RIM

U Rimu je zabranjeno zidanje oblakodera, da grad ne bi izgubio svoj renesansni izgled.

Rim ima oko 300 crkava.
Rim je nastao na Palatinu, jednom od njegovih 7 bregova, 21.aprila 753.god. pre n.e. Osnovao ga je Romul pošto je
ubio Rema, brata blizanca iz braka kraljice Silvije i boga rata Marsa. Blizance je podigla vučica koja ih je našla
napuštene na obalama reke.
SPQR na metalnom poklopcu vodovoda – Aenatus Populasque Romanus – Rimski senat i narod.
Rim ima 2,6 mil.stan., 2 miliona automobila, 200.000 mačaka.
Karte za prevoz se kupuju na automatima ili u prodavnicama duvana (trafike su obeležene velikim slovom T).
Postoji karta koja važi 75 minuta od prve overe i upotrebljiva je za tri vožnje. Postoje i celodnevne i nedeljne.
Kafići se u Rimu zatvaraju oko 8h uveče, posle se može samo u restorane.
Restorani striktno poštuju vreme ručka (12-15h) i večere (19-23h).
Kapućino se pije do podneva. Naručiti ga kasnije je kao da ste pokazali pasoš. Razlikuju se cene ako se naruči za
šankom, za stolom u baru i napolju. Prva je najniža.
Vozači ne poštuju pešačke prelaze.
80% krađa umetnina u Evropi počinjeno je u Italiji. Ne vode dovoljno računa o nacionalnom blagu.
„Rim nije izgrađen za jedan dan.“ epigram britanskog pisca Džona Hejvuda.

Fontana Trevi – delo Nikole Salvija iz 18.veka. Bacanje novčića: ispuniće ti se želja/vratićeš se u Rim.
Koloseum je podignut u čast cara Tita Flavija Vespazijana. Može da primi 70.000 ljudi. Kažu da je rimska publika
bila agresivna, da se tada razvio „kult navijanja“. Koloseum danas nije gigantska ruševina zvog dejstva zuba
vremena, već i zato što su stotinama godina građani njegov kamen krnjili macolama i odnosili do obližnjih krečana,
gde su pravili cement.
Stepenice na Španskom trgu – stecište umetnika i boema, sagrađene kako bi vernici mogli da posećuju crkvu Trinita
dei Monti. Ima ih 136, jer su toliko meseci građene (1723-26), formalno znane kao Scelinata si Trinita dei Monti.
Foro Romanum – politički, religiozni i turistički centar, tu su se održavale nekad narodne skupštine. Forum je bio
političko, versko i komercijalno središte imperije. Tuda su centurioni nekada ulazili u grad posle svojih trijumfalnih
pohoda. Musolini ga je pre 6 decenija presekao spajajući Pjaca Veneciju sa Koloseumom. Pod forumom se
podrazumevaju sve zgrade, spomenici i ostaci drevnih ruševina. U vreme Rima, Forum je bio urbano mesto.
Prvobitno, na mestu rimskog foruma je bila močvarna dolina pored brežuljka Palatin, u kojoj su latinski naseljenici
zakopavali svoje mrtve. Tek se negde oko VI veka pre n.e. pošto je močvara isušena, dolina počela naseljavati. 490.
pre n.e. tamo su izgrađena dva hrama, posvećena bogovima Saturnu i Kastoru, što je ujedno i ubrzalo razvijanje
mesta foruma kao gradskog središta.
Kampidoljo – sedište gradske uprave, star 2500 godina.
Crkva Santa Marija Mađore – jedna od četiri vatikanske bazilike van zidina papske države.
Palazzo delle Esposizioni – jedna od najvećih gradskih umetničkih galerija.
Kvirinalea – zvanična rezidencija predsednika Italije.
Pantenon – najveći i najbolje očuvan spomenik starorimske arhitekture i vere, pagansko svetilište kasnije pretvoreno
u crkvu u kojoj su grobovi slikara Rafaela i italijanskih kraljeva.
Verovatno najlepši trg Rima – Pjaca Navona. Vertikalom elipsastog prostora dominira barokna crkva svete Agneze.
Horizontala je u znaku slavne fontane Đan Lorenca Berninija iz 17.veka posvećene rekama Dunavu, Nili, Gangu i
Rio de la Plati.
Uzvisina Monte Đanikolo – puca pogled na grad.
Muzej Vila Borgeze tone, podignut je na katakombama.
Termini – železnička stanica u Rimu, zovu je „Dinosaurus“ zbog duge, moderne fasade u travertinu i krečnjačkih
krivina na krovu. Na latinskom „thermae“ znači kupatilo (dobilo ime po Dioklecijanovim kupatilima koja su nekad
bila na tom mestu).
Aerodrom Fiumičino. Izlazna morska luka Čivitavekija.

If you have one day

It’s a tall order to try to see the Eternal City in what amounts to the blink of an eye. But if you cannot have more time here it is:
Head to Termini train station early in the morning and take the 110 Open stop-and-go bus tour. Get off at the Colosseum for a
visit, and then walk through the Roman Forum. You can then take your bus again and get off at the stop near Piazza Navona to
visit this famous Piazza. Then stroll to the nearby Pantheon and have lunch at Grappolo d’Oro–Zampanò. Enjoy some
shopping in the area after lunch before getting back on your bus. Head
to St. Peter’s Basilica, where you’ll get off to visit the church. After your visit, climb back on the bus and get off at the stop near
the Trevi Fountain for a visit to the world’s most famous fountain. Continue then toward Piazza di Spagna and Spanish Steps,
enjoying a bit of shopping on your way. Have a special dinner at La Pergola.
If you have two days
On Day 1 you can begin as in the preceding section, spending more time visiting the archaeological area, including the Palatine
Hill. In the afternoon, head for Galleria Borghese where you made your advance reservations. After your visit, stroll down
through the Pincio Gardens overlooking Piazza del Popolo, if possible at sunset. Have your aperitivohere at La Casina
Valadier. On Day 2 follow day 2 in the next section, but skip the visit inside Castel
Sant’Angelo to squeeze in a pick at Piazza Navona and Pantheon on your way to the Spanish Steps. After your visit at Trevi
Fountain, have your last dinner in Rome at La Pergola.

Colosseum and Palatine Hill

Colosseo
The Colosseum, along with St. Peter’s Basilica, is Rome’s most recognizable monument. However, “Colosseum” isn’t its official
name. Begun under the Flavian Emperor Vespasian, it was named the Amphiteatrum Flavium and was finished in A.D. 80. The
nickname came from the colossal statue of Nero that was erected nearby in the second century A.D. Estimates are that the
Colosseum could accommodate up to 73,000 spectators. The entertainment included fights between gladiators and battles with
wild animals. In the labyrinth of chambers beneath the original wooden floor of the
Colosseum, deadly weapons, vicious beasts, and gladiators were prepared for the mortal combats. (Contrary to popular belief, the
routine feeding of Christians to lions is a legend.) The Colosseum was damaged by fires and earthquakes, and eventually
abandoned; it was then used as a marble quarry for the monuments of Christian Rome until Pope Benedict XV consecrated it in
the 18th century. Next to the Colosseum is the Arch of Constantine, built in A.D. 315 to commemorate the emperor’s victory
over the pagan Maxentius in A.D. 312. Pieces from other monuments were
reused, so Constantine’s monument includes carvings honoring Marcus Aurelius, Trajan, and Hadrian. The Colosseum now
houses special exhibitions as well as performances.
Adjacent to the Colosseum is Palatine Hill, one of the prime spots in Rome: Huge blocks of brick surrounded by trees and
greenery testify mutely to what was once an enormous residential complex of patrician houses and imperial palaces, built with
the grandiose ambitions of the emperors. The throne room of the Domus Flavia was approximately 30m (100 ft.) wide by 39m
(131 ft.) long. This hill is also where Romulus drew the original square for the foundation of Rome and the first houses were
built: Excavations in the area uncovered remains that date back to the
eighth century B.C. Casa di Livia (Livia’s House) is one of the best-preserved homes. During the Middle Ages, the site was
transformed into a fortress, and during the Renaissance it again became the residence of the aristocracy, who built large villas
(the Horti Palatini, built by the Farnese on top of the palaces of Tiberius and Caligula, for example). Housed in what was the
Palace of Caesar — later transformed into a convent — the Palatine Museum is where the most precious artwork recovered
from the archaeological excavations of the Palatino is conserved, including frescoes
and sculptures (admission is included in your ticket). The ruins here are impressive but may be confusing without the lights
provided by a guided tour: we definitely recommend taking a tour, as they are cheap and make a world of difference. We also
recommend that you reserve your tickets to avoid the long lines (at the number below).
Depending on your pace and whether you visit the museum, you should consider between 1 1⁄2 and 21⁄2 hours for your visit.
See map p. 386. Colosseum: Via dei Fori Imperiali. Palatine Hill: Piazza Santa Maria
Nova 53, off Piazza del Colosseo. %06-39967700. Metro: Colosseo. Bus: Minibus 117.
Admission: 8($10) plus 2($2.40) for exhibitions. Audio guides: 4($4.80). Guided
tour 3.50($4.20). Open: Daily 9 a.m. to one hour before sunset. Ticket booth closes
one hour earlier. Closed Jan 1 and Dec 25.

Trevi Fountain
Trevi
The imposing Trevi Fountain, fronting its own little piazza, existed for centuries in relative obscurity before it became one of the
must-see sights of Rome, thanks to the film Three Coins in the Fountain. Crowded with thousands of tourists who have their
picture taken as they throw a coin into it, you’ll have to come late at night or early in the morning to have a tranquil moment to
actually appreciate the artwork. The fountain was begun by Bernini and Pietro da Cortona, but there was a 100-year lapse in the
works, and it wasn’t completed until 1751 by Nicola Salvi. The central figure is
Neptune, who guides a chariot pulled by plunging sea horses. Tritons (mythological sea dwellers) guide the horses, and the
surrounding scene is one of wild nature and bare stone.
Roman Forum
Colosseo
This was the heart of Ancient Rome’s public life, including markets, meeting places, and major religious and administrative
buildings. Gradually expanded by the various emperors, it joined the Capitoline Hill — with the
great Jupiter Temple — to the Palatine Hill — with the royal palace — along a central street: the Via Sacra (“sacred way”),
which you can still walk today. The oldest part of the forum is the Cloaca Massima, a huge drainage and sewer canal built at the
end of the seventh century B.C. under the forum to drain the existing marshes; it is still in use today. Among the ruins, the most
important standing construction is the Curia, a square building where the Roman Senate met; many of the walls were heavily
restored in 1937, but the marble-inlay floor inside is original from the third
century A.D. Near the Curia is the Arch of Septimius Severus, built in A.D. 203 to commemorate his victories. The arch
mentioned his two sons, Caracalla and Geta, but Caracalla had Geta’s name chiseled off after murdering
him. At the other end of the forum is the Arch of Titus, who reigned as emperor from A.D. 79 to 81. Nearby is the hulking form
of the fourthcentury Basilica of Constantine and Maxentius, Rome’s law courts. You can buy a map of the Forum at the
entrance to make sense of all the structures, but we really recommend taking a guided tour: The tour in
English is at 10:30 a.m. daily and it is best to make a reservation in advance. Consider about 45 minutes for a visit.
See map p. 386. Piazza Santa Maria Nova 53, off Piazza del Colosseo; and Largo
Romolo e Remo 5, off Via dei Fori Imperiali. %06-39967700. Metro: Colosseo. Bus:
Minibus 117. Admission: Free. Guided tours: 3.50($4.20). Audio guides: 4($4.80).
Open: Daily 9 a.m. to one hour before sunset.

Piazza Navona
Navona/Pantheon
The most beautiful piazza in Rome is also one of the most popular hangouts, lined with cafes and crowded with craft artists and
mimes. Built on the ruins of the Stadium of Domitian from the first century A.D., where chariot races were held (note the oval
track form), it has kept its public role to these days. Between the 17th and 19th centuries, the bottom of the square was flooded
for float parades in the summer and now it is where the traditional Epiphany market — a colorful affair full of toys and sweets —
is held during the three-week Christmas period. The piazza is dominated
by the twin-towered facade of Santa Agnese in Agone, a baroque masterpiece by Borromini, and Bernini’s Fountain of the
Four Rivers, with massive figures representing the Nile, Danube, della Plata, and Ganges — the figure with the shrouded head is
the Nile, because its source was unknown at the time. Built in 1651, it is crowned by an obelisk, a Roman copy from Domitian’s
time. Bernini also designed the figures of the Fountain of the Moor at the piazza’s south end (the tritons and other ornaments
are 19th-century copies made to replace the originals, which were moved to
the Villa Borghese lake garden).
See map p. 386. Just off Corso Rinascimento. Bus: 70 or 116 to Piazza Navona

Pantheon
Navona/Pantheon
Rome’s best-preserved monument of antiquity, the imposing Pantheon was built by the Emperor Hadrian in A.D. 125 as a temple
for all the gods (from the ancient Greek pan theon, meaning “all gods”). It was eventually saved from destruction by being
transformed into a Christian church in A.D. 609. Most of the marble floor is original, and the beautiful coffered dome, whose
5.4m (18-ft.) hole (oculus) lets in the light (and sometimes rain) of the Eternal City, is an architectural marvel which inspired
Michelangelo when he was designing the dome of St. Peter’s, though he made the basilica’s dome 0.6m (2 ft.) smaller. Inside,
you’ll find the tombs of the painter Raphael and of two of the kings of Italy. Crowds always congregate in the square in front,
Piazza della Rotonda, one of the nicest squares in Rome.
A half-hour should be enough to take in the highlights of the monument, plus another hour to soak in the atmosphere from the
terrace of one of the cafes.
See map p. 386. Piazza della Rotonda. %06-68300230. Bus: Minibus 116. Admission:
Free. Open: Mon–Sat 8:30 a.m.–7:30 p.m.; Sun 9 a.m.–6 p.m.; holidays 9 a.m.–1 p.m

The Palazzo di Venezia (formerly Palace of St. Mark) is a palazzo (palace) in central Rome, Italy, just north of the Capitoline
Hill. The original structure of this great architectural complex consisted of a modest medieval house intended as the residence of
the cardinals appointed to the Church of San Marco. In 1469 it became a residential papal palace, having undergone a massive
extension, and in 1564, Pope Pius IV, to win the sympathies of the Republic of Venice, gave the mansion to the ambassadors of
La Serenissima on condition that a part of the building should be kept as a residence for the cardinals—the Apartment Cibo—and
that the Venetian Republic should provide for the building's maintenance and future restoration. The palazzo faces Piazza
Venezia and Via del Plebiscito. It currently houses the National Museum of the Palazzo Venezia.

Trajan's Column (Italian: Colonna Traiana) is a Roman triumphal column in Rome, Italy, which 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. It is located in Trajan's Forum, built near the Quirinal Hill, north of the Roman
Forum. Completed in 113 CE, the freestanding column is most famous for its spiral bas relief, that artistically describes the epic
wars between the Romans and Dacians (101–102 and 105–106). Its design has inspired numerous victory columns, both ancient
and modern.The structure is about 30 meters (98 ft) in height, 35 meters (125 ft) including its large pedestal. The shaft is made
from a series of 20 colossal Carrara marble drums, each weighing about 32 tons, [1] with a diameter of 3.7 meters (11 ft). The 190-
meter (625 ft) frieze winds around the shaft 23 times. Inside the shaft, a spiral staircase of 185 stairs provides access to a viewing
platform at the top. The capital block of Trajan's Column weighs 53.3 tons, which had to be lifted to a height of ca. 34 m.
[2]
Ancient coins indicate preliminary plans to top the column with a statue of a bird, probably an eagle, [3] but after construction a
statue of Trajan was put in place; this statue disappeared in the Middle Ages. On December 4, 1587, the top was crowned by
Pope Sixtus V with a bronze figure of St. Peter, which remains to this day. [4] The inscription at the base of the column in finest lettering
reads:

SENATVS·POPVLVSQVE·ROMANVS
IMP·CAESARI·DIVI·NERVAE·F·NERVAE
TRAIANO·AVG·GERM·DACICO·PONTIF
MAXIMO·TRIB·POT·XVII·IMP·VI·COS·VI·P·P
AD·DECLARANDVM·QVANTAE·ALTITVDINIS
MONS·ET·LOCVS·TANT<IS·OPER>IBVS·SIT·EGESTVS

Translated, the inscription reads:The Senate and people of Rome [give or dedicate this] to the emperor Caesar, son of the divine Nerva, Nerva
Traianus Augustus Germanicus Dacicus, pontifex maximus, in his 17th year in the office of tribune, having been acclaimed 6 times as imperator,
6 times consul, pater patriae, to demonstrate of what great height the hill [was] and place [that] was removed for such great works.

The Tiber Island (Italian: Isola Tiberina, Latin: Insula Tiberina), is a boat-shaped island which has long been associated with
healing. It is an ait, and is the only island in the Tiber river, which runs through Rome. The island is located in the southern bend
of the Tiber. It is approximately 270 m. long and 67 m. wide. The island has been linked to the rest of Rome by two bridges since
antiquity, and was once called Insula Inter-Duos-Pontes which means "the island between the two bridges". here is a legend
which says that after the fall of the hated tyrant Tarquinius Superbus (510 BC), the angry Romans threw his body into the Tiber.
His body then settled onto the bottom where dirt and silt accumulated around it and eventually formed Tiber Island. Another
version of the legend says that the people gathered up the wheat and grain of their despised ruler and threw it into the Tiber,
where it eventually became the foundation of the island. In ancient times, before Christianity spread through Rome, Tiber Island
was avoided because of the negative stories associated with it. Only the worst criminals and the contagiously ill were condemned
there. This however changed when a temple was built on the island.

Trastevere is rione (region) XIII of Rome, on the west bank of the Tiber, south of Vatican City. Its name comes from the Latin
trans Tiberim, meaning literally "beyond the Tiber". The correct pronunciation is "tras-TEH-ve-ray", with the accent on the
second syllable. Its logo is a golden head of a lion on a red background, the meaning of which is uncertain. Sergio Leone, the
director of Spaghetti Westerns, grew up in Viale Glorioso (there is a marble plaque to his memory on the wall of the apartment
building), and went to a Catholic private school in the neighborhood. Ennio Morricone, the film music composer, went to the
same school, and for one year was in the same class as Sergio Leone.

Every day’s a Roman holiday

As in most of Italy, almost all shops, offices, and churches in Rome observe a siestalike midafternoon shutdown called riposo, roughly from
12:30 or 1 p.m. to 3 or 4 p.m. Figure out the few sights in town that remain open during riposo so that you can save them — and a leisurely lunch
— to fill this time. Most shops are open Monday from 4 p.m. to 7:30 or 8 p.m., and Tuesday through Saturday from 9 a.m. to 1 p.m. and again
from 4 p.m. to 7:30 or 8 p.m. Food shops are generally open Monday mornings but closed Thursday afternoons. However, more and more stores
in the historic district are posting orario continuato (“no-stop”) signs and staying open through riposo.

VATIKAN
0,44km, oko 1000 stanovnika, od čega su dve trećine muškarci. Većina stanovnika su Italijani, ali ima i 90
Švajcaraca (garda). Vatikan ima sopstvenu železničku stanicu, poštu, radio stanicu, štampariju, električnu centralu i
novčanu jedinicu.
Centralni deo Vatikana je papski dvorac čija je gradnja počela 1146.godine, a rezidencija je postala 1377.
Ogroman kapital u inostranstvu - u samoj Italiji Vatikan kontroliše više od 150 preduzeća. U Vatikanu ima više od
150 banaka.
Bazilika Svetog Petra – centralna lađa je duga 250m, široka preko 100m, visine 150m. Baldachino premašuje
polovinu visine Nijagarinih vodopada. Pijeta.

St. Peter’s Basilica

San Pietro - In 324, Emperor Constantine commissioned a sanctuary to be built on the site of St. Peter’s tomb. The first apostle
was thought to have been buried here under a simple stone, and excavation and studies commissioned by the Vatican under the
Basilica have confirmed that thesis. The original basilica stood for about 1,000 years, but with its accrued importance and
stability, the Papacy decided it was time for renovations. Works begun in 1503 following designs by the architects Sangallo and
Bramante. Then Michelangelo was appointed to finish the magnificent dome in 1547 but he died — in 1564 — before seeing its
work completed, and his disciple Giacomo della Porta finished the job. The inside of the basilica is almost too huge to take in;
walking from one end to the other is a workout, and the opulence will overpower you. On the right as you enter is Michelangelo’s
exquisite Pietà, created when the master was in his early 20s. (Because of an act of vandalism in the 1970s, the statue is kept
behind reinforced glass.) Dominating the central nave is Bernini’s 29m-tall (96-ft.) baldaquin, supported by richly decorated
twisting columns. Completed in 1633, it was criticized for being excessive and because the bronze was supposedly taken from
the Pantheon. The canopy stands over the papal altar, which in turn stands over the symbolic tomb of St. Peter. A bronze statue
of St. Peter (probably by Arnolfo di Cambio, 13th century) marks the tomb; its right foot has been worn away by the millions of
pilgrims kissing it in the traditional devotional gesture to salute the pope. By the apse, above an altar, is the bronze throne
sculpted by Bernini to house the remains of what is, according to legend, the chair of St. Peter.

To visit Michelangelo’s dome and marvel at the astounding view, you have to climb some 491 steps. Make sure that you’re
ready and willing to climb, however, because after you’ve started up, you’re not allowed to turn around and go back down. If you
want to take the elevator as far as it goes, it’ll save you 171 steps. You have to make a reservation for the elevator when you buy
your ticket to enter the dome (you’ll pay an additional 1/$1.20). On busy days, expect to wait in line to get a lift. Beneath the
basilica are grottoes, extending under the central nave of the church. You can visit them and wander among the tombs of popes.
The excavations proceed farther down, to the paleo-Christian tombs and architectural fragments of the original basilica that have
been found here, but you need to apply in writing at least three weeks beforehand to arrange for a visit. Plan on at least two hours
to see the entire basilica.
See map p. 386. Piazza San Pietro, % 06-69883712. Bus: 62 or 64 to Via della
Conciliazione. Metro: Ottaviano/San Pietro. Take Viale Angelico to the Vatican.
Admission: Basilica and grottoes free; dome 4($4.80), with elevator 5($6). Open:
Oct–Mar basilica daily 7 a.m.–6 p.m., dome daily 8 a.m.–4:45 p.m.; Apr–Sept basilica
daily 7 a.m.–7 p.m., dome daily 8 a.m.–5:45 p.m.; grottoes daily 8 a.m.–5 p.m.

Vatican City issues its own coins. It has used the euro as its currency since 1 January 1999, owing to a special agreement with the
European Union (council decision 1999/98/CE). Euro coins and notes were introduced in 1 January 2002—the Vatican does not
issue euro banknotes. Issuance of euro-denominated coins is strictly limited by treaty, though somewhat more than usual is
allowed in a year in which there is a change in the papacy. [34] Because of their rarity, Vatican euro coins are highly sought by
collectors.

Апостолска палата (итал. Palazzo Apostolico) је званична резиденција папе која се налази у Ватикану. Због тога се често
назива и као Папска (итал. Palazzi Papali) или Ватиканска палата (итал. Palazzi Vaticani). Палату чине комплекс
грађевина које су изграђене у периоду између XII и XIX века. Између осталог у њој се налазе Папски апартман, Владине
и црквене канцеларије, капеле, Ватикански музеј и Ватиканска библиотека. Поглавар Римокатоличке и Гркокатоличке
цркве данас живи у просторијама које су некада користиле слуге. [1] Комплекс има преко 1.000 соба међу којима су и
Сикстинска капела и Рафаелове собе.

Sikstinska kapela - Sikstinska kapela ima veliko simboličko značenje za instituciju Pape i koristi se za velike ceremonije kao što
je izbor i proglašenje novog Pape. U to vrijeme zidovi kapele su već bili oslikani freskama značajnih slikara kvatročenta, a
zadatak Mikelanđela je bio da oslika njen strop. Za početak, Mikelanđelo je planirao da naslika dvanaest apostola, predstvaljajući
ih kao individualne figure, bez dramatizacije. U početku Mikelanđelo nije bio nimalo oduševljen projektom i smatrao je da je pao
na njegova leđa kao posljedica zavjere njegovih protivnika. Činio je sve da ga izbjegne. Govorio je Papi da on u stvari i nije
slikar, nego vajar, kao i da će mu ako prihvati projekat, biti potreban veliki broj pomoćnika iz Firence. Pošto je Julije II insistirao,
Mikelanđelo je počeo da radi skicu po kojoj je strop trebao da bude oslikan figurama dvanaest apostola. Ali odjednom je
promjenio mišeljenje i zatvorio se u kapelu, ne dozovljavajući pristup nikome sem Pape i krenuo da radi frenetičnim ritmom,
stvarajući u periodu od četiri godine jedno od najspetakularnijih djela renesanse i istorije umjetnosti. [1]Konačni dizajn
kompozicije predstavlja biblijsku priču postanka svijeta, koja počinje sa momentom u kojem Bog razdvaja svjetlost od tame,
nastavljajući se sa pričom o Adamu i Evi i završava se pričom o Nojevom potopu. Scene biblijskih priča iz Starog zavjeta, među
kojima su one o jevrejskom kralju Davidu i Mojsiju, predstavljeni su u ćoškovima kompozicione strukture, a slike proroka, sibila,
(drevnih proročica) i Hristovih predaka, smještene su u okvirima iznad prozora. Stvaranje Adama je izuzetna fuzija forme i
sadržine. Adam je predstvaljen u opuštenom ležećem položaju blago na desnom boku, podupirući se desnom podlakticom sa
ispruženom lijevom rukom prema takođe ispruženoj ruci Boga Oca.

Strašni sud
Godine 1534., Mikelanđelo se poslije skoro pola vijeka vratio fresko slikarstvu. Tema ove njegove posljednje freske je Strašni
sud, koju je za Sikstinsku kapelu naručio tadašnji papa Pavle III. Riječ je o omiljenoj temi za velike zidove italijanskih crkava u
Srednjem vijeku, koja je već do kraja 15. vijeka izašla iz mode. Po nekim interpretacijama, novo interesovanje za Strašni sud
dolazi od impulsa Kontrareformacije koja se odvijala uz podršku Pavla III. Slikarski stil ovog Mikelanđelovog djela je vidno
drugačiji od onog kojim se služio prije četvrt vijeka. Shema kolorita je jednostavnija i čine ga smeđkasti tonaliteti tijela, nasuprot
jasne plave boje. Figure su sa manje energije i njihove forme su manje artikulisane, a torzoi izgledaju kao pojednostavljene mase
mesa bez kontura. Pijeta je jedno od najznačajnijih ranih Mikelanđelovih djela (1498. godine), koja se danas nalazi u bazilici
svetog Petra u Vatikanu. Ime Pijeta se ne odnosi na specifično djelo, nego na zajedničku tradicionalnu vrstu hrišćanske
ikonografije, od kojih je ova Mikelanđelova verzija bez sumnje najistaknutiji primjer. Izvučena iz konteksta narativnih scena
žalosti poslije Hristove smrti, grupa od dvije figure je komponovana sa idejom da u posmatraču probudi pokajničku molitvu za
grijehove koji su bili motiv njegove žrtveničke smrti. Ovaj tip ikonografije je bio dosta prisutan u Francuskoj i na sjeveru Evrope,
a daleko manje u Italiji. Djelo je naručio francuski kardenal Žan Bilere de Lagraula kao dio njegovog spomenika u kapeli sv.
Petronila, koja se nalazila u prethodnom zdanju bazilike sv. Petra. Ikonografska inovacija u Mikelanđelovom pristupu temi, za
razliku od njegovih kolega sa sjevera, nalazi se u činjenici da odustaje da prikaže tragove mučenja na tijelu Hrista, kao i u
izbjegavanju dramatizma u licu i pokretu Djevice. Sa tehničke strane, problem za Mikelanđela se sastojao u iznalaženju načina
„oslobađanja“ dvaju figura iz jednog mermernog bloka, a rezultat je veoma neuobičajen primjerak u istoriji umjetnosti. Tretirao
je grupu kao jednu čvrstu i kompaktnu masu kao i u ranijim djelima, što čini da ostavlja veoma snažan i upečatljiv utisak. Takođe
je obratio pažnju na neizbježne kontraste koji razjašnjavaju ikonografsku strukturu: muško i žensko, vertikalno i horizontalno,
nag i odjevena, mrtav i živa. Mikelanđelo se vraća u Firencu u proljeće 1501. godine, nakon što je isklesao Baha za svog
prijatelja Jakopa Galija i Pijetu za francuskog kardenala. Ostao je u Rimu dovoljno dugo da vidi Pijetu instaliranu u kapeli
Francuskih kraljeva u starom zdanju bazilike sv. Petra, i stiže u Firencu na vrijeme kako bi se posvetio najvećem konkursu
skulpture od vremena kada je Đovani di Biči, osnivač bogatstva Medičija, odlučio da pokrene konkurs za izradu vrata gradske
Krstionice i dodijelio posao Gibertiju.

Sistine Chapel

Creation of Adam by Michelangelo

Sistine Chapel (Italian: Cappella Sistina) is the best-known chapel in the Apostolic Palace, the official residence of the Pope in
Vatican City. It is famous for its architecture, evocative of Solomon's Temple of the Old Testament, and its decoration which has
been frescoed throughout by the greatest Renaissance artists including Michelangelo, Raphael, Bernini, and Sandro Botticelli.
Under the patronage of Pope Julius II, Michelangelo painted 12,000 square feet (1,100 m2) of the chapel ceiling between 1508
and 1512. He resented the commission, and believed his work only served the Pope's need for grandeur. However, today the
ceiling, and especially The Last Judgement, are widely believed to be Michelangelo's crowning achievements in painting.The
chapel takes its name from Pope Sixtus IV, who restored the old Cappella Magna between 1477 and 1480. During this period a
team of painters that included Pietro Perugino, Sandro Botticelli and Domenico Ghirlandaio created a series of frescoed panels
depicting the life of Moses and the life of Christ, offset by papal portraits above and trompe l’oeil drapery below. These paintings
were completed in 1482, and on August 15, 1483,[1] Sixtus IV consecrated the first mass in honor of Our Lady of the
Assumption.Since the time of Sixtus IV, the chapel has served as a place of both religious and functionary papal activity. Today
it is the site of the Papal conclave, the process by which a new Pope is selected.

History

The Sistine Chapel is best known for being the location of Papal conclaves; it is, however, the physical chapel of the Papal
Chapel. At the time of Pope Sixtus IV in the late 15th century, this corporate body comprised about 200 people, including clerics,
officials of the Vatican and distinguished laity. There were 50 occasions during the year on which it was prescribed by the Papal
Calendar that the whole Papal Chapel should meet. [2] Of these 50 occasions, 35 were masses, of which 8 were held in Basilicas, in
general St. Peter's, and were attended by large congregations. These included the Christmas Day and Easter masses, at which the
Pope himself was the celebrant. The other 27 masses could be held in a smaller, less public space, for which the Cappella
Maggiore was used before it was rebuilt on the same site as the Sistine Chapel.
The Cappella Maggiore derived its name, the Greater Chapel, from the fact that there was another chapel also in use by the Pope
and his retinue for daily worship. At the time of Pope Sixtus IV, this was the Chapel of Pope Nicholas V, which had been
decorated by Fra Angelico. The Cappella Maggiore is recorded as existing in 1368. According to a communication from Andreas
of Trebizond to Pope Sixtus IV, by the time of its demolition to make way for the present chapel, the Cappella Maggiore was in a
ruinous state with its walls leaning.[3]The present chapel, on the site of the Cappella Maggiore, was designed by Baccio Pontelli
for Pope Sixtus IV, for whom it is named, and built under the supervision of Giovannino de Dolci between 1473 and 1481. [4] The
proportions of the present chapel appear to closely follow those of the original. After its completion, the chapel was decorated
with frescoes by a number of the most famous artists of the High Renaissance, including Botticelli, Ghirlandaio, Perugino, and
Michelangelo.[3]The first mass in the Sistine Chapel was celebrated on August 9, 1483, the Feast of the Assumption, at which
ceremony the chapel was consecrated and dedicated to the Virgin Mary. [5]The Sistine Chapel has maintained its function to the
present day, and continues to host the important services of the Papal Calendar, unless the Pope is travelling. There is a
permanent choir, the Sistine Chapel Choir, for whom much original music has been written, the most famous piece being
Allegri's Miserere.[6]

[edit] Papal Conclave

One of the primary functions of the Sistine Chapel is as a venue for the election of each successive pope in a conclave of the
College of Cardinals. On the occasion of a conclave, a chimney is installed in the roof of the chapel, from which smoke arises as
a signal. If white smoke appears, created by burning the ballots of the election, a new Pope has been elected. If a candidate
receives less than a two-thirds majority, the cardinals send up black smoke—created by burning the ballots along with wet straw
and chemical additives—it means that no successful election has yet occurred. [7]

The conclave also provides for the cardinals a space in which they can hear mass, and in which they can eat, sleep, and pass time
abetted by servants. From 1455, conclaves have been held in the Vatican; until the Great Schism, they were held in the
Dominican convent of Santa Maria sopra Minerva. [8]Canopies for each cardinal-elector were once used during conclaves—a sign
of equal dignity. After the new Pope accepts his election, he would give his new name; at this time, the other Cardinals would tug
on a rope attached to their seats to lower their canopies. Until reforms instituted by Saint Pius X, the canopies were of different
colours to designate which Cardinals had been appointed by which Pope. Paul VI abolished the canopies altogether, since, under
his papacy, the population of the College of Cardinals had increased so much to the point that they would need to be seated in
rows of two against the walls, making the canopies obstruct the view of the cardinals in the back row.

[edit] Exterior

The Chapel is a high rectangular brick building, its exterior unadorned by architectural or decorative details, as common in many
Medieval and Renaissance churches in Italy. It has no exterior facade or exterior processional doorways, as the ingress has
always been from internal rooms within the Papal Palace, and the exterior can be seen only from nearby windows and light-wells
in the palace. The internal spaces are divided into three stories of which the lowest is huge, with a robustly vaulted basement with
several utilitarian windows and a doorway giving onto the exterior court.

Above is the main space, the Chapel, the internal measurements of which are 40.9 metres (134 ft) long by 13.4 metres (44 ft)
wide—the dimensions of the Temple of Solomon, as given in the Old Testament [9]. The vaulted ceiling rises to 20.7 metres
(68 ft). The building had six tall arched windows down each side and two at either end. Several of these have been blocked, but
the chapel is still accessible. Above the vault rises a third story with wardrooms for guards. At this level, an open projecting
gangway was constructed, which encircled the building supported on an arcade springing from the walls. The gangway has been
roofed as it was a continual source of water leaking in to the vault of the Chapel.Subsidence and cracking of masonry such as
must also have affected the Cappella Maggiore has necessitated the building of very large buttresses to brace the exterior walls.
The accretion of other buildings has further altered the exterior appearance of the Chapel.

[edit] Interior

As with most buildings measured internally, absolute measurement is hard to ascertain. However, the general proportions of the
chapel are clear to within a few centimeters. The length is the measurement and has been divided by three to get the width and by
two to get the height. Maintaining the ratio, there were six windows down each side and two at either end. The screen that divides
the chapel was originally placed halfway from the altar wall, but this has changed. Clearly defined proportions were a feature of
Renaissance architecture and reflected the growing interest in the Classical heritage of Rome.The ceiling of the chapel is a
flattened barrel vault springing from a course that encircles the walls at the level of the springing of the window arches. This
barrel vault is cut transversely by smaller vaults over each window, which divide the barrel vault at its lowest level into a series
of large pendentives rising from shallow pilasters between each window. The barrel vault was originally painted brilliant-blue
and dotted with gold stars, to the design of Piermatteo Lauro de' Manfredi da Amelia. [3] The pavement is in opus alexandrinum, a
decorative style using marble and coloured stone in a pattern that reflects the earlier proportion in the division of the interior and
also marks the processional way from the main door, used by the Pope on important occasions such as Palm Sunday.The screen
or transenna in marble by Mino da Fiesole, Andrea Bregno, and Giovanni Dalmata divides the chapel into two parts. [10]
Originally these made equal space for the members of the Papal Chapel within the sanctuary near the altar and the pilgrims and
townsfolk without. However, with growth in the number of those attending the Pope, the screen was moved giving a reduced area
for the faithful laity. The transenna is surmounted by a row of ornate candlesticks, once gilt, and has a wooden door, where once
there was an ornate door of gilded wrought iron. The sculptors of the transenna also provided the cantoria or projecting choir
gallery.

[edit] Raphael's tapestries

During occasional ceremonies of particular importance, the side walls are covered with a series of tapestries, the originals of
which were designed for the chapel by Raphael and depict events from the Life of St. Peter and the Life of St. Paul as described in
the Gospels and the Acts of the Apostles: the full-size preparatory cartoons for seven of the ten tapestries are known as the
Raphael Cartoons and are in London.[11] Raphael's tapestries were looted during in the Sack of Rome in 1527 and were either
burnt for their precious metal content or were scattered around Europe. In the late 20th century, a set was reassembled (several
further sets had been made) and displayed again in the Sistine Chapel in 1983.

[edit] Decoration

Diagram of the fresco decoration of the walls and ceiling of the Sistine Chapel comprises frescoes and a set of tapestries. They
are the work of different artists and are part of a number of different commissions, some of which were in conflict with each
other.

The walls are divided into three main tiers. The lower is decorated with frescoed wall hangings in silver and gold. The central tier
of the walls has two cycles of paintings, which complement each other, The Life of Moses and The Life of Christ. They were
commissioned in 1480 by Pope Sixtus IV and executed by Ghirlandaio, Botticelli, Perugino, and Cosimo Roselli and their
workshops. The upper tier is divided into two zones. At the lower level of the windows is a Gallery of Popes painted at the same
time as the Lives. Around the arched tops of the windows are areas known as the lunettes which contain the Ancestors of Christ,
painted by Michelangelo as part of the scheme for the ceiling.The ceiling, commissioned by Pope Julius II and painted by
Michelangelo between 1508 to 1512, has a series of nine paintings showing God's Creation of the World, God's Relationship with
Mankind, and Mankind's Fall from God's Grace. On the large pendentives that support the vault are painted twelve Biblical and
Classical men and women who prophesied that God would send Jesus Christ for the salvation of mankind.In 1515, Raphael was
commissioned by Pope Leo X to design a series of ten tapestries to hang around the lower tier of the walls. [12] Raphael was at the
time twenty-five and an established artist in Florence, with a number of wealthy patrons, yet he was ambitious, and keen to make
an entry into the patronage of the papacy.[13] Raphael was attracted by the ambition and energy of Rome.Raphael saw the
commission as an opportunity to be compared with Michelangelo, while Leo saw hangings as his answer to the ceiling of Julius.
[14]
The subjects he chose were based on the text of the Acts of the Apostles. Work began in mid-1515. Due to their large size,
manufacture of the hangings was carried out in Brussels, and took four years under the hands of the weavers in the shop of Pieter
van Aelst.[15]Although Michelangelo's complex design for the ceiling was not quite what his patron, Pope Julius II, had in mind
when he commissioned Michelangelo to paint the Twelve Apostles, the scheme displayed a consistent iconographical pattern.
However, this was disrupted by a further commission to Michelangelo to decorate the wall above the altar with The Last
Judgement, 1537-1541. The painting of this scene necessitated the obliteration of two episodes from the Lives, several of the
Popes and two sets of Ancestors. Two of the windows were blocked and two of Raphael's tapestries became redundant.

[edit] Frescoes

Scenes from the Life of Moses, Detail of the 1481-1482 fresco by Sandro Botticelli

[edit] Christ Giving the Keys to St. Peter

Among Perugino's frescoes in the Chapel, the Christ Giving the Keys to St. Peter is stylistically the most instructive. This scene is
a reference to Matthew 16[16] in which the "keys of the kingdom of heaven" are given to St.Peter. [17] These keys represent the
power to forgive and to share the word of God thereby giving them the power to allow others into heaven. The main figures are
organized in a frieze in two tightly compressed rows close to the surface of the picture and well below the horizon. [18] The
principal group, showing Christ handing the silver and gold keys to the kneeling St. Peter, is surrounded by the other Apostles,
including Judas (fifth figure to the left of Christ), all with halos, together with portraits of contemporaries, including one said to
be a self-portrait (fifth from the right edge). The flat, open square is divided by coloured stones into large foreshortened
rectangles, although they are not used in defining the spatial organization. Nor is the relationship between the figures and the
felicitous invention of the porticoed Temple of Solomon that dominates the picture effectively resolved. The triumphal arches at
the extremities appear as superfluous antiquarian references, suitable for a Roman audience. Scattered in the middle distance are
two secondary scenes from the life of Christ, including the Tribute Money on the left and the Stoning of Christ on the right.

This fresco is located in the fifth compartment in the northern wall.

The style of the figures is inspired by Andrea del Verrocchio. [19] The active drapery, with its massive complexity, and the figures,
particularly several apostles, including St. John the Evangelist, with beautiful features, long flowing hair, elegant demeanour, and
refinement recall St Thomas from Verrocchio's bronze group in Orsanmichele. The poses of the actors fall into a small number of
basic attitudes that are consistently repeated, usually in reverse from one side to the other, signifying the use of the same cartoon.
They are graceful and elegant figures who tend to stand firmly on the earth. Their heads are smallish in proportion to the rest of
their bodies, and their features are delicately distilled with considerable attention to minor detail.The octagonal temple of
Jerusalem[20] and its porches that dominates the central axis must have had behind it a project created by an architect, but
Perugino's treatment is like the rendering of a wooden model, painted with exactitude. The building with its arches serves as a
backdrop in front of which the action unfolds. Perugino has made a significant contribution in rendering the landscape. The sense
of an infinite world that stretches across the horizon is stronger than in almost any other work of his contemporaries, and the
feathery trees against the cloud-filled sky with the bluish-gray hills in the distance represent a solution that later painters would
find instructive, especially Raphael.The fresco was believed to be a good omen in papal conclaves: superstition held that the
cardinal who (as selected by lot) was housed in the cell beneath the fresco was likely to be elected. Contemporary records
indicate at least three popes were housed beneath the fresco during the conclaves that elected them: Pope Clement VII, Pope
Julius II, and Pope Paul III.[21]

[edit] Michelangelo

Michelangelo Buonarroti was commissioned by Pope Julius II in 1508 to repaint the vault, or ceiling, of the Chapel. It was
originally painted as golden stars on a blue sky. The work was completed between 1508 and 2 November 1512. [22] He painted the
Last Judgment over the altar, between 1535 and 1541, on commission from Pope Paul III Farnese. [23]

Left half of the ceiling, after restoration

Michelangelo was intimidated by the scale of the commission, and made it known from the outset of Julius II's approach that he
would prefer to decline. He felt he was more of a sculptor than a painter, and was suspicious that such a large-scale project was
being offered to him by enemies as a set-up for an inevitable fall. For Michelangelo, the project was a distraction from the major
marble sculpture that had preoccupied him for the previous few years. [24]The sources of Michelangelo's inspiration are not easily
determined; both Joachite and Augustinian theologians were within the sphere of Julius influence. Nor is known the extent to
which his own hand physically contributed to the actual physical painting of any of the particular images attributed to him. [25]

[edit] Ceiling

The iconic image of the Hand of God giving life to Adam

To be able to reach the ceiling, Michelangelo needed a support; the first idea was by Julius' favoured architect Donato Bramante,
who wanted to build for him a scaffold to be suspended in the air with ropes. However, Bramante did not successfully complete
the task, and the structure he built was flawed. He had perforated the vault in order to lower strings to secure the scaffold.
Michelangelo laughed when he saw the structure, and believed it would leave holes in the ceiling once the work was ended. He
asked Bramante what was to happen when the painter reached the perforations, but the architect had no answer.The matter was
taken before the Pope, who ordered Michelangelo to build a scaffold of his own. Michelangelo created a flat wooden platform on
brackets built out from holes in the wall, high up near the top of the windows. He stood on this scaffolding while he painted.
[26]
Michelangelo used bright colours, easily visible from the floor. On the lowest part of the ceiling he painted the ancestors of
Christ. Above this he alternated male and female prophets, with Jonah over the altar. On the highest section, Michelangelo
painted nine stories from the Book of Genesis. He was originally commissioned to paint only 12 figures, the Apostles. He turned
down the commission because he saw himself as a sculptor, not a painter. The Pope offered to allow Michelangelo to paint
biblical scenes of his own choice as a compromise. After the work was finished, there were more than 300. His figures showed
the creation, Adam and Eve in the Garden of Eden, and the Great Flood.

[edit] Last Judgment

St Bartholomew displaying his flayed skin (a self-portrait by Michelangelo) in the Last Judgement

The Last Judgment was painted by Michelangelo between 1535–1541, after the Sack of Rome of 1527 by mercenary forces from
the Holy Roman Empire, which effectively ended the Roman Renaissance, just before the Council of Trent. The work was
constructed on a grand scale, and spans the entire wall behind the altar of the Sistine Chapel. The Last Judgment is a depiction of
the second coming of Christ and the Apocalypse. The souls of humanity rise and descend to their fates as judged by Christ and
his saintly entourage. The wall on which The Last Judgment is painted looms out slightly over the viewer as it rises, and is meant
to be somewhat fearful and to instill piety and respect for God's power. In contrast to the other frescoes in the Chapel, the figures
are heavily muscled and appear somewhat tortured—even the Virgin Mary at the center seems to be cowering before God.The
Last Judgment was an object of a bitter dispute between Cardinal Carafa and Michelangelo. Because he depicted naked figures,
the artist was accused of immorality and obscenity. A censorship campaign (known as the "Fig-Leaf Campaign") was organized
by Carafa and Monsignor Sernini (Mantua's ambassador) to remove the frescoes. When the Pope's own Master of Ceremonies
Biagio da Cesena said "it was mostly disgraceful that in so sacred a place there should have been depicted all those nude figures,
exposing themselves so shamefully, and that it was no work for a papal chapel but rather for the public baths and taverns," [27]
Michelangelo worked da Cesena's semblance into the scene as Minos, judge of the underworld. It is said that when he
complained to the Pope, the pontiff responded that his jurisdiction did not extend to hell, so the portrait would have to remain.The
genitalia in the fresco were later covered by the artist Daniele da Volterra, [28] whom history remembers by the derogatory
nickname "Il Braghettone" ("the breeches-painter").

[edit] Restoration and controversy

Michelangelo's The Last Judgment

The Sistine Chapel's ceiling restoration began on November 7, 1984. The restoration complete, the chapel was re-opened to the
public on April 8, 1994. The part of the restoration in the Sistine Chapel that has caused the most concern is the ceiling, painted
by Michelangelo. The emergence of the brightly-coloured Ancestors of Christ from the gloom sparked a reaction of fear that the
processes being employed in the cleaning were too severe.The problem lies in the analysis and understanding of the techniques
utilised by Michelangelo, and the technical response of the restorers to that understanding. A close examination of the frescoes of
the lunettes convinced the restorers that Michelangelo worked exclusively in "buon fresco"; that is, the artist worked only on
freshly-laid plaster and each section of work was completed while the plaster was still in its fresh state. In other words,
Michelangelo did not work "a secco"; he did not come back later and add details onto the dry plaster.The restorers, by assuming
that the artist took a universal approach to the painting, took a universal approach to the restoration. A decision was made that all
of the shadowy layer of animal glue and "lamp black", all of the wax, and all of the overpainted areas were contamination of one
sort or another: smoke deposits, earlier restoration attempts, and painted definition by later restorers in an attempt to enliven the
appearance of the work. Based on this decision, according to Arguimbau's critical reading of the restoration data that has been
provided, the chemists of the restoration team decided upon a solvent that would effectively strip the ceiling down to its paint-
impregnated plaster. After treatment, only that which was painted "buon fresco" would remain.