci, 1513-1521), who probably commissioned the work’s first restoration. The second is the magnificent head, which is reminiscent a the Renais-sance style and seems similar in terms of expressiveness to the Moses sculpted by Michelangelo for Julius Ifs fimerary monument. The main episodes of the Greek mythological repertoire were often represented on sarcophagi with the protagonists being the gods who meddled in the affairs of men and the heroes who featured prominently in battles and various other undertakings. Naturally the episodes judged to be the most suitable for funerary allegories were chosen. In this case the well-known mythical theme of the Anzazonomachy seas well-suited to become a funerary allegory for soldiers’ sarcophagi as it recounts the battle between the Greeks and the Amazons fought both on foot and on horseback. leaving many soldiers dead on the battle-field. This battle took place during the Trojan War when the Amazons, the female warriors descended from the god of war Ares, sent a con-tingent led by their Queen Penthesilea to help King Priam of Troy. The Amazons were defeated by the Greeks and their Queen was killed by Achill.. The sarcophagus dates back to the 2″ century so.

 

  • Laocoon Cabinet (Gabinetto del Laocoonte)   Statuary   group   of  the  Laocon As tradition has it, the Trojan priest Laocoon and his two sons were killed by terrible serpents sent from the sea by Athena and Poseidon. The priest had
    Statua del Laoconte - Vatican museum tour
    Laoconte – Vatican museum tour

    objected to letting the wooden horse into the city of Tmy, advising instead to loan it. It had been left as a votive offering to Athena from the Greeks, who in the mean time pretended to go away. When laced with this wondrous sight, however, the Trojans convinced earls other to accept the horse with the Greek heroes hidden inside, sealing the city’s fate. This group of statues portrays the climactic point in which the monsters coil themselves around the ill-fated heroes’ bodies. Thereafter, Laocoon be-came an emblematic and tragic example of what would happen to those who opposed the inevitable course of events, in this case the events which foretold that Troy should be destroyed and that Aeneas would emerge from the flames to start a new family line with its descendents destined to found the city of Rome. This work of art was foetid in 1506 on Esquiline Hill in the area where the emperor Nero’s Donuts Aurea formerly stood. It was immediately acquired by Julius 11 who placed it in the famous gar-den of tile Belvedere Palace, marking the beginning of the formation of the renowned group of statues. As we have seen the !Aomori. group was full of important symbolic meanings. It is the starting point of a specifi-cally thought-out route which continues with the Apollo (who fought on the Trojans`side) moving on to the Venus Felix ….

 

  • The marble “zoo”
    After the Octagonal Cowlyard we come to the Room of the Animals (Sala degli Animali)  where we can admire a real zoological museum made of marble, that is to say a rich animalistic repertoire which also includes imaginary and exotic animals. Some are ancient while others have been significantly restored or resculpted by restorers and sculptors front the 18″‘ century. Hellenistic sculptors
The marble zoo - Vatican museum individual tour
The marble zoo – Vatican individual tour

were open to all kinds of figurative subjects and they particularly focussed on animals. partly due to more advanced scientific knowledge about their appearance and behaviour. The Hellenistic era was characterised by a great interest in the sciences and a predilection for carrying out all kinds of experiments in all fields of knowledge With people studying mathematics, geometry, geography, astronomy, medicine and botany. Moreover, art came to take on the characteristics of a mirror reflecting new developments. So why create a marble roof Its foundation was un-doubtedly favoured by 18 ,century naturalistic interests, in line with the new horizons reached by biological sciences and in light of the new encyclopaedic culture of the Enlightenment. As mentioned previously. some of the works of art here have been heavily restored, so this small museum within a museum can also be studied in terms of the trend for collecting rare and exotic objects as well as for the decorative tastes of the 10th century and the history of restoration. In a small loggia on the right, to the north. there is a magnificent bust of Pius VI contemplating his museum and little marble zoo. At the end of the 181″ century this MOM was known by,two names, the Room of the Rivers (Station (lei Vituni) and the Room of the Animals. Thanks to ancient prints we know that the renowned statues of the Tiber and the Nile stood here for some time. These personifications suited this environment extremely well as rivers, like animals, were considered to be part of the natural world. in contrast to the world of men. he-roes and gods, the main characters in the Pius-Clementine Museum’s other rooms. During the French plundering, however, the statues of the Tiber and the Nile were removed and taken to Paris for the new Louvre Museum, with only the Nile later finding its way back to Rome. Deprived of its rivers, the room took on the sole name of the Sala degli animali The tamed animals almost seem to come alive before our eyes, from birds, aquatic creatures, wolves, lynxes, lions and panthers to the group of deer being attacked by dogs and the sculptures of mythical beasts like the centaur, the griffin and the Minotaur. The collection is completed by figures whose names are indissolubly linked with animals, like Meleager, the brilliant hunter from Greek mythology mid Mithras killing the bull. There are also two ancient polychrome mosaics set in the paving with still life scenes of flora and fauna. last but not least, let its not forget that this repertoire of animals before its also holds a wide, though not complete, selection of marble as the sculptors used large quantities of coloured varieties to make the ani-mals seem more lifelike. This room allows its to understand the Greco-Roman world’s rapport with nature seen from a mythological, bucolic, hunting and zoological point of view, with the portrayal of exotic and rare animals extraneo to local wildlife, and also from a geological point of view, thanks to variety of the stones.

 

  • Bound Room (Sala Rotonda) The magnificent Round Room  with its hemispheric coffered vault and the eye in the centre telling in the light particularly brings to mind great Homan buildings such as baths. The niches around the walls hold-ing the statues, the mosaic and even an ancient utensil such as the large red
    Sala Rotonda - Vaticano tour
    Bound Room – Sala Rotonda – Vaticano tour

    porphyry cup all complete the effect. The statues on display here include an emperor and a hero, subjects which filled and decorated indoor and outdoor locations in ancient Rome.

 

  • Colossal statue of Claudius portrayed as Jupiter This statue comes from the centre of Lanuvium and is thought to have been one of the honorary statuses which adorned forums, porticoes and theatres. Here, Emperor Claudius (41-54 An) Colossal statue of Claudius - Vatican toursis portrayed as Jupiter. In every provincial town or colony, the Roman architects, first task was to erect a Capitolium similar to the one in Rome dedicated to the Capitoline triad ofJupiter, Juno and Minerva. Jupiter is the Roman god likened to the Greek figure of Zeus and appears as the god of the sky, the light of day, lightning and thunder: the eagle is the bird which carries Jupiter’s lightning bolt so it has become a symbol of strength and power. This is the reason why it bectune the insignia of every Roman legion and hence.

 

  •  Colossal bronze statue of Heracles The exceptional nature of this statue lies in its material — bronze. Bronze statues are rarely conserved as people often melted them down in times of metal shortages. This statue was struck by lightning and
    bronze statue of Heracles - Vatican museum excursion
    Colossal bronze statue of Heracles – Vatican excursion

    was buried in the place where it fell (as indicated by the engraved letters on the travertine slab closing off the hole) as it was probably considered inauspicious to melt down a statue struck by a celestial phenomenon. This work is thought to have been a part of the monumental complex of the Theatre of Pompey in Campus Martins, the first brick-built theatre in the city of Rome con-structed in the 1. century- Kc. Campus Nlartius was further north than the central Roman Forum area and its name reflected the military pur-pose for which it was mainly used. It was essentially a monumental area of the city; state ownership of the property and the level ground formed the ideal setting for erecting official, public buildings, hence the presence of numerous porticoes, groves, temples and buildings for performances such as theatres and baths. The statue of Hercules is thought to have been one of the many statues and decorative items. which would have adorned this magnificent plain between the Tiber. the Pincian Hill, the Capitoline Hill and the Quirinal Hill. Heracles is the most famous hero of all classical mythology and leg-ends linked to him mainly revolve arotmd the Cycle. of the twelve la-boum that is to say the tasks the hero tackled. distinguishing himself for his strength and coinage. This bronze Ileracles is depicted with some of the instantly recognisable attributes which allude to these tasks such as the club, the lion skits and the apples of Hesperides. Heracles’ weapon of choice, the club, was carved by the hero himsell.

 

  •  The Greek Cross Room  – A monumental entrance: The Greek Cross Room Originally the Greek Cross Room (Sala a Croce Greca), created by the architect Michelangelo Simonetti, formed the montunental entrance way to the Musetun of classical collections. It was built for Pope Pius VI. who reversed the previous V lolling route. In the past people laud entered the museum from the other side through the so-called Square Vestibule (with the inscription “MUSES M CLEMENTINVM” still visible on the architrave) because Pope Clement XIV had considered it to be more prac- ‘ deal, directly linked as it was to the Papal Palace through the east wing. When the new construction work began under his
    Sarcofago di Sant Elena - Madre di Costantino
    Sarcofago di Sant Elena – Madre di Costantino – musei Vaticani

    successor and more especially when the museum became public, this t)esv monumental en-trance was built, marked by the inscription Museum Pium. The great entrance gateway is trained by two gigantic Egyptian-style telamons from Hadrian’s villa. The Emperor went on numerous trips to the East, during which he absorbed the culture of the great civili-sations, hence, when he constructed Isis magnificent villa, he wanted the rooms to evoke the symbolic locations and Provinces of the Em-pire. in one area Hadrian constructed the Canopus, a vast space symbolising Egypt with the architecture forming a monumental map of the country with decorative items and Egyptian-style statues including the abovementioned telamons. Telamons were human-shape pillars and usually portrayed the god Osiris, the guardian of the ondervvorld, so they became also known as “Osiris pillars”. These telamons, crowned by capitals similar to the typical Egyptian capita in the form of lotus flowers, have a headdress and a short. skirt an their rigid and frontal stance is typical of Egyptian statues, blending in with the other architectural elements around them. Similar tela-mons decorate the great shrine of Isis (the Sister/wife of Osiris) and Serapis (the Roman Osiris) in Campus Martins. The “Egyptian-style-trend spread through Rome also touching upon religion. It was not difficult to find cults which had originated its Ancient Egypt in Rome and consequently it was equally comm.on to find shrines linked to their worshipping practices with architecture and adornments which invariably evoked this ancient civilisation.

 

  • Obelisks in Rome Pink granite obelisks were usually placed in pairs at the entrances to Egypt, temples and can be interpreted as symbols of the sun as they were thou& to be rays of sun turned into stone.This extremely hard stone was also asso-ciated with the god of the sun and as being a “Son of the Sun” was one of the royal prerogatives, many Pharaohs’ sarcophagi were made of granite. In 30 so
    Obelisc Laterano - Rome
    Obelisco a San Giovanni Laterano – Roma

    when Egypt became a Roman province, the obelisks began to be transport-ed to Rome.They were later forgotten, but gained a new lease of life in the Rome of the Popes. From the 16′ century onwards thirteen obelisks were “rediscovered” and erected in some of Rome’s famous squares. Their use in an urban setting is thought to be attributable to Sixtus V (Pereta. 1585-1590). He monumentalised symbolic squares in key places in the city by positioning obelisks there, and placed crosses at their peaks as a testimony of the continuity between pagan and Christian Rome. One noteworthy exam-ple is the obelisk in the centre of St. Peter’s Square, which was transported there by the architect Domenico Fontana on a wooden tower made of oak This obelisk was brought to Rome by the Emperor Caligula (37-41 AD) and originally positioned in the middle of the wall separating the oval track of the private circus linked to the Horti, the renowned imperial gardens in theVatican where the apostle Peter was martyred. Some of the obelisks transported to Rome can now be found in Piazza San Giovanni in Laterano (New Kingdom); in Piazza del Popolo (New Kingdom): behind the apse in the Church of Santa Maria Maggiore: in Piazza della Minerva (remounted on a base in the shape of a small elephant designed by Gian Lorenzo Bernini); and in Piazza Montecicorio.

 

  • THE GALLERY OF MAPS
    As we leave the Belvedere Palace and move down the long gallery on the second floor which connects the Papal Palace and the Sistine Chapel, we can admire, ha
THE GALLERY OF MAPS - Vatican museum tour
THE GALLERY OF MAPS – Vatican individual tours

one part of the corridor, the cycle of mural paintings dedi-cated to the Maps. The main figures behind its design and creation at the end of the 16h century were Pope Gregory XIII (Boncompagni, 1572-1585), who wanted to dedicate a cartographic picture to the NI. hole of Italy, and the cosmog-rapher and mathematician lgnazio Danti. who painted the cartoons of all the geographical panels and managed the whole project. Girolamo Muziano and Cesare Nebbia coordinated a small army of painters and stucco decorators. The “signatures” of the two protagonists are clearly recognisable: the Pope’s coat of arms, a golden dragon on a red background placed over the entrance and exit to the Gallery, and the carllouche in which Tgnazio Danti signs the project, discernible on the first map when entering

Italy - THE GALLERY OF MAPS - Vatican museum tours
Italian peninsula – THE GALLERY OF MAPS – Vatican private tours

from the right, north of the Sallentina Hydramti Terra (Southern Puglia). The innovative nature of the Gallery The custom of decorating the walls of monumental buildings with depictions,of maps can he traced hack to ancient Rome. This trend continued throughout the Middle Ages hal when compared with similar rooms from the time, the Vatican Gallery laid claim to undisputed originality both in terms of its considerable size (120 metres long) and more es-pecially its display concept. The maps of Italy were set out along the walls in such a way as to form a three-dimensional model of the whole peninsula. The two long walls hold the regions touching the Adriatic coast on the right and those touching the Tyrrhenian Sea on the left. The cartographer Danti prepared the cartoons of the 40 panels he and Pope.

 

  • THE PAPAL PALACE
    Hen was the first part of the Papal Palace built? In view of the ancient ,irigins of the very first building and all the extensions which have been .shied over time, it is extremely difficult to isolate the original structure. In actual fact the Popes only lived solely in the Vatican after the Avignon Exile (1305-1377) and consequently Nicholas V’s reign (1447-1433) and the construction work he carried out on the Palace coincided with the beginning of a new chapter as far as the Papal
Apostolic Palace - Vatican individual tour
Apostolic Palace – Vatican tours

residence was concerned. Even when the popes lived its the Lateran, they considered the Vatican area to be of the utmost importance and soon acquired a residence next to St. Peter’s Basilica which would allow them to be near the Prince of the Apostles’ tomb. The earliest available information dates back to the 5. century AD to the thne of Pope Symmachus (498-514 AD), who built the first buildings destra temple of St. Peter’s, that is to say along the north and south sides of the Basilica, although it seems as if these buildings fell into disrepair soon afterwards. When Pope Leo IV (847-855) had a series of great walls built, the Vatican area started to become a safer place than the Lateran, but it was only after the year 1000 that a palalium novum was constructed on Symnsa-chus’ old avorksile, extended years later by Pope Innocent Ill (Lotario di Segni, 1198-1216). This construction stood on the slopes of

THE PAPAL PALACE - VATICANO
THE PAPAL PALACE – Vatican individual tours

the mons sac-corum, a hill to the north of St. Peter’s which is now the Courtyard of St. Damasus (Cottle di San Damaso). It looked like a small fortress and had a tower which corresponds to the current Chapel of Nicholas V (Cap-pella Niccolina). The building grew considerably under Pope Nicholas III (Orsini, 1277-1280), who began the construction work near the Parrot Cotut.curd (Car-tile del Pappagallo) (1). II was at arotuld this titne that the Vatican began to be thought of as a possible permanent papal residence, especially con-sidering how important it was for a Pope to live next to St. Peter’s tomb. Consequently, the Popes began to live permanently at the Vatican and its an intentional move, none of the official acts issued by Nicholas III are dated from the Lateran. The only part of Nicholas II s building open to visitors today corresponds to the Chiaroscuro Room (Sala dei Chiaroscuri) in the Chapel of Nicholas V and the Hall of Constantine (Sala di Costantino). The Palace of Nicholas III remained unrutished. Finally, there was apomeriunz next. to Palace, a walled orchard-garden which stretched from the mons saccortun to the lop of a hill to the north which is now roughly equivalent to Bramante’s great Belvedere Courtyard. courageously tackled the problem of the deterioration of St. Peter’s Basilica, calling in the architect Leon Battist.a Alberti and, as mentioned above, lie was an active contributor to the enlargement of the Papal Palace with the construction of a wing which closed off its perimeter creating the Parrot Courtyard. The new north wing built by Nicholas V included grana-des and nine cellars on the ground floor, the rooms now occupied by the Borgia Apartment on Use second floor, and Julius II’s apartment frescoed by Raphael above.

 

  • THE CHAPEL OF NICHOLAS V  The Chapel of Nicholas V, decorated by Fra Angelico, is a splen-did commemoration of the Papal Palace’s ornamentation during Niels, alas V’s era. It is cited in historical documents as “pars-a et secrete  (small and secret) and it was destined for the private or semi-private use of the Pope. It was accessible from the Studiolo-Cubicolo (small study/private bed chamber), situated its the morn nest to the small chapel, and constituted the
    Beato Angelico - Vatican tours
    Beato Angelico – THE CHAPEL OF NICHOLAS V – The Vatican individual excursions

    Palace’s most secluded wing. This lit-tle chapel is very different from the medieval Great Chapel (Cappel-la Nlagna), undoubtedly constructed before Nicholas V’s time, which. from the second half of the 16″. century onwards, took on the llama of the Sistine Chapel (12), destined for hosting events on the litur cal and ceremonial calendar of the Papal court. The chapel octopi the third and fourth floors of the military tower constructed for I nocent III, and was then incorporated into the new Vatican residen built by Nicholas V It is a rectangular-plan chaisel with a cross va and takes its name from the Pope who ordered the area to be fresco by Friar Giovanni da Fiesole known as Fra Angelico (Beata Angelico one of the greatest painters of the 15th century. This artist’s real n was Guidolino di Pietro but when he took the habit of St. Domenic the convent of Fiesole Ise also took the name Giovanni (John). Ile came known as Angelico .d then Beato (Blessed) due to the sancti of his conduct and the celestial beauty of the figures its

    The Martyrdom of Saint Stephen - Vatican museum tour
    The Martyrdom of Saint Stephen – Vatican museum tours

    his paintings. How is the pictorial composition of the chapel organised? In line wi mediaeval customs, a painted base runs around the lower section of room with false drapes hanging from nails. Rows of compositions, one above the other, narrate the main events its the life of the deacon St. phen, the first martyr of the Eastern Church, and the deacon St. Law-rence, the first inartyT of the Western Church. Who were the deacons of the early Church? The deacons were instituted both to carry out general charitable and benevolent activities and give assistance during Baptisms 1 and Eucharistic celebrations. The Doctors of the Church such as St. Au-gustine and St. Thomas are It in the upper corners its niches. The vault is divided into four sections by the ribs of the cross vaulting, holding the Four Erangelists with their symbols: Luke and the Bull, Matthew and the Angel. Mark and the Lion and John and Ilse Eagle. The Stories of St. Stephen and St. Lawrence are divided onto two levels on the side walls and the entrance wall by a string-cotu-se cornice between the last two floors of Innocent Ill’s tower. A recent restoration returned this cycle to its original splendour, conveying the strength of the faith in which Fra Angelico deeply believed; he sass- spiritual meaning and the divine order of the universe shining its everything and he was aisle to communicate it through his paintings. These are the only paintings to have survived from among those by this great master its the Vatican.

 

  • THE SISTINE CHAPEL
    The construction of the chapel. The new chapel was built for Sixtus IV and also bears his name. it stands in the place of an earlier mediaeval building which fulfilled the saute role of Papal Chapel. Based on architectural inspections carried Cappella Sistina - Vaticanoout on the new building it has been revealed that the previous one would have been an imposing structure with the same rectangular lay-out and dimensions (40 metres long and 13 metres wide). We do not have any information about its height and type of roofing but we lassos it was situated among the very first buildings of the Papal Palace built by Pope Nicholas Ill (Orsini, 1277-1280). Besides the topographical similarity of the Sistine Chapel  to the previous building, the mediaeval walls were incorporated
  • Cappella Sistina - Vatican individual tour
    Cappella Sistina – individual tour of the Vatican

    at least up to a certain point while the Sistine brickwork starts above the windows, reaching a total height of about 20 metres. The ffenellated exterior of the Sistine Chapel reveals its double pia-pose as a chapel and a fortress. Due to repeated structural problems over the following centuries, the exterior walls were pro-gressively covered with buttresses and a new brick wall. The section illustrated below shows the various stages of the Sistine Chap-el’s construction. The barrel vaults of three rooms wills Sixtus IV’s coal of quills can be seen below the paving, the elevation of the actual Chapel is set out on three floors and the rooms under the roof, which would become the guardhouse, looked over the open projecting gangway. Who was the architect of the Sistine Chapel? In historical sources two names are mentioned – Barrio Pontelli and Giovannino de Dolci. Pontelli is named by the wellknown artists’ biographer, Giorgio Vasari, as the designer of the Chapel. Giovannino Dolci, according to archive documents, receives) payments for the Chapel’s construc-tion although he is thought to have been a sort of building contra, tor wills the capacity to set up a large construction site rather than an architect

Private guides in Rome and Florence – Rusrim.com – Tours in Italy

Individual excursions with private guide in Rome, Vatican, Tivoli, Capalbio and other central Italy towns

Excursions and walking tours in Rome with art guides

Individual excursions with private guide in Rome, Vatican, Tivoli, Roman Castles and other central Italy towns

PRIVATE  TOURS IN ROME and AROUND ROME – RUSRIM.COM
Small group tours in minivans ensuring the highest level of comfort. Our vehicles are fully equipped with all the options required for  long trips, including air conditioning.
An English speaking private guide will be at your disposal for the whole day and will arrange the most satisfactory tour with you.

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Tuscany private car tour - Chianti Toscana Italia
Tuscany private tour

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30 Car tours in Rome – Lazio, Tuscany and Umbria

Rome, Vatican, Florence, Siena, Tivoli, Roman Castles, Ostia, Arezzo, Assisi, Pompeii and Amalfi

Excursions with private guide in:
Online booking individual tours in Italy with private guides
Reservation excursions in: Rome, Tivoli, Roman castles – Castelli Romani, Viterbo, Ostia Antica, Lazio lakes, Tuscany, Florence,Siena,Chianti, Bolsena lakes, Arezzo, Assisi, Orvieto, Civita di Bagnoregio, Naples, Pompeii, Amalfi, Positano, with departure from Rome,Civitavecchia, Fiumicino and Ciampino  Rome airports
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Private walking tours in Rome

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All tours will start and finish from
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or prefered places your Hotel.
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Individual excursions in Rome with private guide in English, French, Bulgarian, Russian and Ukrainian

Walking excursion of Rome and Vatican with private guide

Individual excursion in Rome from 50 Eur/h from1 to 5 pax

С Мария на ангелитеTreviQuirinale RomaС Мария на Ангелите Рим ЕседраРепублика РимРим С Мария на Ангелите

 

Walking tour of the Vatican Museum and S Peter basilica

Individual excursion in the Vatican 50 Eur/h from1 to 5 pax

 Микеланджело ВатиканаВатикана папски апартаментиКапела Систина РусримraffaelloVaticano Rusrimрафаелло ватикана

Shopping tour in Rome

5h English excursions in Rome and Castel Romano with private guide

ROMA SHOPPINGroma shopping with private guide

 

Borghese Gallery individual excursion

3h Borghese gallery tour with private guide from 1 to 5 pax Eur 50/h

galleria borghese rusrimгалерия боргесе екскурзиякараваджо рус рим тур villa borgese laghetto rusrim toursрим-барокко-тур

 

Excursions and walking tours in Rome with art guides

Individual excursions with private guide in Rome, Vatican, Tivoli, Roman Castles and other central Italy towns

PRIVATE  TOURS IN ROME and AROUND ROME – RUSRIM.COM
Small group tours in minivans ensuring the highest level of comfort. Our vehicles are fully equipped with all the options required for  long trips, including air conditioning.
An English speaking private guide will be at your disposal for the whole day and will arrange the most satisfactory tour with you.

ROME and AROUND ROME PRIVATE TOURS

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30 Car tours in Rome – Lazio, Tuscany and Umbria

Rome, Vatican, Florence, Siena, Tivoli, Roman Castles, Ostia, Arezzo, Assisi, Pompeii and Amalfi

Excursions with private guide in:
Online booking individual tours in Italy with private guides
Reservation excursions in: Rome, Tivoli, Roman castles – Castelli Romani, Viterbo, Ostia Antica, Lazio lakes, Tuscany, Florence,Siena,Chianti, Bolsena lakes, Arezzo, Assisi, Orvieto, Civita di Bagnoregio, Naples, Pompeii, Amalfi, Positano, with departure from Rome,Civitavecchia, Fiumicino and Ciampino  Rome airports
Reservation contacts tours in Lazio – Tuscany Abruzzo with a private guide
+39 389 59 75 184  info@rusrim.com +39 329 448 3644

Florence and Siena from Rimini car tour

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Florence and Siena from Rome car tour

 

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Tuscany private tours from Rome and Florence with guide and car

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Tuscany VIP car excursions with private guide

Tuscany Daily car private tours from Rome and Florence to: Siena – Florence – Chianti – Arezzo – Argentario and Capalbio

Individual car private tours with local guide in Tuscany – 8/h to 10/h, max 8 pax Еур 60/h (from 1- to 6 pax) TUSCANY PRIVATE VIP TOURS with GUIDE and CAR or on request with only ENGLISH speaking DRIVER

Siena duomouffizzi firenzesiena duomo foto d arte

Tours of main squares, fountains, churches and museums of  Florence, Siena, Assisi and others, selected for you. The tour includes short walks on foot for visits of monuments and stops for taking pictures and a lunch or a coffee break. The sequence of monuments and their choice will display a historical and artistic evolution of Florence, Siena and other towns. As well as a perfect overview of ​​the different types of styles in the arts of architecture and sculpture and painting. Many monuments, private art collections, entrances to palaces are offered exclusively by RUSRIM. tour guides.
Car excursions in Tuscany and around Rome

Tuscany Individual private car tour from Rome to Florence – Siena – Chianti with private guide

ponte vecchio firenzefirenze s maria del fiorePiazza del campo Siena

Tuscany Individual private car tour  from Rome to Florence with private guide

firenze panorama nightuffizzi operefirenze piazza palazzo

Tuscany  private car tour  from Rome to  Siena with private guide

Siena duomosiena duomo foto d artePiazza del campo Siena

Tuscany  private car tour from Rome to  Argentario Tuscany with private guide

Orbetello ArgentarioNiki-de-Saint-Phalleargentario45-300x187

Tarot Garden – Giardino dei Tarocchi –  Niki de Saint Phalle

Influenced by Gaudí’s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia, Saint Phalle decided that she wanted to make something similar; a monumental sculpture park created by a woman. In 1979, she acquired some land in Garavicchio, Tuscany, about 100 km north-west of Rome along the coast. Niki de Saint Phalle has created a large number of “Nanas” in her career with different materials, in different shapes and dimensions. The garden, called Giardino dei Tarocchi in Italian, contains sculptures of the symbols found on Tarot cards. The garden took many years, and a considerable sum of money, to complete. It opened in 1998, after nearly 20 years of work. Her main benefactor of the period was the Agnelli family.

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chianti vinoPrivate and individual car excursions in Tuscany and tours around Rome

 

MAREMMA – TUSCANY PRIVATE TOUR

  DAILY PRIVATE TOURS WITH LOCAL PRIVATE GUIDE AND CAR FROM ROME OR FLORENCE 
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Maremma Toscana - Tuscany car excursions
The Maremma – Tuscny car excursions from Rome

The Maremma — the coastal plain that runs south from the Piombino headland — was the northern heartland of the Etruscans, whose drainage and irrigation canals turned it into an area of huge agricultural potential. Their good work, however, was largely lost under the Romans, who abandoned much of the land and left it to revert to marsh — a decline that continued through the Middle Ages, when war and further dereliction turned the region into a malarial swamp. For years, virtually the only inhabitants were migrant charcoal burners and shepherds (who in summer abandoned the infested lowlands for the hill-villages of Amiata — and the famous butteri, the cowboys who tend the region’s oxen and horses. Modern attempts to revive the Maremma were started in 1828 by Grand Duke Leopoldo of Tuscany, who …. Maremma tuscany excursion

  • Ansedonia – Tuscany daily car tour from Rome
    Ansedonia - Tuscany car tours
    Ansedonia – Tuscany car tours

    Ansedonia and Lago di Burano ANSEDONIA crouches under a rocky crag at the end of the Tombolo di Feniglia. Peppered with holiday villas, it has a long beach and, on the hill-top above the village, the remains of Cosa, founded by the Romans in 273 BC as a frontier post against the Etruscans. It was one of their most important commercial centres in the area until its population — according to the historian …… Ansedonia tour

  • Capalbio Tuscany daily car tour from Rome

    Capalbio - Car tour in Tuscany
    Capalbio – Tuscany car excursions

    Capalbio Stranded in empty country, the hill-village of CAPALBIO is virtually unknown to outsiders, though not to Rome’s cultural and political elite, many of whom have homes in the locality. Most are attracted by the almost perfectly medieval interior, which at night is a deathly quiet maze of streets straight out of the Middle Ages. Views are superb, and though there’s little to see apart from a few frescoes and the Aldobrandeschi fortifications, it definitely warrants ……. Capalbio individual excursion from Rome

  • The island of Giglio – Isola del Giglio – Tuscany Daily car tour from Rome
    Isola del Giglio - Tuscany car tours
    Isola del Giglio – Tuscany car tours

    The largest of the Tuscan islands after Elba, GIGLIO is visited by an ever-increasing number of foreign tourists and is . popular with Romans that in high season there’s standing room only on the boats. Yet it’s well worth making the effort to stay on this fabulous island. The rush is fairly short-lived, most visitors are day-trippers, and few of them explore the tracks acr6ig tliaiispoilt interior, a mix of barren rock and reforest-ed upland. The island is rich in fauna such as peregrine falcons, mouflon, kestrels and buzzards, and in wild flowers too — this is the only place outside North Africa to shel-ter wild mustard, and the sole spot in Tuscany to support the yellow flowers of artemisia …… The island of Giglio

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1010_ITa

 

VIDEO – Private tours in Tuscany from Rome by Rusrim.com Original music Adel Karanov private guide in Florence

Individual private excursions with private guide and car

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Rome – Vatican – FlorenceSiena – Tivoli Roman Castles

Excursions with private guide in:
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Roman castles private car tour

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Castelli Romani private tour

Rome wine day tour with local private guide

Individual excursion 6/h to 8/h, max 10 pax – 6 pax Еур 60/h (from 1- to 6 pax) 
Castelli Romani car tour VIDEO – Original music by Adel Karanov

Private tour around Rome with driver guide

genzano romanolago di nemiponte-ariccia

Roman lakes car tour from Rome with private guide

Our guides are also graduates having obtained painting, dance, music or literature diplomas and are active artists working in Italy.

Lakes of Rome private tour

 Tours around Rome with local guide

  • The two Roman lakes 30 km south of Rome

Along the trail that today retraces the ancient Sacred Way that connected the Appian Way to Monte Cavo, there is a place commonly known as the tocchialones: It is a natural terrace leaning towards the south and the only point of the Castelli Romani where it is possible to admire Lake Albano and Lake –  excursions around Rome by Rusrim.com

Nemi at the same time. From here, the waters reflecting the sun within the surrounding circular brim of the ancient volcanic craters, remind us of a large pair of spectacles.

Castelli Romani individual private tour – video

  • Lake Albano Laziale – Private car tour around Rome

albano lagoIt is also called the Lake of Castel Gandolfo as the waters reflect the town where the Papal residence is located. With a depth of 170 metres, it holds the record for Italian volcanic lakes and is a destination for water sports lovers with particular interest to rowing, sailing and diving. Along the perimeter of the low banks, approximately 10 kilometres, you can often find roadrunners training.

It is not only for sport that Lake Albano is frequented. Its charming landscape, rich vegetation and archaeological and historical-artistic evidence make it a pleasant and interesting spot for relaxation and educational walks.

A new boat service introduced by the Regional Natural Park of the Castelli Romani will take visitors to sail along the so-called Sentiero dellAcqua, letting them approach in a new, easy and involving way the environmental and historical-archaeological themes of Lake Albano. Further information is available on the Internet website of the Regional Natural Park of the Castelli Romani

Like all lake basins of volcanic origin, Lake Albano has no tributary and is supplied only by rainwater and some

underlying springs. In 397 BC, the Romans carried out an enormous hydraulic engineering enterprise: an artificial emissary, which allowed the waters of the Lake to reach the sea in order to control the level. Further visible evidence of Roman Age are the Doric Nymphaeum and the Bergantino Nymphaeum.

From the Medieval Age you can see the Convento di Palazzolo and a few remains belonging to the Romitorio di S. Angelo.

Musica dei Castelli Romani

 

  • Lake Nemi – Private car tour around Rome

nemi private tour rusrimIt is the smallest of the two Castelli Romani lakes and in ancient times was also called Specchio di Diana (“Diana’s Mirror”) because of the Sacred Woods and the Temple-Sanctuary of Diana Nemorensis (p.10), the Goddess of Woods, situated along the banks.

Lake Nemi was appreciated as an entertainment and holiday location of by the ancient Romans. Emperor Caligula organized enormous celebrations in honour of Diana on his two famous ships, which were anchored in the centre of this small volcanic lake. The remains of the ships can be seen today at the Museum of Roman Ships (p.11) located on the banks of the same lake.

Today, a large part of the banks of the lake is taken up by cultivations of tasty good quality strawberries for which the attractive medieval town of Nemi has become renown.

According to the Goletta dei Laghi report in 2009, it is considered possible to bath in the lake in its complete form, except for the area in front of the Museum of Roman Ships.

 

  • Castel Gandolfo – Private tour around Rome

Romantic  view from Paganelli restaurant 200 years of history

паганелли ресторант - кастел гандолфо - гид в римEnchanting for the simple elegance of the historical centre, for the blue waters reflecting the town and it is worldwide famous as the Pope’s summer residence

In a splendid position overlooking Lake Albano, Castle Gandolfo is situated on the brink of a volcanic crater. The town is known for the beauty of the surrounding nature and its elegant historical centre encircled by the wall. It has been elected one of the most beautiful villages in Italy. Above all, the small town is famous for the Papal Palace where Popes have spent their summers since the 176 century. After all, Castel Gandolfo and neighbouring towns were favourite places to build summer residences as far back as ancient Roman times, initially by patrician families and emperors and later by important clergy and noble Romans. Evidence of ancient Roman times are the remains of the Villa di Domiziano (Domitian’s Villa) to which the Ninfeo Bergantino belongs. The villas and other residences surviving today such as the Chiesa di San Tommaso di Villanova (Church of St. Thomas of Villanova) were mostly built as of the 17th century when Castel Gandolfo became property of the the Holy See. Its history is very ancient as its origins go back to the town of Alba Longa.

CASTEL GANDOLFO – VATICAN TERRITORY – PRIVATE TOUR

The summer Pope-s residence in Castelli Romani

castel gandolfo private tour

Roman Castles – Castelli Romani tour – Rusrim VIDEO with original music by Adel Karanov

Nemi – Private car tour around Rome

Nemi private tourLying deep in the sacred woods that once were dedicated to Diana Nemorensis (also known as Diana of Nemi), is a charming medieval borgo well known nowadays for the delicious strawberries Gently resting along the border of the crater and surrounded by woods, Nemi overlooks the small volcanic lake bearing the same name. The charm of this small town of ancient origins and medieval aspect with its towers reflecting on the blue water of the lake surrounded by rushes and strawberry greenhouses, has seduced poets and painters and still enchants the many tourists visiting today. The history of Nemi is ancient and important. Because of the Tempio di Diana Nemorense (Temple of Diana Nemorensis), which was situated here, the area was already considered sacred by the Latin League. Later, it was also favoured by the Romans and Caligula, who decided to keep his two big ships used as banquet halls, anchored here. What is left of the vessels is conserved in the interesting Museo delle Navi Romane (Museum of the Roman Ships).

Museum of the Roman Ships – Private tours Roman Castles

Museum of the Roman Ships

Strawberry  speciality in Nemi – Culinary tour from Rome

strawberry in the roman casles

Nemi – Castelli Romani romantic tour from Rome

romantic tour around rome

Nemi  – VIDEO Roman castles tour – Original music by Adel Karanov

The Roman Castles – Castelli Romani – Private wine tour from Rome

The hills of Castelli Romani, guardians of the Urbe Alba Longa, Tusculum and the origins of Rome

The origins of this part of the world are lost in myth, so much so that Cicero called these hills the ‘uterus of Rome’. The Castelli Romani area had a central rote in several events connected to the Eternal City: in fact it was here that Alba Longa was located. Legend has it that it was founded by Ascanius, son of Aeneas and was the capital of the famous Latium or Latin Civilisation. In the Tri century B.C.. Alba Longa was definitively conquered by Rome, after the legendary battle between the Horatii and the Curatii, and with it the whole Castelli Romani territory fell under the influence of the growing Roman civilisation. The area has always appealed to Rome’s affluent families and is full of the remains of villas and residences which belonged to noteworthy figures such as Marcus Tullius Cicero. Seneca, Domitian and Caius Julius Caesar, on the ruins of which stand entire villages. Among the most famous ancient towns in this area, the city of Tusculum cannot be forgotten. According to legend, it was founded by Telegonus, son of Homer’s mythical hero Ulysses. Located on the volcanic ridge of Mount Tuscola, the small city played a main role in the famous battle of Lake Regillo, where the Latiums were beaten by the Romans who had help from the Dioscuri Castor and Pollux themselves, or so legend has it. It yielded definitively when the Romans destroyed the city and razed it to the ground in 1191 for sheltering Frederick Barbarossa who was fighting the Romans at the time. The area where it once stood, where today lie the municipalities of Monte Compatri, Frascati, Grottaferrata and Monte Porzio Catone, was partially for grazing and partially woodland.

Villa Grazioli - Grottaferrata

From Castles to sumptuous Villas The name ‘Castelli Romani’ indicates an area that includes a group of neighbouring municipalities to the south of Rome. The origin of this name dates back to the 14m century when, after the difficult period of the so-called Avignon Papacy, the process known as ‘encastellation’ began: some residents of Rome moved to the feudal castles owned by some rich Roman families in this area.

1500s, when a period of peace began that would last two centuries and allow the urban, architectural and artistic/cultural development of the zone. The architects of this long stretch of prosperity were the powerful families who owned feuds here, such as the Colonnas, the Chigis, the Sforzas and the Borgheses. It was during this period that the appearance of the Castelli Romani area was further embellished with the construction of numerous monumental buildings: from majestic Tuscolan villas such as Villa Nlondranone. Villa Falconien. Villa Rufinella, Villa Grazioli and Villa Aldobrandini to the Pope’s summer residence in Castel Gandolfo.

villa grazioli Grottaferrata

The eastern Romani area today In 1870. having been the focus of the most powerful Roman families and Popes for centuries, the Alban Hills area was annexed to the Kingdom of Italy and a series of infrastructural works was begun which improved rail and road connections and made the area a popular destination for travellers from all over Europe. The Second World War was a particularly painful time for the Castelli municipalities which were at the centre of Anglo-American bombardment. Despite this. the economy in the Castelli Romani area recovered immediately after the conflict, especially in the agricultural sector, and has remained healthy to this day.

Culinary tours from Rome to Castelli Romani

Traditional Dishes in the Roman Castles

Touring the fraschette is an activity to which you should devote yourselves assiduously. The fraschetta is a typical inn of the Castelli Romani area, with ancient origins connected to the move of carters from the countryside to Rome and the places where they stopped for refreshment. Today most of the fraschette offer traditional Castelli Romani cuisine, while some maintain the tradition of selling only wine to their customers who bring their own food. Try the Lane Pelose in Monti Prenestini.

la-fraschetta-di-monte

This translates as Hairy Sheep which explains its humble origins among the shepherds. Just as balls of wool were pulled off the sheep to be processed, so the women pulled off pieces of dough to then roll them into strips. Today they keep the same name but the preparation technique has evolved: whole-wheat flour and water are used for the dough which is then rolled out and cut (roughly) into rough strips with the help of a knife, without too much concern for precision. They are served with many different condiments: porcini mushrooms, geld sauce or salted cod. The traditional first course in Castelli is fettuccine, which are prepared here with both wheat flour and chestnut flour (more rustic and aromatic) and served with a meat sauce or porcini mushrooms. Or, if you prefer, try the Gnocchetti a ‘coda di soreca’ (mouse tail gnocchi) a very simple pasta made from flour, water and a pinch of salt and made into an original shape that recalls a mouse tail. These are made by hand and are the

pasta tour in the roman castles

same diameter as a chunky bucatino pasta with a tapered tip. Typical of Prenestine cuisine, these are served with meat sauce, Iamb ragu and artichokes, You will also eat these gnocchetti from the typical ‘scifette’, rectangular containers made from wood: a real blast from the past. Speaking of fresh pasta, another typical dish from Castelli Romani and the municipality of Colonna in particular is pincinelle: a long round pasta. approximately 3 millimetres wide, made with a dough of flour, water and salt. Every menu also contains the local dishes that are now famous all over the world: delicious carbonara made with guanciale, egg, pepper and pecorino romano cheese; cacio e pepe whose ingredients are in the name (cacio e pepe means means pecorino romano cheese and pepper); amatriciana made with guanciale, tomato and pecorino romano cheese and gricia, similar to the amatriciana but without tomato.

The second courses are often made with lamb or abbacchio as it is known here. In Roman dialect, this means milk-lamb, which has always been a dominant feature in the culinary tradition of Castelli Romani. The Abbacchio Romano, born and raised wild or semi-wild within the borders of Lazio is also PGI protected and has a ,r and le n mea •, It is ised in meat is seasoned with garlic, rosemary, salt and pepper to make roasted abbacchio which is served with potatoes. To make abbacchio ‘alla cacciatora’ it is slow-cooked in a casserole dish or pan and flavoured with anchovies, olives and tomatoes depending on the recipe. Abbacchio ribs are eaten ‘scottadito’ style – cooked on the grill or barbecue and served immediately (the name translates as finger-burners) or breaded and fried. An ancient dish is the legendary Tordo matto di Zagarolo, rolled horsemeat with crushed lard. parsley, garlic, sage, coriander, chili and salt which is cooked in the embers, roasted or pan-cooked with local red wine. Tordo matto is made by the butchers of Zagarolo and it can also be found in some restaurants in Monti Prenestini. Other meat dishes, such as rabbit ‘alla cacciatora’ (with garlic, rosemary and vinegar) and humble sides that use the intestines or less noble parts of the animal such as pork tripe ‘alla romana’ with tomato sauce, mint and pecorino or beans with pork rind and iamb giblets. You must of course try the saltimbocca ‘alla romana’: a slice of veal pierced with a toothpick which holds a leaf of sage and a slice of prosciutto crudo, seared in oil and white wine.

Cacio e pepe pasta – Roman dishes 

pasta-cacio-pepe

In Castelli, the reinvigorating polenta accompanies boar but there is also a vegetarian version with mushrooms. broccoli and chickpeas. Not only vegetarians but also fans of the ‘sides’ menu or anybody bored of potatoes, grilled vegetables and

BIO products from the Roman Castles – Vegetables

vegetarian tour in italy

mixed salads which abound on Italian menus, will be pleased to know that sides are a serious business in Castelli Romani. This is the land of ripassate vegetables where the vegetables are tossed in a pan with oil and garlic, occasionally some chili, and potato and ramoracci (a flavoursome wild herb) frittatas. Then there is the chicory, puntarelle, artichokes, asparagus and broccoli; all with that slightly bitter taste and crunchy consistency that make them exceptional accompaniments to the hearty second courses in typical Castelli cuisine.

King of sides is of course Artichoke ‘ells romana’, which is simmered in water and seasoned with garlic, mint and parsley, or perhaps oanzane.11a made with yesterdays soaked bread, fresh tomato and oregano You might never have tried it before but it is definitely worth a taste. The name is Scottone and it’s a cheese that is served… hot! You need to climb up to Rocca Priora to try it, because this is where Scottone is still produced to this day. It is a semi-liquid cheese, similar to ricotta, obtained after boiling sheep’s milk twice. The name (burner) reminds us that it should be served while it is still very hot in an earthenware bowl.

  • Typical and Biodiverse Products in the Roman castles

Wine tour around Rome with local private guide

wine tour italyThe words ‘Castelli Romani’ immediately conjure up a getaway. You get a longing for the kind of artisanal food products that made this land so perfect for gastronomic escapism Castelli Romani was made famous by history, cinema, literature and songs. It has widespread popularity ,and offers a simple welcome and a joyful atmosphere, as if it were always Sunday here, always a trip away, always a discovery. And Frascati DOCG is the life of the party. With its straw colour and delicate aroma, it is an excellent aperitif but also a faithful companion to all the best Roman cuisine. It is the most famous wine from Castelli and is produced in various types: Frascati Doc normaie (dry) or Spumante Frascati Superiore DOCG. Cannellino di Frascati DOCG (sweet wine from late harvest). All these are made with the Malvasia del Lazio or Puntinata, Malvasia di Candice Trebbiano Bellone and Bombino grapes. Frascati DOCG wines are a gastronomical triumph of the Castelli Romani area and are also made organically in some vineyards. In line with the wine tradition in Castelli Romani, the master gelato-maker Roberto Troiani has created a line of gelato with Castelli wines.

Local BIO product made in the Castelli Romani – Rusrim.com Culinary private tour from Rome

italian food - private car tours in Rome

Using the local must, he has created delicious ice-creams that are perfect for enjoying on a stroll or in original combinations with food. The wine ice-creams are creamy, sweet and flavoursome, characterised by an acidic note that is balanced by the scent and rich and consistent flavours of he wine. There is a flavour for everyone: Cannellino (cream, Cannellino, cinnamon and almond): Crema al Passito (Malvasia passita, cream and cinnamon); Frascati Superiore (Frascati DOCG, cream and green apple) and many more.

coppiette castelli romani rusrim wine tourAmong the local gastronomic specialities, the Castelli Romann norcinerias play a fundamental role: the Coppiette are spiced strips of dried pork. The manufacture process stars with the selection of the best cuts of meat which are then cut into strips and seasoned with salt, fennel seeds. chili, wine and various spices depending on the butcher’s recipe. Once seasoned, the strips are hung to dry and folded in half, hence the name coppietta (little couple). The coppietta should be bitten into with no hesitation or concern for etiquette, just like the old inn customers used to do who. stimulated by salt and spices, would then drink copious amounts of wine. In distant times, the coppietta was the inseparable companion of shepherds and legionary soldiers as it would keen for a long time in their saddlebags. Today it is eaten before, during and after meals, in the restaurant or as street food. It is a treat that is difficult to resist.

porchetta aricciaPorchetta is also an important part of the butcher tradition. It is made with boned pork, seasoned with aromatic herbs and then cooked in the oven or, as would be more traditional, over a wood fire. It is without a doubt the most popular dish in the fraschette, but also in restaurants in Frascati and all CasteIli Romani. Fans of cheese will not be disappointed by the Monti Prenestini, These lands re suited to pastoralism and offer a great variety of cheeses made with cow, sheep and goat milk. From ricotta to varyingly seasoned cheeses, that can be bought and tasted directly from the producer Cheeses and cold cuts go excellently with bread and there is an excellent local loaf made over a wood fire in Carchitti, a hamlet of Palestrina or the ‘Fascina’ loaf made in Rocca di Papa. They say that tradition is a successful invention. Hour, sugar and egg combine to make a formidable piece of culinary art: the Giglietto di Paiestrina. This delicious flaky biscuit requires rare manual skill so very few families continue the tradition and the Giglietti can only be bought in a few bakeries in Palestrina and Castel San Pietro Romano. The history of the Giolietto began in France do 1600 and is still celebrated today at the ‘Sagra del Giglietto e delle ghiottonerie dei Monti Prenestini’ (Monti Prenestini Feast of Giglietto and Gluttony) held in the first week of August. The Giglietto di Palestrina was Slow Food certified in 2014. If you still have not had enough of desserts and surprises, make haste to Rocca di Papa, perhaps with your sweetheart in tow. That’s right, weddings are celebrated with donuts in Rocca di Papa. The Ciambella degli Sposi di Rocca di Papa (Bride and Groom Donut from Rocca di Papa) recognised as a typical and traditional product, is connected to the wedding ceremony and used as an edible favour. Tradition has it that a specific number must be given dependino on your relation to the couple: 24 to your confirmation sponsors, 18 to your godparents, 12 for grandparents, uncles and aunts, 6 for friends and neighbours. Round with a hole in the middle. Ciambella degli Sposi di Rocca di Dois is made with simple ingredients sugar, egg, liquor, lemon zest. extra v rio.b b oi’ and yeast. It is then decorated .7 ii..,..:Hcoloured sugar sprinkles. The good news is that you don’t have to get married to try one: the Rocca di Papa bakeries make plenty during the orange flower season and for the feast of the Ciambella degli Sposi di Rocca di Papa which is held on the last Sunday of September. It is said that they are auspicious for a life full of joy. And donuts apparently. which isn’t half bad. Do you feel that air of fun, irreverence and exuberance? That is the typical Castelli breeze! It is time to try the Pupazza Frascatana. an imaginative and playful biscuit that looks like a woman with three nipples and is made with flour, honey and orange scent. It was created almost as a joke in the Sixties and became a typical product of the Frascati area. But why three nipples you cry. The answer is very simple: two for milk and one for wine. Castelli wine of course! The fact that wine is just as much a part of the local tapestry as traditional recipes is quite clear when you try the Wine Donuts. They are simple farm desserts to finish off a meal. The recipe uses basic ingredients such as flour. egg, sugar, lemon zest, extra virgin olive oil, vanilla, salt and Castelli white wine. Strips are made from the dough and then joined to create the typical round form and cooked in the oven. Aromatic and crunchy, these donuts are irresistible and it is quite impossible to stop eating them. The Wine Donuts are perhaps the most famous baked product of Castelli Romani but certainly not the only one: do not forget the Serpette, flaky biscuits with a winding form that looks like a snake, or the piangiallo made with honey and dried and candied fruit If you are planning an autumn trip, the main feature of your explorations in the Monti Prenestini will be the chestnut. In the Capranica Prenestina and Rocca di Cave regions, hundreds of hectares are devoted to chestnut groves. It is here that the Mosciarella di Capranica Prenestina

Car tours from Rome to the  Roman castles – Castelli Romani wine tour

Small group tours in minivans ensuring the highest level of comfort. Our vehicles are fully equipped with all the options required for long trips, including air conditioning. An English speaking driver will be at your disposal for the whole day and will arrange the most satisfactory tour with you.

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Individual excursions with private guide in Rome, Vatican, Tivoli, Roman Castles, Abruzzo and other central Italy towns

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Argentario and Capalbio – private tour around Rome

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Private tour of Tuscany Capalbio – The SILVER PENINSULA – ARGENTARIO 

 Private and individual car tour around Rome, with local guide
Daily tour around Rome to Capalbio and Monte Argentario peninsula – Tuscany
  • Tarot Garden – Giardino dei Tarocchi –  Niki de Saint Phalle – Capalbio
  • Peninsula Monte Argentario
  • Porto Ercole
  • Porto Santo Stefano
  • Ansedonia
  • Orbetello

Individual daily private tour from Rome Eur 60 / h Max 6 pax – car with private english guide – ARGENTARIO PRIVATE VIP TOUR with GUIDE and CAR or on request with only ENGLISH speaking DRIVER

Orbetello ArgentarioNiki-de-Saint-Phalleargentario45-300x187

Tarot Garden – Giardino dei Tarocchi –  Niki de Saint Phalle

Private Tour from Rome Florence or othe towns in central Italy

Excursion from Rome to Capalbio Tuscany with car and guide
Influenced by Gaudí’s Parc Güell in Barcelona, and Parco dei Mostri in Bomarzo, as well as Palais Idéal by Ferdinand Cheval, and Watts Towers by Simon Rodia, Saint Phalle decided that she wanted to make something similar; a monumental sculpture park created by a woman. In 1979, she acquired some land in Garavicchio, Tuscany, about 100 km north-west of Rome along the coast. Niki de Saint Phalle has created a large number of “Nanas” in her career with different materials, in different shapes and dimensions. The garden, called Giardino dei Tarocchi in Italian, contains sculptures of the symbols found on Tarot cards. The garden took many years, and a considerable sum of money, to complete. It opened in 1998, after nearly 20 years of work. Her main benefactor of the period was the Agnelli family.

Capalbio – ITALY – Il Giardino dei Tarocchi – VIDEO RusRim private tours Original music by Adel Karanov 

Porto Ercole Monte Argentario20150923_155056porto santo stefano night

Argentario and Capalbio Daily tour from Rome or Florence

The Niki Charitable Art Foundation was created by Niki de Saint Phalle and became officially active upon her death. It represents the artist’s personal collection of more than 1,000 sculptures and 5,000 graphic works of art. The Foundation maintains the artwork and archives and holds the intellectual property rights for them. The Foundation acts as a link and point of contact for all projects related to Niki de Saint Phalle.

From its collection, the Foundation makes artwork available to museums throughout the world for exhibitions.

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Niki de Saint Phalle – Capalbio – Tarot Garden tour with guide in english – car tour from Rome or Florence

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Luxury dream private tour in Tuscany – Capalbio and Monte Argentario – The spirit of the  Silver peninsula – Monte Argentario
Individual car excursion from Rome to Tuscany – Monte Argentario with guide in english, french, german, bulgarian, russian, ukrainian

Monte Argentario is a promontory stretching towards the Tyrrhenian Sea in correspondence of the two southernmost islands of the Tuscan Archipelago, Giglio and Giannutri.  Argentarola cave lies close to Argentario promontory. The high quality speleothems that have been collected from this cave have allowed scientists to study the 215,000 year history of sea-level oscillations in this region.

The panoramic road Strada panoramica starts in Porto Santo Stefano allowing splendid views of the coast and the Tuscan Archipelago.

Rusrim.com Original music by Adel Karanov  – VIDEO of porto Santo Stefano Private tour from Rome with car and guide

Maremma Toscana – Art and nature in Tuscany

Maremma Toscana - Tuscany car excursions
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Tuscany nature - Individual car excursion
Incredible nature – Tuscany Individual car tours
Nature in Tuscany - excursions from Rome
Monte Argentario – Tuscany – Italy – Car tours from Rome
Monuments in Argentario – Tuscany – Central Italy
  • Sant’Erasmo church
  • San Rocco church
  • Forte Filippo
  • Convento dei Padri Passionisti
  • Chiesa di Sant’Erasmo
  • Chiesa di Santo Stefano
  • Cappella della Madonna di Loreto
  • Palazzo dei Governanti
  • Villa Italiesin
  • Villa Valdroni
  • Villa Ricci
  • Villa Rebecchini
  • Villa La Giocondiana

 

Fortifications and lighthouses
La Rocca di Porto Ercole.
Porto Santo Stefano, The spanish fortress
Porto Santo Stefano - Toscana - Fortezza Spagnola - Car tours Tuscany rusrim.com
Porto Santo Stefano – Toscana – Fortezza Spagnola – Car tours Tuscany rusrim.com
Military monuments in the silver peninsula – Tuscany
  • Fortezza Spagnola (Porto Santo Stefano)
  • Torre della Peschiera di Nassa
  • Torre di Santa Liberata
  • Torre del Calvello
  • Forte Pozzarello
  • Torre dell’Argentiera
  • Torre di Lividonia
  • Faro di Lividonia
  • Torre della Cacciarella
  • Torre di Poggio Natalino
  • Torre di Cala Grande
  • Semaforo dei Ronconali
  • Torre di Cala Moresca
  • Torre di Cala Piccola
  • Torre di Capo d’Uomo
  • Torre della Maddalena
  • Torre delle Cannelle
  • Torre Ciana
  • Torre Avvoltore
  • Torre dell’Acqua
  • Forte Stella (Porto Ercole)
  • Rocca aldobrandesca (Porto Ercole)
  • Faro di Porto Ercole
  • Forte Santa Caterina (Porto Ercole)
  • Forte Filippo (Porto Ercole)
  • Torre del Mulinaccio (Porto Ercole)

 

Curiosity – Monte Argentario Tuscany in the Italian cinema

L’Odissea was an Italian TV miniseries broadcast on RAI in 1968 and based on Homer’s Odyssey. Directed by Franco Rossi. Each episode was preceded by an introduction in which poet Giuseppe Ungaretti read some verses of the original poem. The adaptation was quite faithful, apart from the absence of the passage of the strait of Messina and the encounter with Scylla and Charybdis.

Odissea Omero Monte Argentario

Scene from the film Odissea

Local food – Monte Argentario Tuscany
Caldaro dell’Argentario
Typical fish speciality

Caldaro dell'Argentario

Fiche Maschie
Fig speciality from Porto Ercole Tuscany

local food Argentario- Tuscany car tours

Cheese in Monte Argentario

cheese tuscany - car tours rome

Ansonica Costa dell’Argentario – Wine from Argentario – Grosseto Tuscany

Wine Grosseto - Tuscany car tours

Argentarium Liquore – Padri Passionisti – Tuscany

Argentarium liquore - Tuscany car tours

 Day tours  in Italy with driver guide Lazio Rome – Tuscany Florence Pisa – Veneto Venice – Trentino – Bologna

TUSCANY PRIVATE TOURS

  • Florence private tour from Rome , with private guide and car (Tuscany car tour)
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  • San Gimignano – privat tour from Rome (Tuscany car tour)
  • Volterra – Private tour from Rome (Tuscany car tour)
  • Pisa – Private tour from Rome (Tuscany car tour)
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TUSCANY private tour – CHIANTI ITALY

Daily tours in Capalbio and Tuscany from Rome

Individual excursions with private guide

Rome, Vatican, Florence, Siena, Tivoli, Ostia, Shopping,

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Reservation Tuscany private tours – Local guide contacts in Tuscany and Rome
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Sutri – Caprarola – Vico Lake – Private tour around Rome

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LAZIO DAY TOUR FROM ROME

Labyrinth of Time: Etruscan city of Sutri, Caprarola Palace and the Vico Lake individual car private tour

North Lazio – Viterbo VT – Around Rome private car tours with local private guide

Individual Car tour from Rome Eur 60/h Max 6 pax english guide AROUND ROME INDIVIDUAL PRIVATE VIP TOUR with GUIDE and CAR or on request with only ENGLISH speaking DRIVER

Our guides are also graduates having obtained painting, dance, music or literature diplomas and are active artists working in Italy.

sutri tombe etruschegayserLago di Vico

North Lazio luxury private toursaround Rome

palazzo farnese caprarolasala delle mappesutri fontana  Vico Viterboterme papalisutri anfiteatro

Daily tour from Rome: Vico – Viterbo – Sutri – Caprarola 

Video with Original soft music  by Adel Karanov 

Vico – Sutri – Caprarola – PRIVATE TOUR AROUND ROME WITH LOCAL GUIDE AND CAR

Car tour from and around Rome

Day tours  in Italy with driver guide Lazio Rome – Tuscany Florence Pisa – Veneto Venice – Trentino – Bologna

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 Rome private tours – Rusrim.com

Private car tours  around Rome: Viterbo Bolsena Vico Sutri from Rome

Individual excursions with private guide in Rome, Vatican, Tivoli, Roman Castles and other central Italy towns

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Night private tour of Rome

+39 329 448 3644   info@rusrim.com  +39 389 59 75 184

  Night private car tour in Rome with local guide

by Adel Karanov – music composer and private guide with car in Rome

Our guides are also graduates having obtained painting, dance, music or literature diplomas and are active artists working in Italy.

Car tour of Rome with  private guide Price for the tour NOT for person Eur 60 / h Max 6 pax

Piazza Barberini, Palazzo del Quirinale, Fontana di Trevi, Colosseo, Piazza Esedra, Fontana delle Naiadi, Basilica Santa Maria degli angeli, Circus maximus, Avenitino hill, Basilica di Santa Sabina, The orange garden, Rome rose garden, Order of Malta, Pyramid of Cestius,Piazza Venezia, Campidoglio hill, Bocca della Verità, Temple of Portunus, Tempio di Ercole Vincitore, Janiculum Hill, Tempietto del Bramante, San Peter square and basilica San Pietro – MIN 3h

Rome Night private tour with driver guide – Rusrim VIDEO Original water music by Adel Karanov

Individual evening and night private tour in Rome with driver guide Eur 60 / h Max 6 pax – English local guide with car and driver in Rome You will be picked from your hotel or Fiumicino – Ciampino Rome airport. Discount for the full night private tours.

Night tour of Rome

Individual guided private tours of main squares, fountains, churches and museums of Rome selected for you. The tour includes short walks on foot for visits of monuments and stops for taking pictures and a lunch or a coffee break.The sequence of monuments and their choice will display a historical and artistic evolution of the Eternal City. As well as a perfect overview of ​​the different types of styles in the arts of architecture and sculpture and painting. Many monuments, private art collections, entrances to palaces are offered exclusively by RUSRIM. tour guides. During the guided tour you can have a break for tasting of local food preferred by Roman elite. In summer the most popular organic ice cream shop in Rome is a place to drop in.

Piazza republica roma
Piazza republica – Roma – Rome night tour with driver guide
Piazza di Spagna Rome night tour
Piazza di Spagna Rome night tour

Night Sightseeing tour in Rome

Video with original electronic water music by Adel Karanov

We also offer a:

  • FLEXIBILE PROGRAMME
  • INSIDE TOURS OF MONUMENTS
  • SMALL GROUPS OF UP TO 6 PEOPLE
  • INDIVIDUAL CAR WITH A DRIVER
  • AN EXPERIENCED GUIDE

 Night car tour in Rome with driver guide – List of monuments

Rome night tour, with private guide and car. Luxury private night tour in english, french, bulgarian, russian, and ukrainian

Piazza Barberini square – Fontana del Tritone or Triton Fountain (1642–3) sculpted by Bernini

Palazzo del Quirinale – Official residence of the President of the Italian Republic

THE TREVI FOUNTAIN by NIGHT

Trevi fountain by nightFontana di Trevi  1629 designed by Italian architect Nicola The aqueduct served the hot Baths of Agrippa, and Rome, for over four hundred years. Salvi and completed by Pietro Bracci. The Fontana di Trevi, a happy and successful marriage of classicism and baroque, was planned as an exhibition of the Acqua Vergine by Nicola Salvi under the patronage of Clement XII. Pope Urban VIII Barberini had already instructed Gian Lorenzo Bernini to «transform» the piazza and the fountain. but the project was never carried out. Set along one side of Palazzo Poli, the Fountain, which was made by Nicola Salvi between 1732 and 1763, represents an original and imaginative fusion, in the Berninian Style, of architecture, sculpture and the natural elements which contribute to the Fountain’s unique character. The theme of the sculpture is the sea. The design is dominated by a charior in the form of a shell in which the great statue of Neptune by Pietro Bracci stands, flanked in the side niches by Health and Plenty, the works of Filippo Della Valle. The charior is pulled by marine horses. who are in turn preceded by tritons. The marine divinities are placed on rocks of irregular blocks of travertine. The fountain sprawls below the facade of the palazzo behind it, which is in rigidly classicising Style, based on the triumphal arch model, with further sculptures in niches as well as in the attic storey and an elegant balustrade. The surrounding houses crowd round the splendid monument, giving the impression of an amphitheatre, while the noise of the fountain’s water can be heard From the maze of surrounding streets up to the moment when the snow-white scene appears miraculously before the astonished eyes of the visitor. The Trevi fountain VIDEO

Piazza della Repubblica  – Piazza Esedra
 Fontana delle Naiadi
Night Rome car tour
Fontana delle Naiadi – Night Rome car tour

– Basilica Santa Maria degli angeli e dei Martiri (part of the Terme di Diocleziano emperor) by Michelangelo Buonarroti

Santa Maria degli angeli

Night car tour of Rome
The colosseum – Night car tour of Rome

Colosseo – Anfiteatro Flavio – Amphitheatrum Flavium – it was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. From the moment it was built, the grandeur of the Flavian Amphitheatre has conditioned Rome’s urban landscape and it still dominates the ancient centre. Its arcaded surface was chosen as the theatrical background to the Via dei Fori lmperiali. It was the first amphitheatre to be built in Rome in the form of a monument. In the Republican age the gladiatorial games took place in the Roman Forum, where temporary wooden structures were provided for the occasion. Vespasian, the founder of the Flavian dynasty, emerged victorious from the civil war which followed Nero’s death in 69 AD. As part of a coherent political scheme, the new Emperor decided to dedicate the huge urban spaces and works of art appropriated by Nero to the public, for their enjoyment.

Circus maximus- Circo Massimo – it was the first and largest stadium in ancient Rome and its later Empire

Avenitino hill – Colle Aventino 

The Aventino hill view
Rome private evening tour
The aventino hill view – Rome private evening tour

– Basilica di Santa Sabina and Porta lignea di Santa Sabina
– The orange garden – Parco degli aranci and the romantic view of Rome in Vatican direction
– Rome rose garden – Giardino delle rose – Over 1100 varieties of roses are grown there, many of them gifts from countries around the world.

– Order of Malta square – Sovrano militare ordine di Malta Roma – Piazza Cavalieri di Malta – Sovereign Military Order of Malta (SMOM) or Order of Malta is the modern Rome-based continuation of the medieval Knights Hospitaller.   The entity retains sovereignty under international law, including permanent observer status at the United Nations,  issuing its own passports, currency and postal stamps with the Maltese cross insignia.

Piazza del Campidoglio – Night private tour of Rome

Rome private tour - piazza del campidoglio rome

Pyramid of Cestius – Piramide di Caio Cestio – ancient pyramid in Rome built about 18 BC–12 BC as a tomb for Gaius Cestius, a magistrate and member of one of the four great religious corporations in Rome, the Septemviri Epulonum. 

Best Italian ice cream shop and the old bar pasticceria

Privat evening tour of Rome - Isabella_di_Aragona_as_Mona_Lisa Raffaello
Privat evening tour of Rome – Isabella di Aragona as Mona Lisa – Raffaello

Piazza Venezia – Venezia square in ROME –  It takes its name from the Palazzo Venezia, built by the Venetian Cardinal, Pietro Barbo – later Pope Paul II , alongside the church of Saint Mark, the patron saint of Venice. The Palazzo Venezia served as the embassy of the Republic of Venice in Rome.

Colonna Traiana – Trajan’s Column – Roman triumphal column that commemorates Roman emperor Trajan’s victory in the Dacian Wars. It was probably constructed under the supervision of the architect Apollodorus of Damascus at the order of the Roman Senate. 

Mercati di Traiano – Mercatus Traiani – Trajan’s Market was probably built in 100-110 AD by Apollodorus of Damascus.

Campidoglio hill – Piazza del Campidoglio and Michelangelo square- It was the citadel (equivalent of the ancient Greek acropolis) of the earliest Romans.

Foro Romano – Roman forum panoramic view

Theatre of Marcellus – Teatro marcello – Theatrum Marcelli – The theatre was 111 m in diameter and was the largest and most important theatre in Ancient Rome; it could originally hold between 11,000 and 20,000 spectators.

Piazza della Bocca della Verità – The square lies in the ancient area of the Forum Boarium, just in front of the Tiber Island; it takes its name from the Bocca della Verità. The fountain in front of the two temples, called Fountain of the Tritons, released by Carlo Bizzaccheri. Besides the church, dating back to the late Middle Ages, the square houses the Arcus Argentariorum, the Arch of Janus, the Temple of Hercules Victor and the Temple of Portunus, a deity related to the ancient river harbour.

– Temple of Portunus – Tempio di Portuno – Its Ionic order has been much admired, drawn and engraved and copied since the 16th century (see illustration, right).  The temple owes its state of preservation from its being converted to use as a church in 872 and rededicated to Santa Maria Egyziaca (Saint Mary of Egypt).

– Tempio di Ercole Vincitore – The Temple of Hercules Victor – Hercules the Winner or Hercules Olivarius – Dating from the later 2nd century BC By 1132 the temple had been converted to a church, known as Santo Stefano alle Carozze (St. Stephen ‘of the carriages).

– Fontana dei Tritoni – This fountain should be distinguished from the similarly named nearby Triton Fountain (Fontana del Tritone) by Bernini. The fountain was completed in 1715 by architect Carlo Francesco Bizzaccheri, during the works for the accommodation of the square in front of the basilica. 

Janiculum Hill – Colle del Gianicolo – Rome panoramic view

– Tempietto del Bramante – Tempietto di San Pietro in Montorio – 1502 Temple of Bramante is considered one of the first great building of the high Reinassence. Built on the top of the Gianicolo, the tempietto (little temple) was commissioned by the King of Spain to consecrate the place in which, according to medieval tradition, Saint Peter, the martyr, founder of the Christian Church and flat pope, had been crucified. The young architeCt Bramante conceived it as a genuine martyrium in antique style. with a central plan and a circle of perimeter columns. The building must have been placed in a large square, which, however. was never built. In spite of the reduced size, the space has been planned in grandiose, monumental Style. It is evidently based on the study of the rules of harmony of the Roman Vitruvius, who advised the use of the Doric order of columns for buildings dedicated to masculine divinitics or mythological figures famous for their sum and courage. The architeCt Bramante did in Fact use the Doric order for the tempietto. giving it an air of rigour and economy, which is also due to limited use of excessive decoration and the sober harmony of the volumes.


– Fontana Paolina o Fontana dell’Acqua Paola – Il fontanone The big fountain – It was built in 1612 to mark the end of the Acqua Paola aqueduct, restored by Pope Paul V, and took its name from him. It was the first major fountain on the left bank of the River Tiber.

Vaticano – The Vatican

Rome private night tour
Vaticano – The Vatican – Rome private night tour

– San Peter square The open space which lies before the basilica was redesigned by Gian Lorenzo Bernini from 1656 to 1667, under the direction of Pope Alexander VII.
The colossal Tuscan colonnades, four columns deep, frame the trapezoidal entrance to the basilica and the massive elliptical area which precedes it.
At the center of the ovato tondo stands an Egyptian obelisk of red granite, 25.5 metres tall, supported on bronze lions and surmounted by the Chigi arms in bronze, in all 41 metres to the cross on its top. The obelisk was originally erected at Heliopolis, Egypt, by an unknown pharaoh. During the Middle Ages, the gilt ball on top of the obelisk was believed to contain the ashes of Julius Caesar.

The Lovely night in Rome with local guide

Castel Sant’ Angelo – Roma di notte

castel sant angelo Roma

The Lovely Night

Now I leave this little hut,

Where my beloved lives,

Walking now with veiled steps

Through the shadowy leaves.

Luna shines through bush and oak,

Zephyr proclaims her path,

And the birch trees bowing low

Shed incense on her track.

How beautiful the coolness

Of this lovely summer night!

How the soul fills with happiness

In this true place of quiet!

I can scarcely grasp the bliss!

Yet, Heaven, I would shun

A thousand nights like this,

If my darling granted one.

—- —- —-

Santa Lucia – Palazzo Spada – ROME PRIVATE NIGHT TOUR

Rome tour by night - santa-lucia
Rome tour by night – Santa Lucia

ROMA

ROMA Private car tours
ROME PRIVATE TOURS
EVENING CAR TOUR OF ROME WITH LOCAL GUIDE

Evening tours of Rome

ROME and AROUND ROME PRIVATE TOURS

Basilica Santa Maria Maggiore – Rome with private guide
santa maria maggiore basilica - Rome night private tours
santa maria maggiore basilica – Rome night private tour

Ambient music by Adel Karanov composer and private guide 

TUSCANY CAR PRIVATE TOURS FROM ROME

TOSCANA – ITALIA

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Day tours in Italy with driver guide Lazio Rome – Tuscany Florence Pisa – Veneto Venice – Trentino – Bologna

 

30 Daily private car tours in central Italy: Lazio – Tuscany – Umbria – Abruzzo from Rome with private guide

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Rome individual excursions with local guide

Tours in Florence, Siena, Tivoli, Roman Castles, and others towns

in

Booking tours
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