BASILICA DI SAN PIETRO

St. Peter's Basilica is the largest Catholic church in the world and an important place of pilgrimage. Its current architecture, recognizable among thousands, is due to artists among whom 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 the Emperor Nero, who was blamed by St. Peter for the burning of Rome. It was in the circus erected on the plain of the Vaticanum, 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 increase in Christian persecutions, which lasted three years, a necropolis developed there. It is thus in situ, not far from the place of his martyrdom, that Peter was buried. Very quickly, a popular tradition was created around the site which became a place of pilgrimage. When the emperor Constantine won the victory of the Milvian bridge in 312, he attributed it to the sign of the cross and, by the edict of Milan in 313, he authorized Christian worship and the building of places of worship.

Constantine wanted to pay homage to the prince of the apostles and had the first basilica built, around a trophy that archaeologists of the 20th century would call "of Gaius". Indeed, this priest of the third century had affirmed that the trophies of Peter and Paul were in Rome, in the Vatican.

The first basilica, begun in 324, was consecrated in 326 but finished in 350, under the reign of Constant I. This ancient basilica welcomed all the pilgrims who came to Rome until the 15th century. In the year 800, at Christmas, Charlemagne received his crown of the Holy Roman Empire from Pope Leo III. It was Julius II (Pope from 1503 to 1513) who preferred Bramante's project, which envisaged a building in the shape of a Greek cross. The architect will then demolish the transept of the ancient basilica and, in his rush, destroy many of its remains. Julius II and Bramante died within a year of each other and the work was stopped. Only the central pillars and the arches of the dome were built. Paul III (pope from 1534 to 1549) decides to restart the work stopped for nine years, because he can not bear the dilapidated state of the basilica. The pope then called upon Michelangelo in 1546. He too returned to Bramante's Greek cross plan, refining its style. It is thanks to the genius and the power of Michelangelo that the construction of the basilica is finally truly relaunched. Before his death, the artist made a model that would allow his successor to follow the plans he had imagined for the dome; in fact, he only had time to build the columns and the drum. His successor, Giacomo Della Porta, continued his work. Urban VIII (pope from 1623 to 1644) entrusted Gian Lorenzo Bernini, known as Bernini, with the finishing touches, which allowed the pope to consecrate the basilica on November 18, 1626. Bernini will also develop the square that leads to the basilica. It is on the order of Mussolini that the Avenue of the Conciliation was pierced towards the Tiber, only in 1950, giving to the whole this unique perspective.

St. Peter's Square

The circular square 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 connect them to the basilica. The balustrade of the colonnade is decorated with 140 statues of saints made by sculptors who were students of Bernini. All are 3.20 meters high. The papal arms of the colonnade are those of Alexander VII (Pope from 1655 to 1667).

In the center of the square stands the obelisk of 25,31 meters that the emperor Caligula brought from Egypt in the year 40. In 1589, the pope placed a ball containing relics of the True Cross on top of it.

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

The façade and the narthex

The façade

The facade does not give the effect that Michelangelo had imagined on his drawings. In fact, by modifying the nave and adding the four arches that we know, Maderno moved the dome away from the facade and at the same time made its drum disappear from the visual field.

The second level of the façade has seven windows. The central window, called the loggia, is one of the two most famous windows in Vatican City, along with the one in 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 of the ancient Roman basilicas, at a time when catechumens and apostates could not enter the church, but could hear the ceremonies and preachings in this outdoor, yet covered, space between the courtyard and the nave.

The central door is called "Filatère", after its sculptor. Built in the 15th century, it belongs to the ancient basilica, although it was designed late in its history. It is only opened during the great feasts.

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, passing 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 vault, which is 3 meters thick and reaches a height of 45.50 meters, is the result of the combination of three architectural geniuses. Michelangelo was the instigator who drew up the plans for a sanctuary with pure lines and began by building the heart of the building, the columns that support the dome. Maderno is the one who extends the nave with four arches to make a 98 meter long vessel. Bernini is the one who gives the final shine to the whole.

The effect of light is produced by the large window that dominates the three doors that give access to the central nave and by four side windows located above the four arches. Passing through the Filateria door, one notices a porphyry roundel, which comes from the ancient basilica and on which twenty-three kings were crowned, including the first Charlemagne, in 800.

The central nave ends with the bronze statue of St. Peter, attributed to Arnolfo di Cambio, who would have cast it in the 13th century. The statue represents 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 hand.

He is seated on a marble throne and placed in front of a mosaic that reproduces a brocade with the heraldic insignia of the popes, all dating from the nineteenth century.

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

The altar and the Confession of St. Peter

The heart of St. Peter's Basilica is the Confession. It is not a confessional, as the word might imply, but the tomb of Peter who, having died a martyr for Christ, confessed and affirmed his faith by the sacrifice of his life. Although it was known in the 16th century, by tradition, that the tomb of the apostle was under the basilica, it was not known exactly where, but the location of the altar of the ancient basilica was considered to be an indication. Bramante and Michelangelo decided to build the center of the new basilica around this altar.

It was Maderno who designed the grotto of the Confession. Its most important part is the niche, which contains a mosaic of the ninth century from the previous basilica. It is here that the pallii are placed, these woolen scarves given to the metropolitans of the Church and that, because of the proximity of the tomb of Saint Peter, become themselves relics.

The Confession is a superb marble ensemble lit by 89 flames that burn constantly. The Confession communicates with the crypt of the popes, and this one with the Petrine necropolis.

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

The baldachin is entirely made of gilded bronze and, in spite of its imposing size of 28 meters of height, it seems airy. This is the result of two joint effects. On the one hand, Bernini designed four fluted columns that lighten the style, and on the other hand, their screw draws the eye towards the top, creating an aspiration.

The dome that surmounts the altar and the Confession is the work of Michelangelo, who personally built the pillars following Bramante and completed the drum. It rises to 116 meters. 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 the statues of Saint Longin, Saint Helen, Saint Veronica and Saint Andrew. They are surmounted by four loges, which Bernini enriched with the eight columns that surrounded the Confession in the ancient basilica.

Above, at the meeting of the vaults called pendentives, are represented the four evangelists on mosaics. The sixteen ribs of the dome are dedicated to the Passion of Christ; we see first the sixteen popes buried in the basilica, above Christ with the Virgin Mary, St. Joseph, St. John the Baptist and the twelve apostles and then, again above, angels of different orders. In the center, God is represented surrounded by angels.

The pulpit of St. Peter

Among the masterpieces that Bernini multiplied in the basilica, the chapel of the apse is an element of rare beauty. It is the famous setting for the pulpit of Saint Peter. 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 then composed a new set in bronze and gilded bronze, which can be admired behind the altar of the Confession.

The back of Peter's seat is another version of the scene called "Feed my sheep", where we see Christ in the presence of a younger Peter, among sheep. The pulpit itself is supported by four Doctors of the Church, St. Ambrose with a miter and St. Athanasius on the left, St. Augustine with a miter and St. John Chrysostom on the right.

The pulpit is surrounded by a majestic glory whose center of fire is a golden colored stained glass window carrying in its bosom the dove of the Holy Spirit. The glory of light is surrounded by clouds filled with chubby, calliptic 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 walkway and the right arm of the transept

The Pietà is displayed in the right chapel. It is the third sculpture that Michelangelo made by himself, at the age of 23, commissioned by the abbot of Saint-Denis, ambassador of the king of France to the pope in 1498, who intended it for the church of St. Petronilla in the Vatican.

The young artist depicted the Virgin Mary as a woman not much older than Christ, her son, whom she carries in her arms, dead. She is seated and Jesus is resting on her legs, his shroud blending with the drape 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 the will of God. This gesture echoes, along with the slightly forward tilted position of Mary's head, the 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 seems 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 holds Jesus' body firmly. This is an exceptional sculpture, through which the artist wished to magnify faith. The artist signed his work on the belt of the Virgin.

The second arch houses, on the left, the funeral monument of Innocent XII by Filippo della Valle, surrounded by Charity and Justice. On the right, we can admire the funerary monument of the Countess Matilda of Canossa by Bernini. Pope Urban VIII wanted to pay homage to this woman who had succeeded in making the emperor Henry IV bend and asked the pope to lift his excommunication.

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

One enters the basilica as Michelangelo, after Bramante, had imagined it: a Greek cross with the Confession in its center, surrounded by four monumental pillars that are completely surrounded by a square walkway. This right 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 promenorium and the left arm of the transept

One can, when open, pass from the narthex to the first bay on the left through the Door of Death. This bay is surmounted by an oval dome whose theme is baptism.

From here, you can access the baptistery chapel. At the back, Carlo Fontana reused a large antique porphyry basin which he transformed into a baptismal font. Above the font is a mosaic representing the baptism of Jesus. To the left and right are two mosaics, one depicting St. Peter baptizing St. Procès and St. Martinien, the other St. Peter baptizing the centurion Cornelius.

The second arch houses, on the right, the funerary monument of Innocent VIII from the old basilica. This monument of gilded bronze inlaid in the pillar is the work of Antonio del Pollaiolo. The pope is shown 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 of the Blessed Sacrament chapel located in the right nave. It houses the clergy of the basilica. It also contains elements of the bodies of St. Francis of Assisi and St. Anthony of Padua. Bernini designed the choir stalls and the singers sit in the four tribunes that surround the two organ cases. The vault is a combination of drawings by della Porta and stuccos by Ricci.

We then reach the left arm of the transept. The altar in the center 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 the adoptive father of Jesus a place that the Church had not yet given him.