The main cathedral of the Vatican. Cathedral of St.

St. Peter's Cathedral (Italian: Basilica di San Pietro; St. Peter's Basilica) is a Catholic cathedral, which is the largest building of the Vatican and until recently was considered the largest Christian church in the world. One of the four patriarchal basilicas of Rome and the ceremonial center of the Roman Catholic Church.

Cathedral and St. Peter's Square:

St. Peter's Basilica (Italian: Basilica di San Pietro in Vaticano; St. Peter's Basilica) is a Catholic cathedral on the territory of the sovereign state of Vatican City. One of the four patriarchal basilicas of Rome and a ceremonial center Roman Catholic Church. Until 1990, the Cathedral of St. Peter's in Rome was the largest Christian cathedral in the world; in 1990 it was surpassed by the cathedral in Yamoussoukro, the capital of the African state of Cote d'Ivoire (Ivory Coast).

St. Peter's Basilica and St. Peter's Square:

The size of St. Peter's Basilica is simply amazing. It covers an area of 22,067 square meters. m. The height of the cathedral is 189 m, the length without a portico is 186.36 m, and with a portico - 211.5 m. Architectural style: Renaissance and Baroque.

Story

Once upon a time, on the spot where the Cathedral of St. Peter, the gardens of Nero's circus were located (from it, by the way, the obelisk from Heliopolis remained, which to this day stands in St. Peter's Square). In the circus arena during the time of Nero, Christians were martyred. In 67, the Apostle Peter was brought here after the trial. Peter asked that his execution not be compared to Christ’s. Then he was crucified head down. St. Clement, the then bishop of Rome, with the faithful disciples of the apostle, took his body from the cross and buried him in a nearby grotto.

Reconstruction plan for the Circus of Nero:

Reconstruction plan of Nero's Circus, superimposed on the plan of the cathedral. St. Peter's Tomb - St. Peter's grave

The first basilica was built in 324, during the reign of the first Christian emperor Constantine, and the remains of St. Peter, who suffered martyrdom in the circus of Nero in 66. At the second council in 800, Pope Leo III crowned Charlemagne Emperor of the West. In the 15th century The basilica, which had existed for eleven centuries, threatened to collapse, and under Nicholas V they began to expand and rebuild it. This issue was radically resolved by Julius II, who ordered the construction of a huge new cathedral on the site of the ancient basilica, which was supposed to eclipse both the pagan temples and the existing Christian churches, thereby helping to strengthen the papal state and spread the influence of Catholicism.

Almost all the major architects of Italy took turns participating in the design and construction of St. Petra. In 1506, the architect's project was approved Donato Bramante , according to which they began to build a centric structure in the shape of a Greek cross (with equal sides).

After Bramante's death, the construction was led by Raphael, who returned to the traditional form of the Latin cross (with an elongated fourth side), then Baldassare Peruzzi, who settled on a centric structure, and Antonio da Sangallo, who chose the basilica form. Finally, in 1546, the management of the work was entrusted to Michelangelo.

He returned to the idea of a central-domed structure, but his project included the creation of a multi-columned entrance portico on the eastern side (in the most ancient basilicas of Rome, as in ancient temples, the entrance was on the eastern, not the western side). Michelangelo made all the supporting structures more massive and highlighted the main space. He erected the drum of the central dome, but the dome itself was completed after his death (1564) by Giacomo della Porta, who gave it a more elongated outline. Of the four small domes envisaged by Michelangelo's design, the architect Vignola erected only two. To the greatest extent, the architectural forms exactly as they were conceived by Michelangelo have been preserved on the altar, western side.

But the story didn't end there. At the beginning of the 17th century. At the direction of Paul V, the architect Carlo Maderna lengthened the eastern branch of the cross - he added a three-nave basilica part to the centric building, thus returning to the shape of the Latin cross, and built a facade. As a result, the dome turned out to be a hidden façade, lost its dominant meaning and is only perceived from a distance, from Via della Concigliazione.

A square was needed that could accommodate the large number of believers who flocked to the cathedral to receive papal blessings or take part in religious celebrations. Completed this task Giovanni Lorenzo Bernini , who created in 1656-1667. The square in front of the cathedral is one of the most outstanding works of world urban planning practice.

St. Peter's Square. Bernini:

Facade

The height of the facade, built by the architect Carlo Maderna, is 45 m, width - 115 m. The attic of the facade is crowned with huge, 5.65 m high, statues of Christ, John the Baptist and the eleven apostles (except for the Apostle Peter). From the portico, five portals lead to the cathedral.

Carlo Maderna (Maderna; 1556-1629) - Roman architect, student of his uncle, Domenico Fontana. He immortalized his name mainly by completing the construction (in 1605-1613) of St. Peter's Cathedral.

Facade of St. Peter's Basilica. Architect Carlo Maderna:

Statues of the Apostles Peter and Paul:

At Easter 1847, Pope Pius IX decided to replace the statues of the apostles Peter and Paul that stood in front of the cathedral. The old statues were moved to the library of Sixtus IV, and in their place were placed statues made for St. Paul's Outside-the-Walls. Author: Venetian sculptor Giuseppe De Fabris, 1838-1840. In the right hand of the apostle - the keys to paradise, on the left is a scroll with the words “ET TIBI DABO CLAVES REGNI CAELORUM” (and I will give you the keys of the Kingdom of Heaven, Matthew 16:19).
The author of the statue of St. Paul is Adamo Tadolini, 1838. In the right hand of the apostle is a sword, his symbol, in the left is a scroll with the words “I can do all things through Jesus Christ who strengthens me,” Phil. 4:13, in Yiddish.

The doors of the central portal were made in the middle of the 15th century. and come from the old basilica. Opposite this portal, above the entrance to the portico, is a famous mosaic by Giotto from the late 13th century. "Navichella". The reliefs of the leftmost portal - the “Gate of Death” - were created in 1949-1964. by the great sculptor Giacomo Manzu. The image of Pope John XXIII is very expressive.

The Doors of Death are so named because funeral processions usually exited through these doors.

In preparation for the 1950 anniversary, Pope Pius XII announced a competition in 1947 to create three doors leading from the portico to the cathedral. The most outstanding artist among the winners was Giacomo Manzu. The door was made in 1961-64. 10 scenes on the doors express the Christian meaning of death. At the top right is the crucifixion of the Savior, on the left is the Dormition of the Virgin Mary. Below are reliefs with a bunch of grapes and a sheaf of ears of grain, which simultaneously serve as door handles. When grapes and wheat die, they turn into wine and bread. During the sacrament of the Eucharist, they are transformed into the Body and Blood of Christ, that is, into the bread of life and the wine of salvation.

Below on the right are depicted: the death of the first martyr St. Stephen; the death of Pope Gregory VII, defending the Church from the claims of the emperor; death imporvised in space; death of mother at home in front of crying child.

"Gate of Death":

Gate of Death (fragment):

Bottom left (detail): depicts the murder of Abel, the peaceful death of Joseph, the crucifixion of St. Peter and the death of the “good pope” John XXIII.

There are five doors leading into the cathedral. The last door on the right is the Holy (3.65 m x 2.30 m), and it opens only in the Holy, or jubilee year, celebrated every quarter of a century.

Holy Gate:

From inside the cathedral, the Holy Door is walled up with concrete; a bronze cross and a small square box are attached to the concrete, in which the key to the door is stored. Every 25 years, on Christmas Eve (December 25), the concrete is broken before the anniversary year. In accordance with a special ritual, after three kneelings and three blows of the hammer, the Holy Door swings open and the pope, taking the cross in his hands, is the first to enter the cathedral. At the end of the Jubilee Year, the door is closed again and sealed for the next 25 years.

Walled Holy Gate (with Cross):

The holy gates are open. John Paul II walks through the door in 2000:

On December 24, 1949, the wooden panels, made in 1749, were replaced with bronze ones, by Vico Consorti, "master of doors" as he is called.

16 rectangular panels are separated by the coats of arms of the 36 popes who celebrated their next jubilee years. The main theme of the scenes depicted on the panels is the atonement of human sins by the grace of God.

The Lord knocks on everyone's door and waits for us to open it for him.

Panels of the Holy Door. 1st row:

Panels of the Holy Door. 2nd row:

Panels of the Holy Door. 3rd row:

Panels of the Holy Door. 4th row:

Jubilee year periodically proclaimed Holy year, during which the possibility of special absolution was allowed. This tradition has its origins in the Book of Leviticus of the Old Testament of the Bible (25:10): “... and sanctify the fiftieth year and declare freedom on the earth to all its inhabitants: this shall be your jubilee; and return every one to his possessions, and every one return to his tribe.”

The Hebrew word yo-bale" (hence the word "jubilee") means the sound of the shofar, the ram's horn, which announced the advent of the Year of Jubilee. Throughout the year, work in the fields was suspended, and slaves were set free. Houses sold or mortgaged (except those outside the walls cities or in the Holy Land) were returned free of charge to their original owner or his rightful heir, and all debts were released.

The Catholic Church associated the receipt of indulgences and the abolition of imposed penances with the jubilee years. The Holy Year was first celebrated in 1300 by decree of Pope Boniface VIII. Jubilee years were to be celebrated every hundred years, at the beginning of a new century. After Boniface VIII, it was decided to celebrate the anniversary every 50 years, then every 33 years (in honor of the earthly life of Christ). In 1470, Pope Paul II adopted a new decree: jubilee years should be celebrated every 25 years, so that each new generation could take part in the jubilee; A tradition arose obliging us to celebrate anniversary years at the beginning of each quarter of a century. At the beginning of the year 2000, called the Great Jubilee, Pope John Paul II, for the first time in history, pronounced a lengthy Mea Culpa on behalf of the Catholic Church, asking for forgiveness of sins committed by members of the church throughout history.

Interior

Inside, the cathedral amazes with its harmony of proportions, its enormous size, and the richness of its decoration - there are a lot of statues, altars, tombstones, and many wonderful works of art.

St. Peter's Basilica, Vatican. View inside St. Peter's Basilica
from the main entrance:

Central nave

The total length of the basilica is 211.6 m. On the floor of the central nave there are marks showing the dimensions of other largest cathedrals in the world, which allows them to be compared with the largest, the Cathedral of St. Petra.

At the end of the central nave, near the last pillar on the right, there is a statue of St. Peter's from the 13th century, attributed to Arnolfo di Cambio. The statue is credited with miraculous properties, and numerous pilgrims reverently place their lips on the bronze leg.

St. Peter Statue:

Statue of St. Peter (this is how the foot was cut off by the kisses of pilgrims):

The dome, an architectural masterpiece, has a height of 119 m inside and a diameter of 42 m. It is supported by four powerful pillars. Pope Julius II laid the first stone of the new cathedral on April 18, 1506 at the base of one of these pillars (with a statue of St. Veronica).

Dome of St. Peter's Basilica:

In 1624, Urban VIII ordered Bernini to create 4 loggias in these pillars to store relics. Bernini's role in the creation of the sculptural decoration of the cathedral is very great; he worked here intermittently for almost fifty years, from 1620 to 1670.

Below the loggias, in the niches of the pillars, there are huge statues corresponding to the relics kept in the loggias. Currently, some of these relics are located in other places.

Statue of the Apostle Andrew the First-Called.

The relic is the head of a saint.

The relic was brought to Venice by Thomas Palaiolagos, the last ruler of Morea, fleeing the Turkish invasion of the Peloponnese, and presented to Pius II (1460). As a sign of friendship with the Greek Orthodox Church, in 1966 Pope Paul VI presented the relic as a gift to the Church of St. Andrew in the city of Patras, where the saint died.

The relic is the spear of Longinus.

Like his predecessors, Pope Innocent VIII tried to stop the Turkish invasion, but he succeeded without the crusade he had planned to undertake. Pierre d "Aubusson captured Djem, the brother and rival of Sultan Bayezid II. The Sultan and the pope entered into an agreement in 1489, according to which Djem was held captive in Rome, and the Sultan left Europe and paid a ransom every year. In 1492, Bayezid gave the pope a fragment of a spear, which was believed to have belonged to the centurion Longinus (information from saintpetersbasilica.org).

Statue of Holy Queen Helen Equal to the Apostles:

Relic - particles of the Life-giving Cross.

Many fragments of the Holy Cross kept in the cathedral were donated to other churches. Therefore, Pope Urban VIII decided the particles kept in the Church of St. Anastasia and the Cathedral of Santa Croce in Gerusalemme (Italian: Santa Croce in Gerusalemme, which means “Holy Cross in Jerusalem” - one of the seven pilgrimage churches of Rome, located south of the Lateran ), move to St. Peter's Cathedral.

Statue of Saint Veronica. Author - Francesco Mochi, 1629:

Relic - part of the board with the image of Jesus Christ.

In the under-dome space above the main altar is Bernini's first work in the cathedral (1633) - a huge, 29 m high canopy (ciborium) on four twisted columns on which stand statues of angels, by Francois du Duquesnoy. Among these angels, one pair of angels holds the symbols of the pope - the keys and tiara, the other pair of angels holds the symbols of St. Paul - a book and a sword.

Ciborium (canopy) Baldacchino. Bernini:

The unusual shape of the columns repeats the silhouette of a twisted column from the Temple of Solomon, brought to Rome after the capture of Jerusalem. Among the laurel branches on the upper parts of the columns are visible the heraldic bees of the Barberini family. The ciborium required a huge amount of bronze. 100,000 pounds (37 or 45 tons, it all depends on which pound was used for measurements) were removed from the dome of the cathedral, then the same amount was sent from Venice and Livorno. When this was not enough, by order of Pope Urban VIII (Barberini), the structures that supported the roof of the Pantheon portico were dismantled. It was then that Pasquino said his catchphrase: “Quod non fecerunt Barbari fecerunt Barberini” (what the barbarians did not destroy, Barberini destroyed).

Although the canopy does not look particularly large in the interior of the cathedral, it is equal in height to a 4-story building. Bernini's masterpiece became the personification of the Baroque style.

The main altar is called the papal altar because only the Pope can celebrate Mass in front of it. The altar was consecrated by Pope Clement VIII on June 5, 1594. The altar was made of a large piece of marble brought from the forum of Emperor Nerva.

The main altar is called papal:

In front of the altar there is a staircase leading down to the tomb of St. Petra. This descent is called Confessio (confessional), because it can be considered as a cut-out window in the confessional, through which believers could turn their gaze to the shrine, hidden deep underground, where part of the relics of St. Apostle Peter.

“Confessional” of the Apostle Peter (under the floor is the place of the apostle’s supposed burial):

Place of storage of the relics of St. Peter the Apostle:

Through the canopy one can see the Cathedral of St., located in the central apse and also created by Bernini. Petra.

The Chair of Saint Peter:

It includes the chair of St., supported by four statues of the church fathers. Peter, above which the symbol of the Holy Spirit hovers in radiance. To the right of the pulpit is the tombstone of Pope Urban VIII by Bernini, to the left is the tombstone of Paul III (16th century) by Guglielmo della Porta, one of Michelangelo’s students.

Chair of St. Peter and Glory (fragment) Church Fathers

Church Fathers - an honorary title used since the end of the 4th century in relation to a group of prominent church leaders and writers of the past, whose authority had special weight in the formation of dogma, the compilation of the canon - the list of the Holy Books of the Bible (the separation of inspired books from apocryphal ones), hierarchical organization, and worship Churches. It is believed that the Fathers of the Church are distinguished by Orthodoxy of teaching, holiness of life, recognition of the Church and antiquity. The philosophical and theological teaching of the Church Fathers is called patristics.

In 1568, Pope St. Pius V recognized four Orthodox saints as Fathers of the Church: John Chrysostom, Basil the Great, Gregory of Nazianzus and Athanasius of Alexandria.

Saints Ambrose of Milan, Athanasius the Great, John Chrysostom and Blessed Augustine:

On February 22, the Catholic Church celebrates the feast of the Chair of St. Apostle Peter, which is a symbol of his preaching of the Word of God in Rome. Actually, a simple wooden chair served as the pulpit for St. Peter. Subsequently, it was strengthened and decorated, as is believed in Byzantium. Bernini built the composition so that it seems that the pulpit is floating in the clouds, supported by the Fathers of the Church (statues 5 m high). The base of the altar is made of Aquitanian black and white marble and jasper from Sicily.

Right nave

First on the right is the Chapel of the Pieta, before the Crucifixion. The chapel was renamed in 1749 after Michelangelo's Pietà was moved here, having previously changed several places in the cathedral. The chapel is decorated with mosaics made by F. Cristofari according to drawings by Ferri and Pietro da Cortona. The latter is called the Bernini of painting because of the quantity and significance of his works for the cathedral. Above the altar is the fresco "Triumph of the Cross" by Lanfranco, the only fresco from the cathedral not translated into mosaic. The Chapel of the Blessed Sacrament contains the only oil painting in the cathedral.

Chapel of the Pieta, before the Crucifixion:

The chapel contains Michelangelo's masterpiece - the marble Pieta. It was created by Michelangelo at the age of 25 at the turn of the 15th and 16th centuries. The order for the sculptural group was received on August 26, 1498 from Cardinal Jean Bilheres de Lagraulas, ambassador of the French king; the work was completed around 1500 after the death of the cardinal, who died in 1498. The sculpture was intended for the tombstone of the cardinal. The pedestal was made by Francesco Borromini in 1626.

Pieta, or lamentation of Christ. Michelangelo:

After the attacker attempted to break the statue, it was protected with glass.
On May 21, 1972, on the Saturday before Trinity, Laszlo Toth, a Hungarian from Australia, shouting “I, Jesus Christ!” struck the sculpture 15 times with a hammer. All blows fell on the Mother of God. Two years before this attack, a German knocked off two fingers from the statue of Pope Pius VI.

Nearby is a magnificent wooden crucifix from the late 13th to early 14th centuries, attributed to Pietro Cavallini.

Next to the Pietà there is a small chapel of the Blessed Sacraments.

Chapel of the Holy Sacraments:

The entrance to the chapel is closed by a forged lattice, made according to a drawing by Borromini. The entrance to the chapel is closed to tourists. You can only come here for prayers.

Magnificent tabernacle by Bernini (1674), gilded bronze:

The central part of the tabernacle is made in the form of a chapel-rotunda Tempietto by the architect Bramante (1502), located in the courtyard of the monastery of San Pietro in Montorio on the Janiculian Hill (eighth hill) in Rome.

Next to the Chapel of the Holy Sacraments is the tombstone of Gregory XIII,

On the left is an allegory of Religion, holding tablets with the law of God. On the right is Knowledge.

Tombstone of Pope Gregory XIII:

The bas-relief recalls the reform carried out by the pope - the introduction of a new calendar (Gregorian). October 4, 1582 was followed by October 15. October 4 is the day of remembrance of St. Francis, which should never have been missed. The pope is depicted with eminent astronomers and mathematicians, including Jesuit Priest Ignatius Danti, Father Clavius of Bamberg, and Antonio Lilio of Calabria. The dragon below is the heraldic animal of the Boncompagni family.

Pope Clement XI, persuaded by Candinal Buoncompagni (Gregory's cousin), ordered this new tombstone.

Tombstone of Matilda of Canossa:

In 1077, in Canossa, the castle of the Margravess Matilda, the Holy Roman Emperor Henry IV, who had been excommunicated and deposed, humbly begged forgiveness from Pope Gregory VII.

Pope Urban VIII ordered this tombstone at the end of 1633. He wanted to honor the memory of this outstanding woman. On March 10, 1634, her body was transported from Mantua to the cathedral, where the tombstone was already ready.

The bas-relief by Stefano Speranza depicts Henry IV kneeling before Gregory VII on January 28, 1077.

At the top of the arch, Matteo Bonarelli, Andrea Bolgi and Lorenzo Flori sculpted putti holding a crown, a coat of arms and the motto: TUETUR ET UNIT (I protect and unite).

Altar of Saint Jerome:

Altarpiece "Last Communion of St. Jerome" by the artist Domenichino, 1614. Translated into mosaic in 1744. The famous painting is now kept in the Pinacoteca of the Vatican. The painting depicts St. Jerome receiving last communion from St. Ephraim, who is helped by St. Paula.

Hieronymus of Stridonsky
Eusebius Sophronius Hieronymus (lat. Eusebius Sophronius Hieronymus; 342, Stridon on the border of Dalmatia and Pannonia - September 30, 419 or 420, Bethlehem) - church writer, ascetic, creator of the canonical Latin text of the Bible. He is revered in both the Orthodox and Catholic traditions as a saint and one of the teachers of the Church. Saint Jerome's Day is celebrated by Catholics on September 30th. Memory in the Russian Orthodox Church (called Jerome the Blessed) is June 15 (according to the Julian calendar), in the Greek Orthodox Church - June 15.

Tombstone of Clement XIII. Sculptor Canova (1792):

Left nave

Tombstone of Alexander VII by Bernini, 1678. The last masterpiece of the 80-year-old Bernini.

Tombstone of Alexander VII, sculptor Bernini (1678):

The Pope is depicted kneeling surrounded by allegories of Mercy (with children, sculptor G. Mazzuoli), Truth (resting his left foot on the globe, sculptors Morelli and Cartari), Prudence (sculptor G. Cartari), and Justice (sculptor L. Balestri). Initially the figures were naked, but on the orders of Innocent XI Bernini draped the statues in metal.

Altar "Transfiguration of the Lord". Raphael, 1520:

Cardinal Giuliano di Medici, the future Pope Clement VII, commissioned this painting in 1517 from Raphael for the French cathedral in the city of Narbonne - the cardinal's see. Having completed only the face of Jesus Christ, Raphael died on Good Friday in 1520. The painting was completed by Raphael's students - Giuliano Romano and Francesco Penni. Vasari wrote that the unfinished painting was displayed near the head of Raphael's deathbed, breaking the hearts of everyone who saw it. The painting remained in Rome in the Palazzo Cancelleria, and was then placed in the Church of San Pietro in Montorio after 1523. In 1797 Napoleon took it to Paris, the painting was returned back in 1815. The female figure below symbolizes the Church, which gives peace, hope and faith.
The film combines two plots - the transfiguration of Christ and the episode about the meeting of the apostles with a demon-possessed boy who was healed by Jesus Christ, who descended from Mount Tabor. The painting itself is now in the Vatican Pinacoteca, and in the cathedral there is a mosaic copy of it.

Of great interest is the work created in the 1490s. The tombstone of Innocent VIII by the sculptor Antonio Pollaiolo is one of the few surviving monuments that were still in the old basilica.

Tombstone of Innocent VIII (1498), sculptor Antonio Pollaiolo:

Tombstone of Pope Innocent VIII (1498), fragment:

In his left hand, the pope holds the tip of the Holy spear, with which the centurion Longinus pierced the crucified Christ to ensure his death. This tip was presented to the Pope by the Turkish Sultan Bayezid II, in exchange for his sworn enemy, who was also the Sultan’s brother, being held captive in Rome. The tip of this arrowhead, kept in Paris, disappeared during the French Revolution.

Not far from the entrance you see another creation by the sculptor Canova - the tombstone of the last representatives of the Scottish royal Stuart family.

Tombstone of the last representatives of the Scottish royal family Stuart:

(Raffaello Santi). Since then and to this day, the basilica has been the most significant Catholic church on the planet, annually attracting millions of parishioners to services conducted by the Pope himself.

In the 4th century AD under Emperor Constantine I (lat. Flavius Valerius Aurelius Constantinus), a Romanesque basilica was erected in Rome. The only thing that has survived from early Christian buildings is the monument marking the middle of St. Peter's Square, located in front of the temple.

According to Christian chronicles, the Apostle Peter (Greek: Απόστολος Πέτρος) suffered martyrdom around 64-67 AD. in Rome. The first altar of the first basilica was erected over the tomb of a follower of Christ in 313.

The Basilica of Constantine went through several reconstructions and by the 16th century had become significantly dilapidated. Pontiff Julius II (lat. Iulius II) appointed Donato Bramante a most interesting task- restore the ancient Christian temple and, if possible, preserve its original potential. According to the architect's idea, the updated basilica was supposed to be a large cross topped with a dome.

The spacious building with high vaults was supposed to embody the heavenly lightness of the temple, but Bramante’s death in 1514 postponed the implementation of the project indefinitely.

During Bramante's lifetime, in 1513, Rafael Santi became the second architect of the temple. Fra Giocondo was sent to help the famous master, and he in turn was replaced by Giuliano da Sangallo. The history of the creation of the temple was overshadowed amazing fact: During the 6 years of work on the project, three eminent masters died. Beginning in 1506, St. Peter's Cathedral received only the foundation and partly the lower wall tier, which was later dismantled.

Over the course of 40 years, the drawings of the cathedral were transformed on paper, changing the shape of the building from the Greek equilateral cross to the Latin one and finally settled on the form of the basilica proposed by Antonio da Sangallo. In 1546, da Sangallo dies and Pope Paul III engages Michelangelo to be the curator of the construction of the temple. Taking into account the accumulation of architectural ideas of his predecessors, Buonarroti decides to return to Bramante’s original plan, simplifying and at the same time strengthening the design.

It was decided to make the basilica mass in the form of a central domed building, the entrance to which was hidden by a portico draped with columns, following the example of ancient temples. Also, according to the tradition of the ancient builders, the central entrance of the temple was located on the eastern side.

During Michelangelo's lifetime, construction progressed significantly, even the drum of the dome was built.

However The genius did not have time to complete his grandiose project, in 1564 death interrupted Buonarroti's work.

Giacomo Della Porta continued work on the cathedral, making his own adjustments to Michelangelo's plan. Elements of the proto-Baroque style appeared, more elongated shapes, which is especially noticeable in the drawings of the dome drum. Buonarroti's ideas were realized in their pure form only during the construction of the western part of the temple.

By 1588, the Porte's affairs, in collaboration with Domenico Fontana, implemented a plan for preparatory work for the construction of the dome of St. Peter's Basilica. In subsequent For 2 years all the efforts of engineers and builders were concentrated on creating the main vault of the temple. Already in May 1590, Pope Sixtus V celebrated a solemn mass in the newly built cathedral.

During the summer months, a colonnade of 36 decorative columns was built, however, Sixtus V did not have time to admire the external decoration of the church, dying in August 1590. A golden lantern in the shape of a ball and a large cross over the dome of the temple were installed already under Clement VIII (lat. Clemente VIII).

The inspiration for the next round of construction of St. Peter's Cathedral was Pope Paul V. In 1605 he called on Carlo Maderno to rework the plan for the cathedral.

Greek cross, in the appearance of the building, embodied by Michelangelo, was converted to Latin, due to the lengthening of the longitudinal part.

Side naves were also added, so the temple turned into a three-nave basilica. Updated the church took on a completely different look from that originally conceived by Michelangelo– today, standing in the center of the square near the obelisk, you will see only part of the dome, and coming closer to the cathedral, you might think that this is a palace, not a church.

Description

St. Peter's Cathedral has impressive parameters: about 211 meters in length and height, including the dome - 132 m, the total area of the temple is 23 thousand m 2.

Such an impressive size of the cathedral allows it to leave its closest competitors far behind. Markers with the dimensions of other Catholic churches are placed on the floor so that visitors can appreciate the monumentality of the building.

Facade

The modern facade of the cathedral was completed by the architect Carlo Moderna in the 17th century. The baroque façade covered with travertine has a respectable width of 118 m and a height of 48 m.

Classical columns support an attic topped with 13 statues. A five-meter statue of Christ, surrounded by John the Baptist and 11 apostles, adorns the front of St. Peter's Basilica. The facade of the temple is also decorated with a clock created in the 18th century by Giuseppe Valadier.

Hidden behind the columns of the portico are five gates leading inside. cathedral: Gate of Death (Porta della Morte), Gate of Good and Evil (Porta del Bene del Male), Gate of Filarete (Porta del Filarete), Gate of the Sacraments (Porta dei Sacramenti), Holy Gate (Porta Santa). The most notable of these is the Door of Death, created in the mid-20th century by sculptor Giacomo Manzu. It is through these doors that the Vatican sends its pontiffs on their final journey.

The central portal of the cathedral is decorated with two equestrian statues: Charlemagne, made in the 18th century. Augustino Cornacchini and Emperor Constantine, by Bernini (1670). Another pearl of the temple’s exterior is the Navicella degli Apostoli fresco, painted by Giotto di Bondone, completed in the 13th century.

Interior

St. Peter's Basilica has an impressive interior space, which is divided between three naves. Arched vaults 23 m high and about 13 m wide separate the central nave from the side ones. The gallery, 90 m long and with an area of about 2500 m2, begins at the entrance to the temple and ends at the altar. In the last arch of the central nave there is a miraculous statue of St. Peter, cast in bronze, to which thousands of pilgrims flock.

The Vatican, represented by the cathedral, acquired a repository of the most valuable works of art, from the floor to the tip of the dome. The marble floors of the temple partially preserved elements of the former basilica, reconstructed in the 13th century.

The disk of red Egyptian porphyry on which Charlemagne knelt during his coronation in 800, as well as most of the rulers of Europe until the 15th century, attracts attention.

Many interior decor elements were created with the participation of , who spent 50 years of his creative life decorating the cathedral. One of his significant works is the statue of the Roman centurion Longinus. According to legend, a centurion, suffering from very poor eyesight, pierced the crucified Christ to ensure the death of the son of God. The blood of Christ fell on Longinus’s eyes and he immediately received his sight.. After some time, Longinus converted to Christianity, actively preached, and is now revered as one of the main Christian saints.

St. Peter's Basilica contains the spearhead of a Roman centurion as one of its relics.

Above the altar of the temple lies another masterpiece of Bernini - an extensive canopy (cevorium), resting on four figured pillars. The canopy was created under Urban VIII; many decorative elements glorify the aristocratic family of the pontiff. The fabulous cost of the master’s work was covered from the treasury of the Burberry family, but bronze and other building materials were shamelessly taken from the Pantheon (Greek: πάνθειον).

To this day there is a saying in Rome: “What the barbarians did not do, Bernini and Barberini did.”

Above the canopy is a pulpit dedicated to St. Peter, also designed by Bernini.

If you walk along the central nave of the cathedral, in the niches you can admire the statues of saints: Teresa, Helena Sophia Barat, St. Vincenzo de Paoli, John, St. Philip Neri, St. John Baptista de La Salle, St. John Bosco.

Right nave

Pieta

In the right nave of the temple there is a sculptural group “” (Lamentation of Christ) by the young Michelangelo (1499).

To protect the work of art from the harmful effects of temperature fluctuations, dust, humidity, as well as careless visitors, the statue is covered with a durable glass cover. In 1972, a religious fanatic caused serious damage to the masterpiece with a hammer!

Monument to Pontiff Leo XII

Next to the Pieta there is a monument to Pontiff Leo XII by Giuseppe de Fabris (19th century) and a monument to Christina, Princess of Sweden made by Carl Fontana in the 17th century.

In the Cappella di San Sebastiano you can admire the mosaics made by Pier Paolo Cristofari, based on sketches by Domenichino himself. The vault of the chapel is decorated with a mosaic by Pietro da Cortona.

Tomb of Margravine Matilda of Canossa

A unique monument is the tomb of Margravine Matilda of Canossa, made by Bernini. The aristocrat was the first woman buried in the temple.

Chapel of the Blessed Sacrament

The Chapel of the Blessed Sacrament (Cappella del Santissimo Sacramento) is decorated with a decorative grille created from sketches (Francesco Borromini). Inside the chapel there is bronze work by Carlo Moderno, Borromini architecture.

Left nave

Tomb of Alexander VII (lat. Alexander VII)

Bernini's last significant work adorns the tomb of Alexander VII of the Chigi family. The ensemble, made of colored marble and bronze, depicts the pontiff in prayer, surrounded by allegorical statues of Mercy, Truth, Justice and Prudence. In front of Alexander VII is a skeleton wrapped in a red robe - a symbol of death.

In the skeleton's hand there is an hourglass - a metaphor for the end of the pontiff's earthly life.

The baroque ensemble is filled with theatrical drama and full of secret meaning. Thus, one of the virtues is depicted standing on the globe. It is by no means accidental that the stone foot covers England. By the 17th century, the schism between the Catholic and Anglican churches had reached its climax. British Stuart monarchs renounced their crown in order to remain faithful to the Catholic faith. This whole contradictory situation was artistically played out by Bernini in stone. The Stuart tomb is now located inside the cathedral to the left of the entrance.

Chapel of Epiphany

In the left nave is the Chapel of the Epiphany (Cappella del Battesimo), designed by Carl Fontana and decorated with mosaics by Baciccio. Nearby is the tomb of Maria Clementina Sobieski, decorated by sculptor Pietro Bracci in the 18th century. Adjacent to it is a memorial to the Stuarts, by Atonio Canova (19th century). An interesting work by the 15th century Florentine architect Antonio Pollaiolo is the tomb of Pontiff Innocent VIII.

Center

The central space of the cathedral is limited by four pillars supporting the dome. This part of the temple was realized in accordance with the ideas of Michelangelo. In the very heart of the church you can see many mosaic paintings made according to Domenichino's sketches.

Of particular awe is the memorial to Pius VII, made in the 19th century by a non-Catholic creator, Bertel Thorvaldsen. St. Peter's Basilica has a Gregorian Chapel (Gregoriana Cappella), which reminds us of who gave humanity the Gregorian calendar. The numerous tombs of pontiffs and richly decorated chapels make an indelible impression on parishioners.

Dome

Metro: line A, stop Ottaviano (closer to museums)
by tram: No. 19, San Pietro stop 200 meters from the cathedral;
by bus: No. 23, 32, 81, 590, 982, N11, Risorgimento stop, No. 64 and 40 express routes from (Termini) to St. Peter's Basilica, No. 116, Terminal Gianicolo stop;
by regional train: Roma San Pietro station (closer to the square), train runs from Roma Trastevere station, ticket 1 euro.

St. Peter's Basilica, located in the Vatican (Basilica di San Pietro), is one of the most visited attractions in Rome. The history of the famous cathedral dates back to the 4th century: just imagine how many masterpieces of art are stored within its walls.

And don’t be scared by the huge queue that usually accumulates in front of the cathedral: you should definitely visit it. After all, this is the most significant Catholic church in the world!

And by climbing the dome, you can admire the gorgeous views of the capital of Italy.

The history of St. Peter's Basilica

Initially, a Roman basilica was built on the site of the modern cathedral: its construction dates back to the 4th century. At that time, the empire was ruled by Constantine I (Flavius Valerius Aurelius Constantinus).

The basilica was consecrated in honor of the Apostle Peter, who died as a martyr in 64-67 AD. – it was over his grave that the first altar was created.

Architects and construction of the cathedral

During its existence, the church went through more than one reconstruction, but by the 16th century it had already partially collapsed. Then, by decision of Pontiff Julius II, work began on the restoration of the ancient temple.

Donato Bramante was appointed as the architect, who planned to rebuild the small basilica in the form of a large cross with a huge dome.

However, the famous architect failed to complete the plan: he died in 1514. His successor was Raphael Santi, who worked on the construction of the cathedral together with his assistant Fra Giocondo, and later with Giuliano da Sangallo.

After Raphael's death, construction work was led by the architect Antonio da Sangallo, who proposed building a basilica in the shape of a Latin cross. He also failed to turn his plan into reality.

When da Sangallo died (in 1546), Pope Paul III appointed Michelangelo as chief architect: he decided to return to Bramante's original architectural plan.

Michelangelo carried out a colossal amount of work, but the construction of the temple was completed by Giacomo Della Porta - after Michelangelo’s death in 1564.

It was at that time that decorative fragments of proto-Baroque appeared in the cathedral. The famous architect, together with Domenico Fontana, carried out work on the construction of the dome and main vault of the cathedral.

Opening of the cathedral and subsequent reconstruction

The opening of St. Peter's Basilica occurred in 1590, when Pope Sixtus V celebrated the first mass there. However, work on the external design of the temple continued: a colonnade was erected, including 36 columns, a massive cross over the dome and a golden lantern.

When Pope Paul V came to power, it was decided to lengthen part of the building and also add side naves - as a result, the cathedral received the shape of a Latin cross. Work to change the temple was led by Carlo Maderno in the 17th century.

Photo: Vladimir Mucibabic / Shutterstock.com

St. Peter's Square

The construction of the square in front of the cathedral (Piazza San Petro) was carried out by Giovanni Lorenzo Bernini from 1656 to 1667.

As planned, the large square was supposed to accommodate a huge number of believers wishing to receive the blessing of the pope or participate in religious events.

Today, up to 400 thousand people can be here at the same time.

The oval-shaped square is surrounded by two galleries of columns: in total there are 284 Doric columns, as well as 80 pillars.

Directly on the attic, which tops the colonnade, there are 140 sculptures of saints. If you look from above, the area resembles a key.

Architecture

When looking at St. Peter's Basilica, the first thing that impresses you is its scale. The building, together with the dome, reaches a height of about 132 meters, and the total area is 23 thousand square meters. m. The height of the Baroque facade is 48 meters, width - 118 meters.