BASILICA DI SAN PIETRO

St. Peter's Basilica is the world's largest Catholic church and an important place of pilgrimage. Its present-day architecture, instantly recognizable, is the work of artists such as Michelangelo, who worked on the project until his death.

Stages of construction

In 64 A.D., the Apostle Peter died in Rome, during the persecution of Christians ordered by Emperor Nero, who was blamed by St. Peter for the burning of Rome. It was in the circus erected on the Vaticanum plain, the construction of which had begun under Caligula, that Peter's execution took place. It is said that he asked to be crucified upside down, out of respect for Christ. Following the intensification of the Christian persecutions that lasted three years, a necropolis was built here. Peter was buried in situ, not far from the site of his martyrdom. A popular tradition soon developed around the site, which became a place of pilgrimage. When Emperor Constantine won the Milvian Bridge victory in 312, he attributed it to the sign of the cross and, with the Milan Edict of 313, authorized Christian worship and the construction of places of worship.

Constantine wished to pay homage to the prince of the apostles, and had the first basilica built around a trophy that ^20th-century archaeologists called "of Gaius". Indeed, this ^3rd-century priest had claimed that the trophies of Peter and Paul were to be found in Rome, in the Vatican.

The first basilica, begun in 324, was consecrated in 326 but completed in 350, under the reign of Constant ^I. This ancient basilica welcomed all pilgrims to Rome until the ^15th century. At Christmas 800, Charlemagne received his crown of the Holy Roman Empire here from Pope Leo III. Julius II (pope from 1503 to 1513) preferred Bramante's design, which envisaged a building in the shape of a Greek cross. The architect then demolished the transept of the ancient basilica, destroying many of its remains in the process. Julius II and Bramante died within a year of each other, and work was halted. Only the central pillars and the arches of the dome were built. Paul III (pope from 1534 to 1549) decided to restart the work, which had been halted for nine years, as he could no longer tolerate the basilica's dilapidated state. In 1546, the pope called on Michelangelo. He, too, returned to Bramante's Greek-cross plan and refined its style. It was thanks to Michelangelo's genius and power that construction of the basilica was at last truly relaunched. Before his death, Michelangelo created a model to enable his successor to follow the plans he had drawn up for the dome; in fact, he only had time to build the columns and the drum. His successor Giacomo Della Porta continued the work. Urban VIII (pope from 1623 to 1644) commissioned Gian Lorenzo Bernini, known as Bernini, to complete the work, enabling the pope to consecrate the basilica on November 18, 1626. Bernini also laid out the square leading to the basilica. It was only in 1950, on Mussolini's orders, that the Avenida della Concilia was opened up towards the Tiber, giving the whole complex its unique perspective.

Saint Peter's Square

The circular piazza is surrounded by two semi-circular colonnades composed of 284 columns and 88 pilasters in travertine stone. The two colonnades are continued by two covered arms that link them to the basilica. The colonnade balustrade is adorned with 140 statues of saints by sculptors who were students of Bernini. All are 3.20 meters high. The papal coat of arms on the colonnade is that of Alexander VII (pope from 1655 to 1667).

At the center of the piazza stands the 25.31-meter obelisk that Emperor Caligula brought from Egypt in 40 AD. In 1589, the Pope placed a ball containing relics of the True Cross at the top of the obelisk.

The forecourt of the basilica is located at the top of the square, and is accessed by stairs commissioned by Paul V. It is framed by two monumental statues, one of St. Peter to the south, the other of St. Paul to the north. These later statues were commissioned by Gregory XVI for the courtyard of the Basilica of St. Paul Outside the Walls. The statue of the Prince of the Apostles is by Giuseppe de Fabris; Peter holds the keys given by Christ in his hand. The statue of St. Paul, by Adamo Tadolini, holds the sword by which he died.

Facade and narthex

The façade

The façade does not give the effect Michelangelo had imagined in his drawings. In fact, by modifying the nave and adding the four arches we know today, Maderno has moved the dome away from the facade, thus removing its drum from view.

The second level of the façade features seven windows. The central window, known as the loggia, is one of the two most famous windows in Vatican City, along with that of the pope's office on the third floor of the apostolic palace. It is from this loggia that the Holy Father speaks urbi et orbi, "to the city and the world", and gives his apostolic blessing.

The narthex

The narthex is an architectural survival from ancient Roman basilicas, when catechumens and apostates could not enter the church, but could hear the ceremonies and preaching in this outdoor, yet covered area between the courtyard and the nave.

The central door is called "Filatère", after its sculptor. Built in the ^15th century, it belongs to the old basilica, although it was conceived late in its history. It is only opened on major feast days.

The door on the far right is the "holy door". It is opened only during the Holy Years, every twenty-five years, or on the occasion of special events decided by the Pope. It was donated to the Vatican by Swiss Catholics in 1949. It should be read from left to right, top to bottom. It begins with Original Sin, passes through the death of Christ, the appearance of the Risen Christ, and ends with the opening of the Holy Door.

Tour of the basilica

The central nave

The 3-metre-thick, 45.50-metre-highvault is the result of the combined efforts of three architectural geniuses. Michelangelo was the instigator who drew up the plans for a sanctuary of pure lines and began by building the heart of the edifice, the columns that support the dome. Maderno extended the nave with four arches to create a vessel 98 meters long. Bernini gave the whole structure its final sparkle.

Thelighting effect is produced by the large window above the three doors leading into the central nave, and by four side windows above the four arches. As you pass through the Filatère doorway, you'll notice a porphyry roundel from the ancient basilica on which twenty-three kings were crowned, including the first Charlemagne, in 800.

The central nave ends with a bronze statue of St. Peter, attributed to Arnolfo di Cambio, who is said to have cast it in the ^13th century. The statue depicts Peter in a seated position. He is dressed in the philosophical pallium, holding the keys in his left hand and giving a blessing with his right.

He is seated on a marble throne, in front of a ^19th-century mosaic depicting a brocade with the heraldic insignia of the popes.

The statue is the object of real popular veneration, and countless crowds come to touch its feet, which, polished by wear and tear, have already been replaced.

The altar and Confession of Saint Peter

The heart of St. Peter's Basilica is the Confession. This is not a confessional, as the word might suggest, but the tomb of Peter, who died a martyr for Christ, confessing and affirming his faith by the sacrifice of his life. In the ^16th century, it was traditionally known that the apostle's tomb lay beneath the basilica, but it was not known exactly where, although the location of the altar in the ancient basilica was considered to be an indication. It was around this altar that Bramante and Michelangelo decided to build the center of the new basilica.

Maderno designed the grotto of the Confession. Its most important feature is the niche, which contains a ^9th-century mosaic from the previous basilica. This is where the pallii are placed, the woollen scarves given to the Church's metropolitans and which, because of their proximity to St. Peter's tomb, become relics in their own right.

The Confession is a superb marble ensemble lit by 89 constantly burning flames. The Confession communicates with the Popes' crypt, and the latter with the Petrine necropolis.

Bernini is known not only for the exterior columns that give the square its welcoming appearance, but also for the baldachin he built above the basilica's altar. This altar comes from Nerva's forum, and contains the altar from Calixtus II's previous basilica.

The baldachin is made entirely of gilded bronze and, despite its imposing 28-meter height, it appears ethereal. This is the result of two combined effects. On the one hand, Bernini designed four fluted columns that lighten the style, and on the other, their screws draw the eye upwards, creating an aspiration.

The dome that surmounts the altar and Confession is the work of Michelangelo, who personally built the pillars following Bramante's lead and completed the drum. It rises to a height of 116 metres. On the entablature is inscribed the founding phrase: "You are Peter, and on this rock I will build my Church and [...] I will give you the keys to the kingdom of heaven" (Matthew 16:18-19). At the four corners of the pillars are statues of Saint Longin, Saint Helena, Saint Veronica and Saint Andrew. They are surmounted by four loggias, which Bernini has enriched with the eight columns that surrounded the Confession in the ancient basilica.

The four Evangelists are depicted on mosaics above, where the vaults meet, known as pendentives. The sixteen ribs of the dome are dedicated to the Passion of Christ; first we see the sixteen popes buried in the basilica, then above them Christ with the Virgin Mary, St. Joseph, St. John the Baptist and the twelve apostles, and above them angels of various orders. In the center, God is depicted surrounded by angels.

The pulpit of St. Peter

One of Bernini's masterpieces in the basilica is the apse chapel, an element of rare beauty. It is the famous setting for St. Peter's pulpit. In 1656, Alexander VII asked the architect to create a monument magnifying the apostolic seat of Peter, of which the popes are the successors. Bernini composed a new set in bronze and gilded bronze, which can be admired behind the Confession altar.

The back of Peter's seat is another version of the scene known as "Feed my sheep", in which Christ is seen in the presence of a younger Peter, surrounded by sheep. The pulpit itself is supported by four Doctors of the Church, St. Ambrose with mitre and St. Athanasius on the left, St. Augustine with mitre and St. John Chrysostom on the right.

The pulpit is surrounded by a majestic glory whose fiery center is a golden stained-glass window bearing the dove of the Holy Spirit. The glory of light is surrounded by clouds filled with chubby, callipygous cherubs in stucco, and the rays of light stream towards the top of the apse in the form of a gilded bronze sculpture. The entablature of the apse declaims in both Latin and Greek: "O shepherd of the Church, you feed the lambs and sheep of Christ."

The right nave, Michelangelo's promenade and the right arm of the transept

The Pietà is displayed in the right-hand chapel. This is the third sculpture Michelangelo created by himself at the age of 23, commissioned by the Abbé de Saint-Denis, ambassador of the King of France to the Pope in 1498, for the Church of Saint Petronilla in the Vatican.

The young artist depicted the Virgin Mary as a woman scarcely older than Christ, her son, whom she carries, dead, in her arms. She is seated and Jesus rests on her legs, his shroud blending into the drapery of Mary's tunic. Christ seems light to Mary; Michelangelo wanted to show that the Virgin had overcome the pain of her son's death. The gesture of the Virgin's left hand is touching: she leaves it open to show her consent to God's will. This gesture, together with the slightly forward-tilted position of Mary's head, echoes representations of the Annunciation, where the Mother of God already welcomes her vocation. Her face reflects the serenity of faith, without which it would be wet with tears. Mary appears strong, but without the conviction that her son has risen, her arms would give way and Christ would fall to the ground. Yet Mary's right hand firmly holds Jesus' body. This is an exceptional sculpture, through which the artist wished to magnify faith. The artist signed his work on the Virgin's belt.

The second arch houses, on the left, the funerary monument of Innocent XII by Filippo della Valle, surrounded by Charity and Justice. On the right, Bernini's funerary monument to Countess Matilda of Canossa. Pope Urban VIII wanted to pay tribute to this woman who had succeeded in bending the Emperor Henry IV and asked the Pope to lift her excommunication.

The side chapel is that of the Blessed Sacrament. Its grille is the work of Francesco Borromini, and the stuccowork was designed by Giovan Battista Ricci. The altar, also by Bernini, is surmounted by a majestic tabernacle whose shape is a tribute to Bramante.

We enter the basilica as Michelangelo, after Bramante, had imagined it: a Greek cross with the Confession at its center, surrounded by four monumental pillars that are completely surrounded by a square promenoir. This right-hand promenoir gives access to the right arm of the transept and continues beyond. The first bay of the promenoir houses the altar of Saint Jerome and the urn of John XXIII. The body of the altar contains the body of the late pope.

The left nave, Michelangelo's promenoir and the left arm of the transept

When open, you can pass from the narthex to the first bay on the left through the Porte de la Mort. This bay is topped by an oval dome whose theme is baptism.

This leads to the baptistery chapel. At the far end, Carlo Fontana reused a large antique porphyry basin and transformed it into a baptismal font. Above the font is a mosaic depicting the baptism of Jesus. To the left and right are two mosaics, one depicting Saint Peter baptizing Saint Procès and Saint Martinien, the other Saint Peter baptizing the centurion Cornelius.

The second arch, on the right, houses Innocent VIII's funerary monument from the former basilica. Antonio del Pollaiolo is responsible for the gilded bronze monument inlaid into the pillar. It shows the pope both seated on his throne, tiara on his head, and lying on his deathbed. He is surrounded by the four cardinal virtues and the three theological virtues.

The choir chapel is the counterpart to the Blessed Sacrament chapel in the right nave. It houses the basilica's clergy. It also contains parts of the bodies of St. Francis of Assisi and St. Anthony of Padua. Bernini designed the choir stalls, and the cantors sit in the four tribunes surrounding the two organ cases. The vault is a combination of drawings by della Porta and stuccowork by Ricci.

We then reach the left arm of the transept. The central altar is dedicated to St. Joseph. It was originally dedicated to Saints Simon and Jude, whose relics are preserved in the altar, but John XXIII, whose baptismal name was Joseph, tended to give Jesus' adoptive father a place not yet accorded to him by the Church.