Difference between revisions of "St. Peter's Basilica" - New World Encyclopedia

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During the papal residence at Avignon, the deterioration of Saint Peter's by the fifteenth century had become obvious. Pope Nicholas V therefore decided to level the old structure and build a new one in its place. Bernardo Rossellini of Florence was selected for the project, and following the pope's plans, the new basilica was to completely surround the choir and transept of the old one. The ground plan was to be a Latin cross with an elongated nave. However, when the pope died in 1455, progress stopped except for the tribune begun in 1450 and the foundations of the wall surrounding the transept.
 
During the papal residence at Avignon, the deterioration of Saint Peter's by the fifteenth century had become obvious. Pope Nicholas V therefore decided to level the old structure and build a new one in its place. Bernardo Rossellini of Florence was selected for the project, and following the pope's plans, the new basilica was to completely surround the choir and transept of the old one. The ground plan was to be a Latin cross with an elongated nave. However, when the pope died in 1455, progress stopped except for the tribune begun in 1450 and the foundations of the wall surrounding the transept.
  
 +
The next pope, Julius II, kept the idea of reconstructing the basilica. He held a contest in which the Italian architect, Donato Bramante, who introduced the High Renaissance style to Rome to Rome, won the prized commission. Bramante's enthusiasm in this monumental undetaking are today found in his numerous plans and drawings, which are preserved in the Uffizi Gallery, Florence. The architect wanted to place the Pantheon upon the Constantine's basilica, in order that a colossal dome would top the building in the shape of a Greek cross. 1506 Julius, in the In 1506, Julius, before 35 cardinals, laid the foundations of this enormous structure.
  
The next pope, Julius II, kept the idea of reconstructing the basilica, holding a contest in which Bramante won the prized commission. His unlimited enthusiasm for the mighty conception of the impetuous pope is attested by his numerous plans and drawings, which are still preserved in the Uffizi Gallery, Florence. Bramante wished to pile the Pantheon upon the Constantinian basilica, so that a mighty dome would rise upon a building in the form of a Greek cross. In the spring of the year 1506 Julius, in the presence of thirty-five cardinals, laid the foundations of this imposing structure, which posterity has spoiled and changed for the worse in an inexcusable manner.
+
When Bramante died in 1514, Giuliano da Sangallo and Fra Giacondo da Verona, together with Raphael, continued his work, but they died in 1516 and 1515, respectively. Raphael was influenced to make changes in Bramante's plan, which he did to some extent. However, after he died in 1520, an argument across as to whether the structure should form a Greek cross, or the nave be extended so create a Latin cross.  
  
Bramante died in 1514. Giuliano da Sangallo and Fra Giacondo da Verona, who together with Raphael continued his work, died in 1516 and 1515 respectively. Raphael, yielding to all manner of influences, undertook changes but did not promote the building to any considerable extent. After his death in 1520 a sharp conflict arose whether the church should remain in the form of a Greek cross, or the nave be extended so as to form a Latin cross.  
+
The next two architects, Antonio da Sangallo, who was appointed architect in 1518, and Baldassari Peruzzi, appointed in 1520, tried out all kinds of experiments on the structure. But it was not until 1548, when Michelangelo took control in 1548, that Bramante's plan could be clearly followed. Michelangelo strengthened the central piers to bear the weight of the immense dome. Although he died in 1564 without seeing the completion of his artistic conception — only the drum, the base on which the dome rests, was completed — when he died, nonethless the work was faithfully completed following the great master's vision. Giacomo della Porta continued the building of the dome. Yet the structure itself might not have been completed at the start of the next century if, in 1606, Pope Paul V had decided not follow through on the form of the Latin cross.  
  
Antonio da Sangallo, who was appointed architect in 1518, and Baldassari Peruzzi, appointed in 1520, were without fixed plans and attempted all manner of experiments, of which Michelangelo, when he received control in 1548, made an end so far as this was still possible. Bramante's plan seemed to him so excellent that he built in accordance with it. By strengthening the central piers he made it possible for them to bear a dome. He did not live to see the completion of his artistic conception, since only the drum was completed when he died. But in the years which followed the present dome, a sublime masterpiece of unsurpassed beauty, was constructed in accordance with his designs. The faithfulness with which, after the great master's death (1564), Giacomo della Porta continued the building of the dome in accordance with Michelangelo's intentions should be especially emphasized. The building might have been completed at the beginning of the following century if in 1606 Paul V had not decided to carry out the form of the Latin cross.  
+
For the next 20 years, Carlo Maderna constructed the current façade and Bernini spent considerable time and money adorning the front with bell-towers, which for artistic reasons were removed in their current state of construction. On November 18, 1626, Pope Urban VIII solemnly dedicated the church, which except for some various details was virtually complete.
  
During the twenty years which followed Carlo Maderna constructed the present by no means unobjectionable façade and Bernini wasted time and money in adorning the front with bell-towers, which for artistic reasons had to be removed, in so far as he had completed them. At length on 18 November, 1626, Urban VIII solemnly dedicated the church, of which the actual construction, excepting certain unimportant details, may be considered as completed. Three clearly defined stages in the construction of St. Peter's must therefore be distinguished: (1) Bramante's Greek cross with the dome; (2) Michelangelo, a Greek cross with dome, and in addition a vestibule with a portico of columns; (3) Paul V, a Latin cross with Baroque façade.  
+
===Architecture===
 +
Three clearly defined stages in the construction of St. Peter's must therefore be distinguished: (1) Bramante's Greek cross with the dome; (2) Michelangelo, a Greek cross with dome, and in addition a vestibule with a portico of columns; (3) Paul V, a Latin cross with Baroque façade.  
  
The longer they built the more they spoiled the original magnificent plans, so that the effect of the exterior as a whole is unsatisfactory. The principle mistake lies naturally in the fact that the unsuitable extension of the nave conceals the dome from one observing the basilica from a near point of view. Only at a considerable distance is Michelangelo's genial creation in its pure and beautiful design revealed to the astonished observer. All the external walls are constructed of splendid travertine, now become gold in colour, which even in bright sunlight gives a quiet, harmonious effect.
 
 
===Architectural dimensions===
 
 
The proportions of the building are as follows: height of the nave, 151.5 feet; width of the same at the entrance, 90.2 feet; at the tribune, 78.7 feet; length of the transepts in interior, 451 feet; entire length of the basilica including the vestibule, 693.8 feet. From the pavement of the church (measured from the Confession) to the oculus of the lantern resting upon the dome the height is 404.8 feet, to the summit of the cross surmounting the lantern, 434.7 feet. The measurements of the interior diameter of the dome vary somewhat, being generally computed at 137.7 feet, thus exceeding the dome of the Pantheon by a span of 4.9 feet. The surface area of St. Peter's is 163,182.2 square feet.
 
The proportions of the building are as follows: height of the nave, 151.5 feet; width of the same at the entrance, 90.2 feet; at the tribune, 78.7 feet; length of the transepts in interior, 451 feet; entire length of the basilica including the vestibule, 693.8 feet. From the pavement of the church (measured from the Confession) to the oculus of the lantern resting upon the dome the height is 404.8 feet, to the summit of the cross surmounting the lantern, 434.7 feet. The measurements of the interior diameter of the dome vary somewhat, being generally computed at 137.7 feet, thus exceeding the dome of the Pantheon by a span of 4.9 feet. The surface area of St. Peter's is 163,182.2 square feet.
  

Revision as of 04:49, 13 August 2007


Saint Peter's Basilica
Basilica di San Pietro in Vaticano
Petersdom von Engelsburg gesehen.jpg

The Basilica of Saint Peter from Castel Sant'Angelo. The basilica is the largest religious building in the world[1] and is often used by the Pope.

Basic information
Location Vatican City
Geographic coordinates coord}}{{#coordinates:41|54|08|N|12|27|12|E| name=

}}

Religious affiliation Roman Catholic
Ecclesiastical status Major basilica
Architectural description
Architect/s Donato Bramante, Antonio da Sangallo the Younger (1520 - 1546), Michelangelo (1546 - ?), Giacomo della Porta
Architectural type Church
Year completed 1626
Specifications
Capacity 60,000 +


 use differen lead sentence

The Basilica of Saint Petrus, commonly called Saint Peter's Basilica, is one of four major basilicas of Rome (St. John Lateran, St. Peter's, Santa Maria Maggiore and St. Paul outside the Walls). It is the most prominent building inside the Vatican City. Its dome is also a dominant feature of the Roman skyline. Saint Peter's is also incidentally the patriarchal basilica of Constantinople whereas the Lateran Basilica is the patriarchal basilica of Rome. Possibly the largest church building in Christianity[2], it covers an area of 5.7 acres and has a capacity of over 60,000 people. Construction on the current basilica, over the old Constantinian basilica, began on April 18, 1506 and was completed in 1626.

Twelve centuries elapsed between the building of St. Peter's and the first demolition of an important part of the basilica. Its rebuilding during the Early Renaissance is to be regretted, for the plan of the new church became the plaything of artistic humours. It is due to Michelangelo, who saved all that was possible of Bramante's original plan, that something aesthetically satisfactory was created.


Significance

One of the holiest sites of Christendom in the Catholic tradition, it is traditionally the burial site of its namesake Saint Peter, who was one of the 12 apostles of Jesus, first Bishop of Antioch, and later first Bishop of Rome. Although the New Testament does not mention Peter's presence or martyrdom in Rome, ancient tradition holds that his tomb is below the baldachin (a permanent ornamental canopy) and altar; for this reason, many Popes, starting with the first ones, have been buried there.

Although the Vatican basilica is not the Pope's official ecclesiastical seat (Saint John Lateran), it is most certainly his principal church, as most Papal ceremonies take place at St. Peter's due to its size, proximity to the Papal residence, and location within the Vatican City walls. The basilica also holds a relic of the Cathedra Petri, the episcopal throne of the basilica's namesake when he led the Roman church, but which is no longer used as the Papal cathedra. It is believed that a piece of this cathedra, or chair, is contained within the altarpiece, designed by Bernini.

History

Original basilica

After his conversion to Christianity, Constantine the Great ordered the building of a basilica to replace the simple sanctuary of the Prince of the Apostles. Begun in the year 323 but not completed until after his death, the southern side of Constantine's basilica was erected along the northern side of the circus where the ancient Romans held their games. Known in the Middle Ages as the Palatium Neronis, it was constructed in the shape of a cross and consisted into five naves divided into four rows of twenty-two columns each.

In its role as the main sanctuary of Western Christendom, the basilica became a repository for vast treasures, including precious mosaic decorations, magnificent vestments, richly decorated entablature, and paintings. A covered colonnade extended from the basilica to the Porta di St. Pietro at the Castle of Sant' Angelo, through which countless pilgrims passed. The Vatican territory provided for their shelter. Soon a palace was built for the pope near the basilica so than the pontiff could receive visitors while officiating at St. Peter's. A number of churches, monasteries, cemeteries, and hospices arose sprang up around the tomb of the "fisher of men."

New basilica

The Basilica of Saint Peter, portrayed by Viviano Codazzi in a 1630 painting. Note the two bell towers, later removed.

During the papal residence at Avignon, the deterioration of Saint Peter's by the fifteenth century had become obvious. Pope Nicholas V therefore decided to level the old structure and build a new one in its place. Bernardo Rossellini of Florence was selected for the project, and following the pope's plans, the new basilica was to completely surround the choir and transept of the old one. The ground plan was to be a Latin cross with an elongated nave. However, when the pope died in 1455, progress stopped except for the tribune begun in 1450 and the foundations of the wall surrounding the transept.

The next pope, Julius II, kept the idea of reconstructing the basilica. He held a contest in which the Italian architect, Donato Bramante, who introduced the High Renaissance style to Rome to Rome, won the prized commission. Bramante's enthusiasm in this monumental undetaking are today found in his numerous plans and drawings, which are preserved in the Uffizi Gallery, Florence. The architect wanted to place the Pantheon upon the Constantine's basilica, in order that a colossal dome would top the building in the shape of a Greek cross. 1506 Julius, in the In 1506, Julius, before 35 cardinals, laid the foundations of this enormous structure.

When Bramante died in 1514, Giuliano da Sangallo and Fra Giacondo da Verona, together with Raphael, continued his work, but they died in 1516 and 1515, respectively. Raphael was influenced to make changes in Bramante's plan, which he did to some extent. However, after he died in 1520, an argument across as to whether the structure should form a Greek cross, or the nave be extended so create a Latin cross.

The next two architects, Antonio da Sangallo, who was appointed architect in 1518, and Baldassari Peruzzi, appointed in 1520, tried out all kinds of experiments on the structure. But it was not until 1548, when Michelangelo took control in 1548, that Bramante's plan could be clearly followed. Michelangelo strengthened the central piers to bear the weight of the immense dome. Although he died in 1564 without seeing the completion of his artistic conception — only the drum, the base on which the dome rests, was completed — when he died, nonethless the work was faithfully completed following the great master's vision. Giacomo della Porta continued the building of the dome. Yet the structure itself might not have been completed at the start of the next century if, in 1606, Pope Paul V had decided not follow through on the form of the Latin cross.

For the next 20 years, Carlo Maderna constructed the current façade and Bernini spent considerable time and money adorning the front with bell-towers, which for artistic reasons were removed in their current state of construction. On November 18, 1626, Pope Urban VIII solemnly dedicated the church, which except for some various details was virtually complete.

Architecture

Three clearly defined stages in the construction of St. Peter's must therefore be distinguished: (1) Bramante's Greek cross with the dome; (2) Michelangelo, a Greek cross with dome, and in addition a vestibule with a portico of columns; (3) Paul V, a Latin cross with Baroque façade.

The proportions of the building are as follows: height of the nave, 151.5 feet; width of the same at the entrance, 90.2 feet; at the tribune, 78.7 feet; length of the transepts in interior, 451 feet; entire length of the basilica including the vestibule, 693.8 feet. From the pavement of the church (measured from the Confession) to the oculus of the lantern resting upon the dome the height is 404.8 feet, to the summit of the cross surmounting the lantern, 434.7 feet. The measurements of the interior diameter of the dome vary somewhat, being generally computed at 137.7 feet, thus exceeding the dome of the Pantheon by a span of 4.9 feet. The surface area of St. Peter's is 163,182.2 square feet.

Indulgences

The funding for the rebuilding of St. Peter's came about in such a controversial fashion that it caused the second greatest division in Christendom (the first being the East-West split in 1054), when Martin Luther for Christians to relate directly to their Savior.

What triggered the Reformation was how Albert of Brandenburg, Hohenzollern, Germany (1490-1545) managed to pay for his appointment as Bishop of Magdeburg in 1513 and Archbishop of Mainz in 1514. Since Albert was only 24 years of age—too young to be bishop—a papal dispensation was required, along with a large payment to attain the high ecclesiastical office. In need of 24,000 ducats to pay Pope Leo X for the title of Archbishop of Mainz, Albert took out a loan from a south German banking house (The Fuggers), and then sought to pay it back. To raise the needed sum, Archbishop Albert sold indulgences for the rebuilding of St. Peter's in Rome, with half the collection going to Rome and half into how own pocket.

Holy Door, the northern most entrance at St. Peter's Basilica in the Vatican.

Johann Tetzel, a Dominican monk employed by Albert, sold these indulgences in Germany, prompting Martin Luther to write his historic disputation in 95 theses, which he posted to the door of Wittenberg Castle Church (a copy of which he also sent to Archbishop Albert), on October 31, 1517, thus sparking the Reformation.

Exterior

St. Peter's Square

View of St. Peters Square from the Dome

Directly to the east of the church is St Peter's Square (Piazza di San Pietro), built by Gianlorenzo Bernini between 1656 and 1667. It is surrounded by an elliptical colonnade with two pairs of Doric columns which form its breadth, each bearing Ionic entablatures. The colonnade wraps around the square, embracing the faithful in "the motherly arms of the church" File:Saint Peter's Square from the dome v2.jpg St. Peter's Square

This is an excellent example of Baroque architecture, where creativity is coupled with flexible guidelines. In the center of the colonnade is a 83.6-foot-tall obelisk. Domenico Fontana finished moving the obelisk to its present location on September 28, 1586 by order of Pope Sixtus V. The obelisk dates back to the thirteenth century B.C.E. in Egypt, and was moved to Rome in AD 37 to stand in the Circus of Nero some 820 feet away. Including the cross on top and its base, the obelisk reaches 131 feet. The Vatican obelisk is notable for being the second-largest standing obelisk, and the only one that has remained standing since it was erected during the Roman Empire. An original bronze globe on top of the structure was removed when the obelisk was re-erected in St Peter's Square by Domenico Fontana. There are also two fountains in the square, the north one by Maderno (1613) and the southern one by Bernini (1675). The square is reached mainly through the Via della Conciliazione built by Mussolini after the conclusion of the Lateran Treaties.

Dome

As built, the double dome is brick, 138.8 feet) in interior diameter (almost as large as the Pantheon), rising to 394 feet above the floor. In the mid-eighteenth century, cracks appeared in the dome, so four iron chains were installed between the two shells to bind it, like the rings that keep a barrel from bursting. (Visitors who climb the spiral stairs between the dome shells can glimpse them.) The four piers of the crossing that support it are each 59 feet across.

The dome, as designed by Michelangelo.

The egg-shaped dome exerts less outward thrust than a lower hemispheric one (such as Mansart's at Les Invalides) would have done. The dome conceived by Donato Bramante at the outset in 1503 was planned to be carried out with a single masonry shell, a plan discovered to be infeasible. Antonio da Sangallo the Younger came up with the double shell, and Michelangelo improved upon it. The piers at the crossing, which were the first masonry to be laid, and which were intended to support the original dome, were a constant concern, too slender in Bramante's plan, they were redesigned several times as the dome plans evolved.

The dome, redesigned and completed by Giacomo della Porta in 1590.

It is not simply its vast scale (448.06 feet from the floor of the church to the top of the added cross) that makes it extraordinary. Della Porta's dome is not a hemisphere, but a paraboloid: it has a vertical thrust, which is made more emphatic by the bold ribbing that springs from the paired Corinthian columns, which appear to be part of the drum, but which stand away from it like buttresses, to absorb the outward thrust of the dome's weight. The grand arched openings just visible in the illustration but normally invisible to viewers below, enable access (but not to the public) all around the base of the drum; they are dwarfed by the monumental scale of their surroundings. Above, the vaulted dome rises to Fontana's two-stage lantern, capped with a spire.

There is a widespread assumption that the dome, or cupola, as it presently stands, was designed by Michelangelo, who became chief architect in 1546. In fact, Michelangelo's design called for a spherical dome. At the time of his death (1564), only the drum set, the base on which a dome rests, had been completed. The dome proper was redesigned and vaulted by the architect Giacomo della Porta, with the assistance of Domenico Fontana, who was probably the best engineer of the day. Fontana built the lantern the following year, and the finial was placed in 1593. Many are fascinated by the ability of the artist of who created it.

Entrances

File:Altar of St Peter's Basilica.jpg
Cathedra Petri, Altar of the Chair of St. Peter.

Above the main entrance is the inscription (translated from Latin), "In honor of the prince of apostles; by Paul V Borghese, a Roman, Supreme Pontiff, in the year 1612 and the seventh year of his pontificate."

The façade is 376.28 feet wide and 149.44 feet high. On top are statues of Christ, John the Baptist, and 11 of the apostles; The statues of St. Peter and St. Paul are in front of the parish. Two clocks are on either side of the top, the one on the left has been operated electrically since 1931, its oldest bell dating to 1288.

Between the façade and the interior is the portico. Mainly designed by Maderno, it contains an eighteenth-century statue of Charlemagne by Cornacchini to the south, and an equestrian sculpture of Emperor Constantine by Bernini (1670) to the north. The southernmost door, designed by Giacomo Manzù, is called the "Door of the Dead." The door in the center is by Antonio Averulino (1455), and preserved from the previous basilica.

The northernmost door is the "Holy Door" in bronze by Vico Consorti (1950), which is by tradition, only opened for great celebrations such as Jubilee years. Above it are inscriptions, the top reading PAVLVS V PONT MAX ANNO XIII, and the one just above the door reading GREGORIVS XIII PONT MAX. In between are white slabs commemorating the most recent openings.

Interior

Michelangelo's Pieta

The Pieta

At St. Peter's, second only to the Dome in fame is the Pieta, which is situated among several noteworthy monuments and memorials along the right aisle of the basilica. Michelangelo's Pietà is located immediately to the right of the entrance.

The Pietà (1498–1499) by Michelangelo is a marble sculpture in St. Peter's Basilica in Vatican City, the first of a number of works of the same theme by the artist. The statue was commissioned by the French cardinal Jean de Billheres, who was a representative in Rome. The statue was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century.

This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin, popular in France but not yet in Italy. Michelangelo's interpretation of the Pietà is unique to the precedents. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism. The statue is one of the most highly finished works by Michelangelo.

After an incident in 1972 when an individual damaged it with an axe, the sculpture was placed behind protective glass. Up the aisle is the monument of Queen Christina of Sweden, who abdicated in 1654 in order to convert to Catholicism.

Monuments of the Popes

Along the same aisle the monuments of popes Pius XI and Pius XII, as well as the altar of St Sebastian. Even further up is the Chapel of the Blessed Sacrament, which is open during religious services only. Inside it is a tabernacle on the altar resembling Bramante's Tempietto at San Pietro in Montorio. Bernini sculpted this gilded bronze tabernacle in 1674. The two kneeling angels were added later. Further still are the monuments of popes Gregory XIII (completed in 1723 by Rusconi) and Gregory XIV.

St. Peter Enthroned

In the northwestern corner of the nave sits the statue of St. Peter Enthroned, attributed to late-thirteenth century sculptor Arnolfo di Cambio (with some scholars dating it back to the fifth century). The foot of the statue is eroded due to centuries of pilgrims kissing it. Along the floor of the nave are markers with the comparative lengths of other churches, starting from the entrance (not an original detail). Along the pilasters are niches housing 39 statues of saints who founded religious orders.

Altar of Transfiguration

In the the left aisle there is the Altar of Transfiguration. Walking down towards the entrance are the monuments to Leo XI and Innocent XI followed by the Chapel of the Immaculate Virgin Mary. After that come the monuments to Pius X and Innocent VIII, then the monuments to John XXIII and Benedict XV, and the Chapel of the Presentation of the Blessed Virgin. After that comes the Monument to the Royal Stuarts, directly opposite the one to Maria Clementina Sobieska. Symmetrically, the two monarchs who gave up their thrones for their Catholic faith in the seventeenth century, are honored side by side in the most important church in Catholicism. Finally, right before the end of the church, is the Baptistry.

The right transept contains three altars, of St. Wenceslas, St. Processus and St. Martinian, and St. Erasmus. The left transept also contains three altars, that of St Peter's Crucifixion, St. Joseph, and St. Thomas. West of the left transept is the monument to Alexander VII by Bernini. A skeleton lifts a fold of red marble drapery and holds an hourglass symbolising the inevitability of death. He is flanked on the right by a statue representing religion, who holds her foot atop a globe, with a thorn piercing her toe from the British Isles, symbolizing the pope's problems with the Church of England.

St. Peter's baldachin

Over the main altar stands a 98-foot-tall baldachin, an elaborate, ornamental canopy held by four immense pillars, all designed by Bernini between 1624 and 1632. The baldachin was built to fill the space beneath the cupola, and it is said that the bronze used to make it was taken from the Pantheon. The representation of a chair, part of the sculpture, is said to contain the remnants of the chair belonging to Saint Peter (It is also said that it is the largest bronze piece in the world.)

St. Peter's tomb

Underneath the baldachin is the traditional tomb of St. Peter. In the four corners surrounding the baldachin are statues of St. Helena (northwest, holding a large cross in her right hand, by Andrea Bolgi), St. Longinus (northeast, holding his spear in his right hand, by Bernini in 1639), St. Andrew (southeast, spread upon the cross which bears his name, by Francois Duquesnoy), and St. Veronica (southwest, holding her veil, by Francesco Mochi). Each of these statues represents a relic associated with the person, respectively, a piece of The Cross, the Spear of Destiny, The Spear of Longinus, St Andrew's head (as well as part of his cross) and Veronica's Veil. In 1964, St Andrew's head was returned to the Greek Orthodox Church by the Pope. It should be noted that the Vatican makes no claims as to the authenticity of several of these relics, and in fact other Catholic churches also possess "the same" relics.

Interior dome inscriptions

Along the base of the inside of the dome is written (translation from Latin), in letters six feet, five inches high, from Matthew 16:18-19; "...you are Peter, and on this rock I will build my church. ... I will give you the keys of the kingdom of heaven...." Near the top of the dome is another, smaller, circular inscription: "To the glory of St Peter; Sixtus V, pope, in the year 1590 and the fifth year of his pontificate."

File:Cardinals at StPeters.jpg
Interior of the apse showing Cardinals at Mass two days before conclave, April 16, 2005.

The Burial of St Petronilla is an altarpiece painted by Giovanni Francesco Barbieri (Guercino) in 1623. It simultaneously depicts the burial and the welcoming to heaven of the martyred St. Petronilla. The altar is dedicated to the saint, and contains her relics.

Chair of St. Peter

At the apse of the church is the Triumph of the Chair of Saint Peter (1666) by Bernini, a focus of the Feast of Cathedra Petri celebrated annually on February 22 in accordance to the calendar of saints. The triumph is topped by a yellow window (made of finely cut alabaster)in with the image of a dove, portraying the Holy Spirit, surrounded by 12 rays, symbolising the apostles. The rays protruding from the window also symbolize the grace of God, supporting the Chair of Peter to show the source of the authority. The chair is made of a bronze encasing, which is a relic of the chair of St Peter, given to the Vatican from Charles the Bald in 875. To the right of the chair are St. Ambrose and St. Augustine (fathers of the Latin church), and to the left are St. Athanasius and St. John Chrysostom (fathers of the Greek church). Further to the right is the monument to Urban VIII, by Bernini, and further to the left is the monument to Paul III.

St. Peter's today

Tell us a little about how St Peter's is used (including St Peter's Square
 And its significance as a tourist attraction  


Burial site of St. Peter

The Annuario Pontificio gives the year of Peter's death as C.E. 64 or A.D. 67. Some scholars believe that he died on October 13 C.E. 64. It is traditionally believed that the Roman authorities sentenced him to death by crucifixion. According to a tradition recorded or perhaps initiated in the apocryphal Acts of Peter, he was crucified head down. Tradition also locates his burial place where the Basilica of Saint Peter was later built, directly beneath the Basilica's high altar. In art, he is often depicted holding the keys to the kingdom of heaven (the sign of his primacy over the Church), a reference to Matthew 16:19.

Other burials

There are over 100 tombs located within St. Peter's Basilica, many located in the Vatican grotto, beneath the Basilica. These include 91 popes, St. Ignatius of Antioch, and the composer Giovanni Pierluigi da Palestrina. Exiled Catholic British royalty James Francis Edward Stuart and his two sons, Charles Edward Stuart and Henry Benedict Stuart, are buried here, due to being granted asylum by Pope Clement XI. The most prominent woman entombed is Christina of Sweden, who abdicated her throne in order to convert to Catholicism. The most recent interment was Pope John Paul II, on April 8 2005. Beneath, near the crypt, is the recently discovered vaulted fourth-century "Tomb of the Julii."

Gallery

Notes

  1. [1]
  2. The Basilica of Our Lady of Peace of Yamoussoukro in Africa has a higher dome and is both longer and wider. However, measures of the latter include also a rectorate and a villa not stricly part of the church; its capacity is also much lower: 18,000 people against St. Peter's 60,000.

References
ISBN links support NWE through referral fees

  • Anonymous. The Basilica of St. Peter in the Vatacan: The Architecture, the Monuments, and the Works of Art, Kessinger Publishing, 2004. ISBN 978-141-7965205
  • Bannister, Turpin. "The Constantian Basilica of Saint Peter at Rome”, The Journal of the Society of Architectural Historians, March, 1968, p. 3-32.
  • Boorsch, Suzanne. “The Building of the Vatican: The Papacy and Architecture.” The Metropolitan Museum of Art Bulletin, Winter, 1982, p. 1-2;4-64.
  • Frommel, Christoph. “Papal Policy: The Planning of Rome during the Renaissance,” Journal of Interdisciplinary History (Summer 1986) 39-65.
  • McIntish, Jane. St. Peter's Basilica: Audio Guide to Rome's St. Peter's Basilica and Its Remarkable Art Treasures (Audio CD), Context Audio Guides, 2005. ISBN 0976905219
  • Scotti, R.A. Basilica: The Splendor and the Scandal: Building St. Peter's, Viking Adult, 2006. ASIN B000OFOIWW
  • Tronzo, William (Ed.). St. Peter's in the Vatican, Cambridge University Press, 2005. ISBN 978-0521640961

External links

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