According to tradition the St. Peter's Basilica (Saint Peter) is built on the tomb of the apostle Peter, crucified and sentenced around 60 AC, on the place that the pontificate Anacleto wanted to signal with the building of a "trophy".
It was only with the empire of Constantine and the recognition of the Christian religion as official cult of the Roman Empire that the foundations of the paleochristian basilica of St. Peter were realized.
The works, started in 315 AC, were finished about eleven years later, when Pope Silvestro II consecrated the church with a solemnly ceremony. After more than a millennium of history the building, in which were also hosted some frescoes of Giotto, had reached a degree of heavy degradation when Pope Nicola V decided a radical restoration entrusted to Leon Battista Alberti and Bernardo Rossellino. After the death of the Pontificate, however, Pope Giulio II decided to interrupt the works, changing the project into the building of a new cathedral.
In 1506 AC the work was entrusted to Bramante who started by destroying the pre-existing basilica and then built the base of the one that would have been the biggest cathedral of Christianity. In the more than a hundred years necessary to achieve the works of the Basilica, there were some changes in the direction of the "Fabric of St. Peter"; the most famous artists of the time took the direction of the works; from Raffaello Sanzio, who around 1514 AC chose to transform the plan of the edifice realized by Bramante into a Latin cross, to Antonio da Sangallo il Giovane and Michelangelo, who, under the Pontificate of Paolo III, in addition to decide to go back to the original Greek cross project, also designed the dome of which he personally followed the realization up to his death in 1564 AC.
In the more or less thirty years which followed, the "Fabric of St. Peter" was under the direction first of Vignola and then of the Architects Giacomo Della Porta and Domenico Fontana who have the merit to have brought to achievement, around 1588 AC, the project of Michelangelo of the cupola.
The Basilica of St. Peter reached its actual aspect thanks to the intervention of Carlo Maderno, who came back to the basilica plan with Latin cross, and realized the scenographic aspect of the façade characterized by the front stairs, the outcropped columns in the masonry, the windows with the loggia of the benedictions at the centre and above the thirteen statues of Jesus, Giovanni Battista and the apostles.
The works of the basilica ended under the Pontificate of Urbano VIII in 1626 AC, but only between 1655 and 1667 AC, on the desire of Alessandro VII, Bernini projected and realized the big portico with columns of the square and put at the centre the obelisk of the I century AC coming from Eliopoli.
The Basilica of St. Peter, nowadays able to welcome 20000 believers, is more than 130 metres high and around 190 metres long, the ceilings of the bays reach almost 44 metres high and the cupola is more or less 120 metres high inside and 136 on the external lantern; the inside, characterized by the large decorations with mosaics, are also the precious box for some of the most famous art works of the work, such as for example the Baldacchino by Bernini and the statue of the Pietà by Michelangelo.
Urbano VIII charged Bernini to realise the Baldachin of St.Peter for the main altar of the Basilica at the age of only 25 years old.
In this period, the fame of the artist was great; however the duty he had undertaken was showing aspects of incredible difficulty, starting by the project and the realisation of the work take around ten years, but the result is an architectonic complex, and at the same time sculptural, that Bernini realises, and all the art is in the way he interprets and interacts with the own space of baroque.
The Baldachin in bronze has a squared plan and is roughly thirty meters high; four spiral columns, each one culminated by the statue of an angel, sustain the architraves and the big volutes that unify one to the other going up towards the centre.
The rotatory motion and centripetal of the composition, and also the burnished colour, that through an optical effect intends to give the perception that the structure is smaller than it is really, are precise scenographic choices of Bernini that must interpret a large open space dominated by the severe Renaissance geometry of the dome of Michelangelo.
In 1498 after Christ, Michelangelo, only 22 years old, writes a contract, guaranteed by Jacopo Galli, with the French Cardinal of San Dionigi, for the realization, within a year, of a Pieta' (pity) in marble destined to be placed in the Basilica of San Pietro.
On a piece of marble personally chosen in the pits of Carrara, Michelangelo represents the isolated aspects of the Virgin Mary holding in her arms the body of the Christ right after it was taken down from the Crosse, according to an iconography that, during this period, had found a large consensus on the other side of the Alps. 1.74cm high, the "Pietà" of Michelangelo presents strong particularities in the anatomy and also in the finishes of the drapes, with translucent effects of accentuated by the way in which the light seemed to caress the marble superficies.
One of the things that most surprises on the sculpture is the aspect extremely young the artist wanted to give to the face of the Virgin Mary; this choice, strongly criticized by the contemporaneous, finds its justification in the abstract character of the composition.
In the intentions of the sculptor, the Madonna probably represents the entire humanity and as such, using the words of the "Divine Comedy" of Dante, she is the "Virgin Mother, daughter of your son". On the face of the Christ are absents the signs of the Passion, Michelangelo, in fact, does not desire the objective representation of the death but expresses his own religious vision in the abandoned and, anyway, serene face of the Son, as a testimony of the communion between man and God sanctified with the sacrifice of the Saver.
It is said that Michelangelo, not used to firm the own works, after he had casually heard some visitors from Lombardy say that the "Pietà" was the work of Gobbo di Milano, went to the Basilica of San Pietro on the night itself, and engraved on the work the writing: "Angelus Bonarotus Florentinus Faciebat".
The sculpture was placed in 1499 after Christ in the Chapel of Santa Petronilla in San Pietro, where it stays until 1517 after Christ when it is moved to the old Sacristy. Since 1749 after Christ the work is placed in its actual location and it has abandoned the Basilica of San Pietro only to be welcomed to the Universal Exhibition of New York from 1962 to 1964. Following the gesture of a silly person, who in 1972 damaged the work with numerous hammer beats, after the restoration it has been decided to protect the sculpture with a crystal wall.
Michelangelo's last great work, the Dome of St. Peter's, has a diameter of around 43 meters; it sits on four great arches that stand on four massive piers, each with a perimeter of 71 meters. When Michelangelo died, the drum was already in place with its 16 windows.
Giacomo della Porta finished the work with the construction of the actual dome, raising it 10 meters so it now rests 136 meters above floor level. This deviation from the original design caused it to lose some of the round shape Michelangelo had planned. The mosaics were completed later, following designs by Cavalier d'Arpino.

St. Peter's Square was completed between 1656 and 1667 by Bernini, on the orders of Pope Alexander VII. The architect gave life to one of his most beautiful scenic designs by creating the trapezoidal widening which starts at the façade and widens into two semicircular arms of the colonnade, so designing an ellipse 240 meters wide.
At the center is the obelisk, brought to Rome by Caligula to decorate the "spina" of Nero's circus. Located just to the right of today's basilica, this was where St. Peter was crucified. Sixtus IV had the obelisk moved from its original position and Domenico Fontana, along with an army of men and machines, took 4 months to complete the removal job. While it was being erected, there was a law prohibiting anyone from making noise, on pain of severe punishment.
The two arms of the colonnade, made up of 284 columns and surmounted by 140 statues, embrace the faithful and welcome all the world to the center of Christianity.
The apostolic palace, the pope's residence, overlooks the right hand arm of the colonnade. The first 3 windows of the top floor belong to his apartment. From the middle window, which is his study, the Pope gives the Benediction of the Angelus on Sundays.
On the right flank of the basilica itself, you can see the roof of the Sistine Chapel where the conclave is held to elect a new pope and where, the famous puffs of smoke announce the decision.

The original structure of the fortress of Castel St.Angel in Rome, together with the Elio bridge in front of it, nowadays known as Ponte Sant'Angelo, are built by the Architect Demetriano between 117 and 138 after Christ, as a mausoleum for the family of the Imperator Adriano.
The edifice, with its square plan of roughly 90 metres of length on the side, had a basement 14 metres high on which was standing a cylindrical body having a diameter of more or less 64 metres and a height of 21 metres, at the summit, on a hillock, was dressed up the statue of the Imperator, personification of the God Sun, while leading a quadriga.
In 271 after Christ, however, the structure, with the addiction of the defensive bastions, was transformed in outpost of the Aurelius walls on the right shore of the Tevere.
In 1277 after Christ, Castel Sant'Angelo becomes the ownership of the State of the Church that determines the complete transformation into fortress-jail and builds the connection to the Vatican Buildings through the fortified passageway of the "passetto".
The name of Castel Sant'Angelo comes from a miraculous apparition during the plague of 590 after Christ; according to tradition, Pope Gregorio Magno, praying in procession, would have had the vision of an angel who was casing the sword and he would have interpreted this gesture as the announcement of the end of the pestilence in the area.
In memory of the event, at the summit of the Adrian Mole, was placed a wood statue, afterwards substituted by a few versions in marble and by one in bronze melted in 1527 after Christ to forge guns; the actual statue, the sixth one, is the work of the artist Werschaffelt and is dating back to 1753 after Christ.
The inside of the edifice, which can nowadays be visited thanks to the relative National Museum of Castel Sant'Angelo, is made of five floors and includes, in addition to numerous rooms of Roman era, also diverse rooms with frescoes of Renaissance project.

The original core of the works of the Vatican Museums is formed of the collection of sculptures that were exhibited in the "Court of the Statues", nowadays called "Cortile Ottagono", on the desire of Giulio II Pope from 1503 to 1513 after Christ.
Clement XIV and Pio VI fitted out the first collections of the Pontificate Museums and Galleries, while Pio VII enriched the Epigraphic Collection and increased the rooms dedicated to the Classical Antiquities, adding the "Chiaramonti Museum" with the rooms of the Hall, of the Lapidaria Gallery and of the "Braccio Nuovo" (New Arm) where are hosted a series of statues, busts, sarcophagus and figures in relief with more than 5000 pagan and Christian inscriptions, and some of the most famous works of the Antiquity such as the statue of "Augusto di Prima Porta", the colossal statue of the Nile and the "Doriforo".
Gregorio XVI founded the Etruscan Museum and the Egyptian Museum, to collect the works coming from the excavations and explorations made in Etruria and in Egypt.
The Gregorian Egyptian Museum, founded by Pope Gregorio XVI in 1839 after Christ, was organised according to the indications of the Italian Egyptologist, father L.M.Ungarelli.
The works are hosted inside the palace of Innocenzo VIII in the rooms with frescoes realised by artists such as Barocci and Zuccari and with the famous terrace of the "Nicchione della Pigna". The antiquities of the ancient Egypt have been collected in the Adriana villa of Tivoli and in the other constructions of the imperial Rom as well as directly in Mesopotamia, Syria and Palestine. Of great interest are the statues of the priest Udja-Hor-res-ne, with inscriptions that look to refer to the conquest of Egypt by Cambise in 525 before Christ, the one of the Queen Tuia, mother of Ramses II, datable around the beginning of the 13th century before Christ, of the king Tolomeo Filadelfo and of Arsinoe II.
The actual organisation of the Vatican Museums is due to the wish of Pio IX and Pio X, who added respectively the Christian Museum and the Hebraic Lapidary formed with the inscriptions and sculptures coming from the Hebraic and Christian cemeteries of Rome. Are also part of the rooms of the Vatican Museums:
-The Gallery of the Tapestries, fitted out since 1814 after Christ in the decorated rooms during the Pontificate of Pope Pio VI.
-The Gallery of the Geographic Maps with the painted maps on the walls in forty frames, decorated under Gregorio XIII and restored during the Pontificate of Urbano VIII.
-The Sobieski Room, so called from the painting of Giovanni III Sobieski, king of Poland, which makes busy an entire wall.
-The Room of the Immaculate, located in the Borgia Towers, containing frescoes relatives to the dogma of the Immaculate Conception.
-The Rooms of Raffaello, which name is due to the frescoes realised by Raffaello in four rooms belonging to the antique residence of Giulio II.
In the apartment located at the second floor of the Pontifical Palace chosen by Giulio II della Rovere as his own residence and then also used by the following Popes, Raffaello painted frescoes in four rooms, from then known as the "Stanze di Raffaello" (Raffaello Rooms).
The first room one encounters during the visit is called "Room of Constantine" from the name of the Imperator who recognized Catholicism as the official religion of the Roman state.
The space, destined to official receptions, was painted by the students of Raffaello because of the premature death of the artist from Urbino with four episodes of the life of the imperator: the "Battle of Constantine against Massenzio", the "Baptism of Constantine", the "Donation of Rome" and the "Vision of the Cross".
In this last work is represented the episode according to which the imperator would have had in dream the premonition of his victory against Massenzio, if he had changed on the emblems of the soldiers the imperial eagles with the symbol of the cross.
The second room, called "The Room of Eliodoro", was destined to the private audiences of the Pope; the scope of the painting cycles represented here is to document the protection that God conceded to the Church from the antiquity to the Middle Ages.
Raffaello, with "the mass of Bolsena", evokes again the miracle, which took place in 1263 after Christ and from which are coming the celebrations of the "Corpus Domini", during which the host wept blood at the moment of the rite of the consecration celebrated by a priest from bohemian origin. Are also covered of frescoes "the liberation of San Pietro", which represents the Saint saved from the jail by an angel, "the meeting of Leone Magno with Attila", characterized by the apparition of the Saints Peter and Paul armed of swords and the "expulsion of Eliodoro from the temple", which illustrates the biblical episode according to which Eliodoro, sent by the King of Syria, Seleuco, to take possess of the treasure hidden in the temple of Jerusalem, was expulsed by two cavaliers sent by God.
The third room, the room of the "Signature", takes its name from the higher tribunal of the Holy See, and it contains the first and at the same time most famous frescoes realized by Raffaello in the Vatican apartments.
The artist represents the three most important categories of the human spirit, which are the true, the good and the nice.
The over natural true is represented in the "dispute of the SS Sacrament": on the sides of the SS Trinity there is the triumphant Church, with San Pietro, Adam, San Giovanni Evangelista, David, In the inferior part of the frescoes, on the sides of the altar on which remains isolated the SS Sacrament, are disposed the personification of the militant Church and, on the marble thrones, San Gregorio Magno, San Girolamo, Sant'Abrogio and Sant'Agostino.
The rational true is the theme of the "school of Athens" where Raffaello designs the philosophers of the Antiquity: at the centre Platoon indicates the sky with the hand and Aristotle answers him by indicating the earth, Pythagoras on the left, in first piano, is giving a course and Diogenes is reading on the stairs; at the bottom, at the end, we find in the act of writing on a piece of paper leaning on a marble block, Heraclites, in which a lot of people recognize the lines of Michelangelo who in this same years was wrapped up in the realization of the Sixtin Chapel.
The category of the good is represented in the frescoes "cardinal and theological virtues and the law": in the lunette on the top are disposed the personifications of the cardinal virtues, strength, carefulness and temperance and of the theological virtues faith, hope and charity; on the sides of the window are represented the "delivery of the Pandette to the imperator Giustiniano" of Lorenzo Lotto and the "delivery of the decree to Pope Gregorio IX", in the figure of which probably Raffaello wanted to make the portrait of the principal of the time Pope Giulio II.
In the "Parnaso" the artist represents the category of the nice by painting the God Apollo while he is playing the arm lyre surrounded by the nine muses, protectors of the arts and of the poets, Homer, Virgilio, Dante and Saffo.
The last room, the "Room of the Fire of Borgo", was used during the Pontificate of Giulio II for the meetings of the tribunal of the "Signature Gratiae et Iustitiae".
At the time of Leone X this environment was then used as dining room and the charge to paint the walls, initially given to Raffaello, fell down on his students afterwards. The frescoes illustrate "the crowning of Carlo Magno", "the pledge of Leone III", "the battle of Ostia" and "the fire of Borgo" that exploded in 847 after Christ the area close to San Pietro and miraculously stopped after a solemn benediction given by the Pontiff.
-The Sixtin Chapel that takes its name from its founder Sisto IV and welcomes the very famous frescoes of Michelangelo on the vault and on the back walls with the "Universal Judgement".
The Sistine Chapel, wanted by Pope Sisto IV della Rovere, from which it takes its name, was built by Giovannino de'Dolci between 1475 and 1481 after Christ.The decoration in the style of 1400 of the walls, realized by an extraordinary group of painters made of Perugino, Botticelli, Signorelli and Ghirlandaio, includes the artificial draperies, the "Stories of Moses and Christ" and the portraits of the Pontiffs while Pier Matteo d'Amelia painted for the inauguration on the vault a starlight sky.
The realization of the frescoes in Sistine Chapel, at least for the one that constituted the initial composition, was taken to its end in 1482 after Christ when were also completed the marble works relatives to the grating, to the choir-stalls, and to the pontifical emblem located above the entrance door. The chapel was consecrated to the cult of the Lady of the Assumption on August 15th 1483 after Christ by Pope Sisto IV but already his nephew, Pope Giulio II della Rovere, only 25 years old, decided to modify the decorations later on, charging Michelangelo Buonarroti of this work.
The contract undertaken on May 8th 1508 after Christ was contemplating the realization of the portraits of the twelve apostles in the crests of the vault, surrounded by ornamental decorations, but soon the Pontiff saw himself constrained to surrender to the requests of the artist who was claiming for a greater liberty of composition.
When the painting process of the Sistine Chapel was completed, Michelangelo represented along the sides of the vaults figures of sibyls and prophets seating on the throne, in the sails, those who presumably have to be retained as the ancestors of Christ, and in the four angular crests, some episodes of the salvation of the people of Israel.
The most important work of Michelangelo was completed in 1512 after Christ, and on November 1st Giulio II inaugurated a second time the Sistine Chapel with a solemn mass.
Towards the end of 1533 after Christ Clemente VII De'Medici charged Michelangelo to modify again the decoration of the Sistine Chapel by painting on the wall of the altar, at the place of some frescoes of Perugino, the Universal Judgment. In the second half of the 16th century, the frescoes of the entrance wall were restored, seriously damaged by the collapse of the door in 1522 after Christ: Hendrik van den Broeck painted again the "Resurrection of Christ", while Matteo da Lecce painted the "Dispute on the body of Moses". The frescoes of the chapel have sustained a complete restoration between 1979 and 1999 after Christ, recovering the splendour of the colours and the integrity of the original painting tissue.
-The Borgia Apartment, founded by Pope Alessandro IV Borgia, and decorated by the frescoes of Pinturicchio inspired by the classical world and the Roman mythology.
-The Vatican Picture-Gallery, located by Pio XI in 1932 after Christ in an apposite building in the new entrance of the Museums.The Vatican Picture-gallery, founded in 1799 after Christ by Pio VI, is actually located in the structure projected by the architect Luca Beltrami on the will of Pope Pio XI.
To the first core of 118 works, initially hosted in the nineteenth-century Square Garden, through the years various works have been added, up to constitute a collection of 460 paintings, organised in the rooms of the Vatican Picture-gallery according to the chronological period and the school of style.
Room I – 12th -15th centuries:
-Giovanni Bonsi: Madonna with Child and the Saints Onofrio, Nicola, Bartholomew and Giovanni Evangelista
-Margaritone d'Arezzo: San Francesco of Assisi
-Vitale da Bologna: the Madonna of the Battuti
-Giovanni del Biondo: Virgin of the Apocalypse with Saints and angels
-Francescuccio Ghissi: Madonna of the humility
-Nicolò and Giovanni: final judgment
-Bernardo Daddi: Martyr of Saint Stefano and founding of his relics
-Allegretto Nuzi: Madonna with Child, San Michele and Saint Orsola
-School of Giunta Pisano: San Francesco and stories of his life
-Roman School: Christ Blessing, Prophet Amos, Prophet Moses
-Umbrian School: Processional cross
-Antonio Veneziano: San Giacomo Maggiore
Room II – 13th -14th centuries:
-Giovanni di Paolo: Late on dead Christ, Prayer of Jesus in the botanical garden, Annunciation, Tablet of Biccherna
-Pietro Lorenzetti: Christ in front of Pilate
-Lorenzo Monaco: Facts of the life of Benedetto, Sant'Antonio Abate meets the eremite Paolo
-Niccolò di Tommaso: San Brigida of Sweden and the Vision of the Nativity
-Sano di Pietro: Nativity and annunciation to the shepherds, Escape in Egypt
-Bernardo Daddi: Madonna of the Magnificat
-Gentile da Fabriano: Stories of San Nicola of Bari
-Giotto di Bondone: Stefaneschi Triptych
-Simone Martini: Blessing redeemer
Room III – 15th century:
-Beato Angelico: Stories of San Nicola di Bari, Madonna with Child and the Saints Domenico and Domenico and Catherine
-Benozzo Gozzoli: Madonna of the Cintola
-Filippo Lippi and helps: Coronation of the Virgin, Angels, Saints and donators
-Masolino da Panicale: Dormition of the Virgin, Crucifixion
Room IV – 15th-16th centuries:
-Melozzo da Forlì: Group of little angels, Head of apostle, Head of apostle, Group of little angels, Sisto IV nominates Bartholomew Platina prefect of the Vatican Library, Angel playing the lute
-Marco Palmezzano: Madonna with child and SS. Francesco, Lorenzo, Giovanni Battista, Pietro, Domenico and Antonio Abate, Christ carrying the cross, Annunciation, Virgin with child in throne with SS. Giovanni Battista and Gerolamo, Sacred Family with S. Elisabeth and San Giovannino
Room V and Room VI – 15th century
-Marco Basaiti: Madonna with child and San Giovannino
-Benedetto Buglioli: Stemma of Innocenzo VIII
-Lucas Cranach: the Old, Pietà
-Ercole de' Roberti: The miracles of San Vincenzo Ferrer
-Carlo Crivelli: Pietà
-L'Alunno: Coronation of the Virgin and Saints
Room VII – 15th-16th centuries:
-Giovanni Santi: San Girolamo in throne
-Perugino: Madonna with child and the Saints Lorenzo, Ludovico of Tolosa, Ercolano and Costanzo, San Benedetto; San Flavia; San Placido
-Pinturicchio e G.B. Caporali: Coronation of the Virgin
Room VIII – 16th century:
-Raffaello: Miraculous Fishing, Delivery of the keys, Stoning of San Stefano, Conversion of San Paolo, Blinding of Elima, Garrison of the cripple, Coronation of the Virgin, The annunciation, The adoration of the Magi, The presentation at the Temple, Faith Charity and Hope, Madonna of Foligno, Transfiguration
Room IX – 15th – 16th centuries:
-Bernardino de' Conti: Portrait of Francesco II Sforza
-Giovanni Bellini: Late on dead Christ
-Leonardo da Vinci: San Girolamo
Room X – 15th – 16th centuries:
-Giulio Romano and Giovan Francesco Penni: coronation of the Virgin
-Tiziano: Madonna of San Niccolò of the Frari
-Veronese: Vision of Santa Elena
Room XI – 16th centuries:
-Barocci: San Francesco receives the stigmata
-Ludovico Carracci: Trinity with dead Christ
-Cavalier d'Arpino: Annunciation
-Marco dal Pino: Mystic press and Christ in glory
-Barocci: Annunciation
-Girolamo Muziano: Resurrection of Lazzaro
Room XII – 17th centuries:
-Guido Reni: Madonna with child and the Saints Tommaso and Girolamo, San Matteo and the angel, Crucifixion of San Pietro
-Andrea Sacchi: Vision of S. Romualdo, Mass of S. Gregorio
-Caravaggio: Deposal of the cross
-Domenichino: Communion of San Girolamo
-Nicolas Poussin: Martyr of San Erasmo
-Jean Valentin: Martyr of the Saints Processo and Martiniano
Room XIII – 17th centuries:
-Pietro da Cortona: David kills the giant Goliath, Vision of San Francesco
-Orazio Gentileschi: Giuditta and the servant with the head of Oloferne
-Nicolas Poussin: Victory of Gideon against the Madianiti
-Guido Reni: The fortune held back by Love
Room XIV – 17th century:
-Carlo Maratta: Portrait of Clement IX
-Baciccia: Vision of San Francesco Saverio
-Sassoferrato: Madonna with Child
-Daniel Seghers and Erasmus II Quellin: Garland of flowers with "Ecce Homo"
Room XV – 18th century:
-Giovanni Battista Crosato: Madonna with child with San Antonio from Padova and a Saint bishop
-Gaetano Gandolfi: Triumph of Faith
-Pier Leone Grezzi: Martyr of San Clement
-Pompeo Batoni: Portrait of Pio VI
-Giuseppe Maria Crespi: Portrait of Benedetto XIV
-Donato Creti: Astronomic observations
-Thomas Lawrence: Portrait of George IV of England
-Francesco Mancini: Rest during the escape in Egypt
Room XVI – 19th century:
-Wenzel Peter: Auto portrait, Battle of a zebra against a leopard, Owl with prey and landscape, Tiger, Adam and Eve in the Earthly Paradise
Room XVII – 18th century:
-Gian Lorenzo Bernini and Antonio Raggi: Angel of the right, model for a statue of the altar of the Pulpit of San Pietro (first version), Angel of the left, model for a statue of the altar of the Pulpit of San Pietro (first version), Angel of left, model for a statue of the altar of the Pulpit of San Pietro (definitive version), Angel of right, model for a statue of the altar of the Pulpit of San Pietro (definitive version)
-Gian Lorenzo Bernini: Head of San Giovanni Crisostomo, model for a statue of the altar of the Pulpit of San Pietro, Head of Sant'Atanasio, model for a statue of the altar of the Pulpit of San Pietro
Room XVIII – 15th – 19th centuries:
-Arte Russa: assumption of the Virgin, San Nicola and facts of his life
-Giorgio Klontzas: San Tito bishop
-The Missionary-Ethnological Museum founded by Pio XI, initially placed in the superior floors of the Lateranense Palace and then moved, on the desire of Giovanni XXIII, in the same building where are also exhibited the collections ex-Lateranensi.
-The Collection of Modern and Contemporaneous Religious Art, wanted by Paolo VI and the Pavilion of the Coaches fitted out in 1973 in the rooms extracted from the Square Garden.