Tomb of Saint Peter

After the crucifixion and resurrection of Jesus, in the second quarter of the century, it is recorded in the biblical book of the Acts of the Apostles that one of his twelve disciples, Simon Peter, a fisherman from Galilee, occupies a leadership position among his followers, having great importance in the founding of the Christian Church.

Simon Peter, after a ministry of about thirty years, traveled to Rome. In the year 64, during the reign of Emperor Nero, Christians were held responsible for the great fire of Rome, for which Peter was martyred, like many other Christians. He was crucified upside down, at his own request, because he considered himself unworthy to die in the same way that Christ had done.[9] The crucifixion took place near the Egyptian obelisk at one end of the Circus of Nero. This obelisk was brought from the city of Heliopolis by Caligula in the year 37 AD. C.[10]​ It is currently located in St. Peter's Square, and is venerated as a "witness" to the death of the apostle. It is one of several ancient obelisks in Rome.[11]​.

According to tradition, Peter's remains were buried outside the Circus, on the Vatican Hill, along the Via Cornelia, which started from the Circus, less than 150 m from the place of his death. Peter's tomb was marked by a red rock, a symbol of his name, which helped Christians identify it and, at the same time, was meaningless to non-Christians, which avoided possible reprisals. Years later, a sanctuary or "cella memoriae" was built in this place, which almost 300 years later became the ancient Basilica of Saint Peter.[10]​.

In 1939, during the papacy of Pius In fact, the area covered by Vatican City had been a cemetery since before the construction of Nero's Circus. In addition, the victims of the circus executions were buried there, as well as numerous Christians who chose to be buried near the apostle. The excavations revealed, at different levels, the remains of the sanctuaries that existed in the times of Clement VIII (1594), Callistus II (1123) and Gregory I (590-604). All the constructions were on an aedicule that contained bone fragments in a purple-dyed cloth with gold decorations. Although it could not be determined with certainty that the bones were those of Peter, the clothing suggested a burial of great importance. On December 23, 1950, Pope Pius XII announced the discovery of the tomb of the apostle Saint Peter.[5]​.

Old basilica

The ancient basilica was built on the site of Peter's tomb, not far from the circus of Nero. The works were ordered by Emperor Constantine, at the expense of Pope Sylvester I; They began between 326 and 330, and ended 30 years later. Many emperors were crowned before the main altar of this church, such as Charlemagne, upon whom Pope Leo III "Leo III (pope)") imposed the imperial crown "Imperial Crown (Holy Roman Empire)") on Christmas Day in the year 800.[12]​[13]​.

Reconstruction plan

At the end of the century, after the period of the Avignon papacy, the early Christian basilica was in considerable disrepair and threatened to collapse. The first pope to consider rebuilding, or at least making radical changes, was Nicholas V in 1452. He commissioned work on the old building to Leon Battista Alberti and Bernardo Rossellino, who was in charge of designing the most important changes. In his project, Rossellino maintained the longitudinal body of five naves "Nave (architecture)") covered with vaulted ceilings and renewed the transept with the construction of a wider apse to which he added a choir "Choir (architecture)"); This new intersection between the transept "Cruise (architecture)") and the apse would be covered with a vault. This configuration devised by Rossellino influenced Bramante's later project. The works were interrupted three years later, upon the death of the pope, when the walls only managed to rise one meter from the ground. However, the pope ordered the demolition of the Colosseum in Rome and, at the time of his death, 2,522 cartloads of stone had been transported for use in the new building.

Fifty years later, in 1505, under the pontificate of Julius II, the works were restarted, with the idea that the new building would be the appropriate setting to house his tomb; The Pope intended with the work to "aggrandize himself in the popular imagination."[14] For this purpose, a competition was held, and several of the designs currently exist in the Uffizi Gallery in Florence. The plan initiated by Julius II continued through the papacies of Leo IV (1559-1565), Saint Pius V (1565-1572), Gregory XIII (1572-1585), Sixtus V (1585-1590), Urban VII (1590), Gregory Paul V (1605-1621), Gregory XV (1621-1623), Urban VIII (1623-1644) and Innocent X (1644-1655).

Contenido

El papa Julio II se propuso continuar las obras iniciadas por Nicolás V, pero en 1505 decidió la construcción de una nueva basílica ex-novo, acorde con la nueva estética renacentista.

Bramante project

The laying of the first stone took place on April 18, 1506.[15]​[16]​ Julius II himself chose this date as the most favorable to begin the works on the advice of his astrologers, who had previously carried out the calculations at his command.[17]​ The project was commissioned to the architect Donato d'Angelo Bramante, who had arrived shortly before from Milan, and who had earned the trust of the pope over the previous architect, Giuliano da Sangallo. He was even in charge of the design of the Belvedere Courtyard. The project consisted of a building with a Greek cross plan inscribed in a square and covered by five domes, the central one being the largest and supported by four large pillars, inspired by the Basilica of Saint Mark, and a clear example of a centralized plan typical of the Renaissance.[18] The central dome, inspired by that of Agrippa's Pantheon, was located above the transept, and the rest in the corners. This idea was captured in a medal minted by Caradosso to commemorate the laying of the temple's first stone on April 18, 1506. Also important in the construction of the church was the application of the theoretical studies of Francesco di Giorgio, Filarete and, above all, Leonardo da Vinci, for churches with a centralized plan, whose results are clearly inspired by the octagonal plan of the Florence cathedral.

The work began with the demolition of the early Christian basilica, which was highly criticized inside and outside the Church by personalities such as Erasmus of Rotterdam and Michelangelo, who criticized the destruction of the columns of the old basilica.[19] Bramante was nicknamed "ruinous master", and Andrea Garner mocked him in the satire Scimmia ("Monkey"), published in Milan in 1517, where he presents the deceased architect before Saint Peter, who reproaches him for the demolition when he proposes the reconstruction of heaven.[20] To these scandals we had to add that of the sale of indulgences for the construction of the basilica, which had an important role in the birth of the Protestant Reformation of Martin Luther, who saw the work on his trip to Rome at the end of 1510, and on the basis of which he would write the ninety-five theses. With all this, Bramante was not able to see the work progress much, as he died in 1514, when only little more than the four large pillars that were to support the large central dome had been built. Bramante's project consisted of gigantic pilasters and a large hemispherical dome supported by a drum of columns. The space generated inside was a magnificent manifestation of the Renaissance image. As for the exterior, it did not have a true façade, since this was of secondary importance.

• - Bramante project.

• - Medal with Bramante's project.

• - Original traces of Bramante.

Projects by Rafael and Sangallo

From 1514, Rafael Sanzio took over the direction of the work, with Brother Giovanni Giocondo and Antonio da Sangallo the Younger, who continued directing the works, together with Baldassarre Peruzzi, after Raphael's death in 1520. All of them changed Bramante's plan, opting for designs that were inspired by the traditional Latin cross basilica plan with a longitudinal body of three naves.[18] Sangallo presented in 1546 an expensive wooden model, currently stored in the basilica, in which he synthesized all the ideas that had arisen previously. He defended the centralized plan designed by Peruzzi, covered by an enormous dome larger than the one planned by Bramante, and topped with a gigantic double drum "Drum (architecture)"); The complex was flanked by two tall bell towers.

• - Rafael's project.

• - Design by Sangallo.

Michelangelo's project

After Sangallo's death in 1546, Pope Paul III entrusted the direction of the works to Michelangelo Buonarroti, who took up Bramante's idea of ​​a Greek cross plan. Bramante's original design had structural problems that had to be corrected. Under the direction of Michelangelo, the walls of the apse were raised, of imposing grandeur. However, the most important contribution of the genius was the large dome that is located just above the main altar and the site where tradition indicates that the tomb of the apostle Saint Peter is located. It is a structure that, although very heavy, seems to float in the air.[21]​ The construction of the dome was completed twenty-four years after the death of Michelangelo according to the definitive design of Domenico Fontana and Giacomo della Porta, who barely modified the master's plans.[22]​ The mosaics inside the dome are by Giuseppe Cesari, and represent the different hierarchies of saints in heavenly glory, God the Father being represented in the lantern "Lantern (architecture)") central.

• - Engravings from Michelangelo's project, by Étienne Dupérac.

• - Exterior view.

• - Section.

Conclusion of the work

The current configuration of the basilica in the shape of a Latin cross was the work of Carlo Maderno, who during the pontificate of Paul V added three new bays and designed the façade, composed of balconies and covered by columns of giant order. The basilica was completed in 1626 and was solemnly consecrated by Pope Urban VIII, although there were still many details to finish.

Gian Lorenzo Bernini, at the request of Alexander VII, designed the immense St. Peter's Square and the colonnade that surrounds it. Above it and around the entire perimeter of the square you can see numerous statues of saints from all periods and places. Above the façade of the basilica are statues of eleven of the apostles (except Saint Peter), Saint John the Baptist and, in the center, Christ. Bernini was also responsible for undertaking the designs and plans for the bell towers that were to complete the façade left by Maderno; The only tower completed under the direction of Bernini, between 1638 and 1641, had to be demolished shortly after its erection due to the obvious signs of instability of the structure. The clocks that occupy the ends of the façade were included at the end of the 19th century, and are the work of Giuseppe Valadier, who also placed the immense bell previously cast in one of the lateral bodies, which are all that can be considered a bell tower once it was decided not to consider the construction of towers on the façade again.

Bernini also took care of a large part of the interior decoration of the temple. His most notable work in this regard is the spectacular baldachin, made of solid bronze, over the main altar of the basilica. The bronze used in the construction of the baldachin was extracted from the coffered ceilings of the dome of the Pantheon of Agrippa in Rome, which gave rise to the phrase: "Quod non fecerunt barbari, fecerunt Barberini", a Latin expression that means: "What the barbarians did not do, the Barberini have done", in reference to Urban VIII, in whose papacy it was completed. Formed by four twisted columns with volutes "Volute (architecture)"), it presents vegetal decoration, angels and simulated fabrics; Bees appear everywhere, the heraldic symbol of the Barberini, to whose family the pontiff belonged.

Bernini also intervened in the decoration of the interior of the apse, which he projected as a dazzling glory around an oculus with the dove of the Holy Spirit, placing beneath it a reliquary with the Chair of Saint Peter supported by the gigantic bronze sculptures of the Fathers of the Church. He also devised the decoration of the pillars of the dome, which he conceived as niches that housed the most famous relics of the basilica; Under his direction, four monumental sculptures were placed, representing Saint Helena, Saint Andrew, Saint Veronica and Saint Longinus, and he himself took care of the creation of the last one. The great architect was undoubtedly the favorite of the popes during the century and his mark is omnipresent inside the temple. In addition to the aforementioned works, he also designed the decoration of the Chapel of the Blessed Sacrament, with a small temple flanked by adoring angels; the funerary monument of the Countess Matilde di Canossa, protector of the papacy in the Middle Ages; as well as the tombs of Popes Urban VIII and Alexander VII, both key pieces of Baroque sculpture.

Architects of the basilica

• - 1506: Bramante, in collaboration with Giuliano da Sangallo.

• - 1514: Rafael Sanzio, in collaboration with Giuliano da Sangallo, who was replaced by his nephew Antonio da Sangallo the Younger in 1515, and Friar Giocondo until his death that same year.

• - 1520: Antonio da Sangallo the Younger, with his collaborator Baldassarre Peruzzi until 1527.

• - 1546: Michelangelo.

• - 1564: Pirro Ligorio and Jacopo Barozzi da Vignola.

• - 1573: Giacomo della Porta with Domenico Fontana.

• - 1603: Carlo Maderno.

• - 1629: Gian Lorenzo Bernini.

La basílica de San Pedro es uno de los edificios más grandes del mundo. Tiene 218 m de largo[23]​ y 136 m de altura hasta la cúpula; presenta una superficie total de 23 000 m². El edificio está conectado con el palacio Apostólico por un corredor a lo largo del pasillo al lado de la Scala Regia, junto a la fachada de la plaza de San Pedro, y dos corredores que lo conectan con la sacristía adyacente. Estos pasos elevados fueron ideados por Miguel Ángel, de modo que su presencia no interrumpe el perímetro de la basílica y permite la existencia de ramificaciones en el templo. El exterior está construido con travertino, y se caracteriza por el uso del orden gigante a partir del cual se establece el ático. Esta configuración es idea de Miguel Ángel y se mantuvo en el cuerpo longitudinal añadido por Carlo Maderno.

El interior de la basílica aloja 45 altares y 11 capillas que guardan obras de arte muy valiosas, entre ellas algunas de la antigua basílica, como la estatua de bronce de San Pedro "Estatua de San Pedro (Basílica de San Pedro)") (núm. 89), atribuida a Arnolfo di Cambio.

Abroad

The exterior walls of the basilica, except for the main façade, are made up of flat surfaces separated by pilasters. The first body presents enormous niches in which there are large sculptures of saints, intended by John Paul II to commemorate saints and founders of the Christian era; Above these are the large windows that illuminate the interior of the temple. Other, smaller windows open above the entablature. Some of the sculptures found outside are those of Saint Teresa of Los Andes, the work of Juan Eduardo Fernández Cox,[24]​ Saint Teresa of Jesús Jornet,[25]​ Saint Mariana de Jesús,[26]​ Saint Josemaría Escrivá, the work of Romano Cosci,[27]​ Saint Genoveva Torres, the work of Alessandro Romano,[28]​ Saint Soledad Torres Acosta,[28]​ Saint Brigid of Sweden, Saint Catherine of Siena, Saint Joseph Manyanet y Vives,[29]​ Saint Gregory I the Illuminator,[30]​ Saint María Josepha of the Sacred Heart,[31]​ Saint Marcellin Champagnat,[32]​ Saint Rafaela María del Sagrado Corazón, work of Marco Augusto Dueñas,[31]​ and Saint Marón "Marón (saint)"), by the same author and which he occupied in 2011 the last niche left free in the basilica.[33]​.

main facade

The main façade of the basilica measures 115 m wide and 46 m high.[34] It was built by the architect Carlo Maderno between 1607 and 1614. It is articulated through the use of giant columns that frame the entrance and the "Balcony of Blessings", the place from where the election of the new pope is announced to the faithful, and from where he imparts the blessing Urbi et Orbi. Behind the balcony is a large hall, used by the pope for audiences and other events, called the "Classroom of Blessings." Below is a high relief by Ambrogio Buonvicino made in 1614, titled The Giving of the Keys to Saint Peter. On the entablature, located below the central pediment "Fronton (architecture)"), the inscription is engraved:.

The façade is preceded by two statues of Saint Peter[35]​ and Saint Paul,[36]​ carved in 1847 by Giuseppe De Fabris and Adamo Tadolini, respectively, to replace previous ones made by Paolo Taccone and Mino del Reame in 1461. At the top of the façade is the attic, in which eight windows decorated with pilasters open. Crowning the attic is a balustrade where 13 5.7 m statues are located: Christ the Redeemer appears in the center, John the Baptist to his right, and ten of the twelve apostles, except Saint Peter. The sculptures are, from left to right: Judas Thaddeus, Matthew, Philip, Thomas, James the Greater, John the Baptist, Christ the Redeemer, Andrew, John the Evangelist, James the Less, Bartholomew, Simon and Matthias. On each side there are two clocks made in 1785 by Giuseppe Valadier. Under the clock on the left are the bells of the basilica. The façade was restored on the occasion of the jubilee of the year 2000.

• - Saint Peter.

• - View from behind of the statues that crown the façade.

• - Saint Paul.

Bells

The basilica has six bells:

• - The first is the «Campanone», located under the clock. Its note is F minor, it has a diameter of 2.316 m and an estimated weight of 8950 kg.

• - The next is “Campanoncino”, made in 1725 by Inocencio Casini. It has a diameter of 1.772 m, a mass of 3640 kg and its note is B minor double flat diminished 6/16 of a semitone.

• - The third bell is the "Rota", the oldest of all. It was carried out by Guidotto Pisano in the century and its original function was to summon the auditors of the Court of the Roman Rota. Its weight is 1815 kg. Its note is D minor diminished 6/16 of a semitone.

• - The fourth bell is “Predica”, made in 1909 by Giovanbattista Lucent, which weighs 830 kg. Its note is F major diminished 8/16 of a semitone.

• - The fifth is “Ave María”, recast in 1932 by Daciano Colbachini. It has a diameter of 75 cm and weighs 250 kg. Its note is B major diminished 5/16.

• - The last bell is “Campanella”, cast in 1825 by Louis Luce. It weighs 235 kg and its note is C major diminished 3/16 of a semitone.

When the six bells ring in unison it is called plenum. This happens on the most important holidays of the liturgical year: Easter, Christmas, Epiphany and Pentecost. Furthermore, they are played on the solemnity of Saint Peter and Saint Paul, on June 29. Since the 2005 conclave, the bells of Saint Peter have played an important role since their sound is different depending on the result of the votes. This measure was applied to eliminate any doubt about the color of the smoke preceding the "Habemus Papam" announcement.

Portico

The portico[37]​ is located between the five arches that open on the façade and the doors of the temple. The entrance is flanked by two equestrian statues: Charlemagne (no. 2),[38]​ on the left, work by Agostino Cornacchini in 1725, and Constantine "Constantine I (emperor)") (no. 8),[39]​ work by Bernini in 1670, located before the entrance to the Apostolic Palace on the Scala Regia. The vault is decorated with a design by Martino Ferrabosco but made by Ambrogio Buonvicino, and includes the sculptures of thirty-two popes, located on the sides of the lunettes "Luneta (architecture)"), which contain reliefs in which episodes from the life of Saint Peter are represented.[40]​.

On the wall above the main entrance to the basilica there is a part of the mosaic called La Navicella, the work of Giotto and which was in the ancient Basilica of Saint Peter, placed in 1674 (no. 1).[41]​.

Doors

Access to the basilica from the portico is through five doors, from left to right they are: "Door of Death", "Door of Good and Evil", "Door of Filarete", "Door of the Sacraments" and "Holy Door".

The "Door of Death" (no. 3)[42]​ was commissioned by John XXIII and made in 1963 by the sculptor Giacomo Manzú and takes its name from this being the exit door for the funeral processions of the popes.[43]​ Four panels are presented: in the first there is a representation of the Deposition of Christ and the Assumption of Mary. In the second, the symbols of the Eucharist, bread and wine, are represented. In the third painting the theme of death appears, representing the murder of Abel, the death of Joseph, the martyrdom of Saint Peter, the death of John XXIII (in one corner the title of the encyclical Pacem in terris appears), the death in exile of Gregory VII and six animals in the act of death. On the inside of the door there is the sculptor's handprint and a moment from the Second Vatican Council in which the first African cardinal, Laurean Rugambwa, pays tribute to the pope.

The "Door of Good and Evil" (no. 4)[44] is the work of Luciano Minguzzi, made between 1970 and 1977.

The "Puerta de Filarete" or "central door" (no. 5)[45]​ was ordered to be built by Pope Eugenio IV to Antonio Averulino Filarete, who built it between 1439 and 1445. It is made of bronze and divided into two sheets, each of which presents three superimposed paintings. In the paintings at the top, Christ enthroned is represented on the left and the Virgin enthroned on the right; In the central panels, Saint Peter is represented giving the keys to Pope Eugene IV and Saint Paul with a sword and a vase of flowers. The lower paintings present the martyrdom of the two saints: on the left the beheading of Saint Paul, and on the right the crucifixion of Saint Peter. The panels are framed by medallions with the profiles of the emperors, and between them friezes with episodes from the pontificate of Eugene IV. On the inside there is the unusual signature of the author.

• - Filarete's signature on the inside of the door.

The "Door of the Sacraments" (no. 6)[46]​ was built by Venanzo Crocetti and inaugurated by Paul VI on September 12, 1965. An angel appears announcing the seven sacraments "Sacramento (Catholicism)").[43]​.

The door on the right is the "Holy Door" (no. 7),[47] made in bronze by Vico Consorti in 1950 and donated to Pope Pius XII by Swiss Catholics for the jubilee of that year. On two plaques on both sides of the door are the shield of Pius Just above the door is the inscription: GREGORIVS XIII PONT MAX. Between these two inscriptions are the plaques that commemorate its recent opening:.

This door remains closed and covered with cement on the inside. Only the Pope can open and close it during Holy Years, remaining open throughout the year for access by the faithful who can earn indulgences. In November 2015, the wall that kept it sealed was carefully torn down, removing from its interior a chest with the keys to the door and other documents, in preparation for the start of the Jubilee of Mercy.[48]

central nave

The interior space is divided into three naves separated by large pillars. The central nave[49] measures 187 meters long and 45 meters high; It is covered by a large barrel vault. Between 1962 and 1965 this nave hosted the sessions of the Second Vatican Council.

It is worth highlighting the particular design of the marble floor, which presents elements of the ancient basilica, such as the Egyptian red porphyry disc on which Charlemagne knelt on the day of his coronation. The nave presents an area of ​​ten thousand square meters of mosaics, the result of the work of many artists, mainly from the 19th century, such as Pietro da Cortona, Giovanni De Vecchi, Caballero de Arpino and Francesco Trevisani.

In the arches there are statues of the virtues.[49] On the pillars on the left, starting with the door, ecclesiastical authority, divine justice, virginity, obedience, humility "Humility (Christianity)"), patience, justice "Justice (virtue)") and strength "Fortitude (Christianity)"). On those on the right, beginning with the altar, charity "Charity (virtue)"), faith "Faith (virtue)"), innocence, peace, clemency, constancy "Constancy (virtue)"), mercy and strength.

Niches open in the pillars in which there are sculptures of 39 founding saints. On the pillars on the right, there are the statues of Saint Teresa of Jesus (no. 93, 1754),[50] Saint Magdalene Sophia Barat (no. 93, 1934),[51] Saint Vincent de Paul (by Pietro Bracci, no. 92, 1754),[52] Saint John Eudes (no. 92, 1932),[53]​ Saint Philip Neri (no. 91, 1737),[54]​ Saint John Baptist de La Salle (no. 91, 1904),[55]​ the ancient bronze statue of Saint Peter "Statue of Saint Peter (Saint Peter's Basilica)") (by Arnolfo di Cambio, no. 89, 1300)[56]​ and Saint John Bosco (no. 90, 1936).[57]​ On the pillars on the left: San Pedro de Alcántara (no. 72, 1713),[58]​ Santa Lucía Filippini (no. 72, 1949),[59]​ San Camilo de Lelis (no. 73, 1753),[60]​ San Luis María Grignion de Montfort (no. 73, 1948),[61]​ San Ignacio de Loyola (by Camillo Rusconi, no. 74, 1733),[62]​ San Antonio María Zaccaria (no. 74, 1909),[63]​ San Francisco de Paula (no. 75, 1732)[64]​ and San Pedro Fourier (no. 75, 1899).[65]​.

On the perimeter of the nave appears, located in the entablature under the vault, with letters two meters high, the inscription:[66]​.

• - Saint Teresa of Jesus.

• - Saint Vincent de Paul.

• - Saint Philip Neri.

• - San Camilo de Lelis.

• - San Pedro de Alcántara.

• - Saint Ignatius of Loyola.

• - Saint Anthony Mary Zaccaria.

• - San Francisco de Paula "Francisco de Paula (saint)").

Epistle ship

It is the ship located on the right. The first chapel houses the Pieta, by Michelangelo (no. 9).[67] Moving along the nave are the funerary monuments of Leo Next is the chapel of Saint Sebastian "Sebastian (martyr)") (no. 13),[70] presided over by a large mosaic of the saint's martyrdom, the work of Pier Paolo Cristofari, based on a painting by Domenichino; the ceiling is decorated with mosaics by Pietro da Cortona. Under the altar, since his beatification in 2011, the remains of Saint John Paul II have been preserved, behind a marble slab with the inscription "SANCTVS IOANNES PAVLVS PP. II».[71]​.

In this chapel the funerary monuments of Pius XI (no. 12)[72]​ and Pius

Next are the monuments to Innocent The Blessed Sacrament is preserved in this chapel. Next to the ciborio "Ciborio (architecture)") made of bronze and lapis lazuli that presides over the altar, there are two adoring angels, and large oil lamps burning permanently. The chapel was designed by Carlo Maderno to connect the current basilica with the body of the old one. It is characterized by having a lower roof than the body of the basilica, which is why it is closed with an attic that hides the different elevation of the roof. It contains two monuments: that of Gregory

• - Pieta, by Michelangelo.

• - Monument to Queen Christina of Sweden.

• - Monument to Innocent XII.

• - Monument to Matilde de Canossa.

• - Monument to Gregory XIII.

gospel ship

It is the ship located on the left. The first chapel is the "Baptism Chapel" (no. 71),[79] designed by Carlo Fontana and decorated with Baciccio mosaics later made by Francesco Trevisani; The mosaic behind the altar imitates a painting by Carlo Maratta in the Basilica of Saint Mary of the Angels and Martyrs.

After this chapel are the funerary monuments containing the tombs of Clementina Sobieski (no. 70),[80]​ work by Pietro Bracci from 1742, and that of the Stuarts (no. 69),[81]​ work by Antonio Canova from 1829, with the burials of King James III and his sons Charles Edward Stuart and Cardinal Henry Benedict. Stuart. Next is the "Chapel of the Presentation" (no. 67),[82]​ on whose altar is the body of Saint Pius Next, there is the monument to Pius

Finally, there is the Choir Chapel (no. 63),[87] presided over by the Altar of the Immaculate Conception (no. 62). The Immaculate Conception of the altar was crowned by Pius IX and again by Pius On the last pillar before passing to the ambulatory are the monuments to Leo XI (no. 61),[90]​ built by Alessandro Algardi in 1644, and to Innocent

• - Monument to Clementina Sobieski.

• - Monument to the Stuarts.

• - Monument to Benedict XV.

• - Tomb of Innocent VIII.

• - Tomb of Leo XI.

• - Monument to Innocent XI.

Girola

The ambulatory or ambulatory is the space that surrounds the four pillars that support the dome and is the heart of the church as Michelangelo had designed it.

On the pillar that corresponds to the epistle nave is the Altar of Saint Jerome (no. 20),[92]​ with the tomb of Pope John XXIII, above which there is a large mosaic of a painting by Domenichino. The space between the Chapel of the Sacrament and the transept houses the Gregorian Chapel (no. 21),[93] closed by a vault that on the outside forms one of the two smaller domes. Here is the monument to Gregory XVI (no. 22),[94]​ work of Luigi Amici between 1848-1857. Next to it, on the north wall, is the "Altar of the Virgin of Perpetual Help" (no. 23),[95]​ where the relics of Saint Gregory of Nazianzus are found. Next to it is the Altar of Saint Basil (no. 24),[96]​ adorned with a mosaic from the 19th century, where the remains of Saint Josaphat Kuncewicz are located and, in front of it, the funerary monument of Benedict XIV (no. 25).[97]​.

Once you have crossed the transept, the Altar of the Navicella (no. 32) appears,[98]​[99]​ and, opposite, the monument to Clement XIII (no. 31),[100]​ by Antonio Canova from 1787-1792. Next are the altars of the Archangel Saint Michael (no. 33),[101]​ of Saint Petronila (no. 34)[102]​ and of "Saint Peter and the Resurrection of Tabitha" (no. 36).[98]​[103]​ On the west wall is the monument to Clement X (no. 35),[104]​ work of Mattia de Rossi from the end of the century.

On the south side of the ambulatory there is, in the column of the dome, an altar presided over by a mosaic that reproduces the famous painting of The Transfiguration "The Transfiguration (Raphael)"), by Raphael (no. 59),[105]​ on whose altar is the body of Blessed Innocent XI. The adjacent chapel, similar to the Gregorian, is the "Clementine Chapel" (no. 58);[106]​ there are the funerary monuments of Gregory the Great (no. 56)[107]​ and Pius VII (no. 57),[108]​ by Bertel Thorvaldsen from 1831, the only non-Catholic artist who worked in the basilica. Next is the Altar of Lie (no. 55), [98]​[109]​ adorned with a mosaic from the century; In front of this is the monument to Pius VIII (no. 54),[110]​ built by Pietro Tenerani in 1866, with a door that leads to the Main Sacristy of the basilica.[111]​.

On the other side of the transept is the funerary monument to Pope Alexander VII (no. 47),[112]​ a notable work by Gian Lorenzo Bernini that shows the pope absorbed in prayer, with death, represented by a skeleton holding an hourglass, above a door symbolizing the entrance to the afterlife. Opposite, there is the "Altar of the Sacred Heart of Jesus" (no. 48),[98]​[113]​ with mosaics from 1930. Below is the "Chapel of Our Lady of Pilar" (no. 44),[114]​ where the altars dedicated to the Virgin of Pilar (no. 46)[115]​ and Leo I the Great are located. (no. 45),[116]​ with a magnificent marble altarpiece by Alessandro Algardi about the expulsion of Attila made between 1645-1653. Finally, before the presbytery "Presbytery (architecture)"), there is the "Altar of Saint Peter curing a paralytic" (no. 43),[98]​[117]​ from the 19th century, and the tomb of Pope Alexander VIII (no. 42).[118]​.

Organ

The organ of the basilica is located between the ambulatory and the presbytery and was built by Tamburini in 1962. It has two bodies that are located in the arms of the ambulatory that start from the presbytery, respectively nicknamed "Cornu Epistulae" and "Cornu Evangelii". These two bodies correspond to two organs built at the beginning of the century by Vegezzi-Carlo Bossi and Walker. The organ of the first body includes the registers of the second and third keyboard, while the second body corresponds to the first and fourth keyboard. The pedal registers are divided into two parts as the organist needs. Two electric transmission consoles are used; one is located between the seats of the singing choir during the celebrations inside, while another is located in the plaza for the celebrations outside. They were built by the manufacturer Mascioni in 1999.

In 1875, Aristide Cavaillé-Coll offered Pope Pius IX the design of a large organ that was never realized, as well as other projects, always coming from France. Currently, the organists are James Edward Goettsche and Gianluca Libertucci.

• - «Cornu Evangelii».

• - Organ keyboard.

• - «Cornu Epistulae».

• - Choir organ.

Transept

The north transept extends towards the Vatican Apostolic Palace and was designed and built by Michelangelo, who expanded the ambulatory that his predecessors had designed, so that it gained some niches for altars crowned by large windows. In the north transept,[119]​ there are three altars dedicated to Saint Wenceslas (no. 27),[120]​ Saint Erasmus (no. 29),[121]​ and, in the center, that of the holy martyrs Processo and Martiniano (no. 28).[122]​ The south transept is similar to the previous one,[123]​ with the altars dedicated to Saint Joseph (no. 51),[124]​ in the center, and those of the Crucifixion of Saint Peter (no. 52)[98]​[125]​ and that of Saint Thomas (no. 50).[126]​.

Along the transept, in the niches of the pillars, there are sculptures of saints and founders of congregations and religious orders. In the right transept: Saint Bonfiglio Monaldi (no. 30, 1906),[127]​ Saint Joseph of Calasanz (no. 30, 1755),[128]​ Saint Paul of the Cross (no. 85, 1876),[129]​ Saint Bruno (no. 85, 1744),[130]​ Saint Louise of Marillac (no. 26, 1954),[131]​ Saint Peter Nolasco (no. 26, 1742),[132]​ Saint Mary Euphrasia Pelletier (no. 86, 1942)[133]​ and Saint John of God (no. 86, 1745).[134]​ In the left transept: Saint William of Vercelli (no. 49, 1878),[135]​ Saint Norbert of Xanten (no. 49, 1767),[136]​ Saint Angela of Mérici (no. 79, 1866),[137]​ Saint Juliana Falconieri (no. 79, 1740),[138]​ Saint Joan Antida Thouret (no. 53, 1949),[139]​ Saint Jerome Emiliani (no. 53, 1757),[140]​ Saint Francisca Cabrini (no. 77, 1947)[141]​ and Saint Cajetan of Thiene (no. 77, 1738).[142]​.

On the perimeter of the left transept appears, in the entablature under the vault with letters two meters high, the inscription:[66]​.

For its part, in the right transept there is the inscription:[66]​.

• - Saint Juliana Falconieri.

• - Saint William of Vercelli.

• - Saint Paul of the Cross.

• - Saint Bruno.

• - Saint John of God.

Presbytery

The presbytery "Presbytery (architecture)") presents a structure similar to that of the ends of the transept. It is dominated by the Chair of Saint Peter (no. 39),[98]​[143]​ located in the center. It is a monumental reliquary by Gian Lorenzo Bernini, containing a chair from the early Christian period that according to tradition was the one used by Saint Peter; The chair rests on the sculptures of the four Fathers of the Church. The complex appears illuminated by a stained glass window with a dove, symbolizing the Holy Spirit.

To the left of the cathedra is the monument to Paul III (no. 40),[144] designed by Giacomo della Porta. For its part, on the right is the tomb of Urban VIII (no. 38),[145]​ made by Bernini in 1627; The monument is dominated by a statue of the Pope in the act of blessing; Allegorical figures of Charity "Charity (virtue)") and Justice "Justice (virtue)") flank the sarcophagus, and in the center a skeleton writes the epitaph. On the columns are the sculptures of Saint Dominic de Guzmán (no. 37, 1706),[146]​ San Francisco Caracciolo (no. 37, 1834),[147]​ San Francisco de Asís (no. 41, 1727)[148]​ and San Alfonso María de Ligorio (no. 41, 1839) 83, 1727).[153]​.

On the perimeter of the presbytery the inscription appears in Latin and Greek:[66]​.

Papal Altar

The Papal Altar is located in the "Cruise (architecture)" transept, located under the dome, and is framed by the monumental baldachin of Saint Peter (no. 82),[154]​ the work of Gian Lorenzo Bernini, built between 1624 and 1633. Made of bronze taken from the Pantheon, it is 30 m high. It is supported by four Solomonic columns, in imitation of the twelve columns that lined up in front of the altar of the ancient basilica and that a medieval legend traced back to the Temple of Solomon itself, owing its name to him.[155]​[156]​ Of these original columns, eight were reused in the decoration of the pillars of Michelangelo's dome (two on each pillar, on the statues that face the baldachin) and two in the Chapel of the Blessed Sacrament. Of the remaining two, one was lost and the last is in the Treasury (next to the Sacristy), and is known as colonna degli ossessi ("of the possessed"), since, always according to tradition, it is the one on which Jesus relied when preaching at the age of twelve, and it was believed in the Middle Ages that he had the power to expel demons during exorcisms.[156]​.

In the center, in the shadow of the baldachin, surrounded by the immense space under the dome, is the papal altar, a block of white marble in the shape of a parallelepiped, and above it a bronze crucifix and a set of seven candlesticks, in which only the pope can celebrate the Eucharist on solemn occasions. It was placed vertically on the tomb of Saint Peter and consecrated on June 5, 1594 by Pope Clement VIII. This altar is known as the "Altar of Confession", as it is located above the place known as "Confessio", the tomb of the Apostle who confessed his faith with his martyrdom.[98]​[157]​[158][159]​.

On the pillars that support the dome there are four sculptures facing the altar, commissioned by Urban VIII, they are:

Saint Longinus (no. 88),[160]​ by Gian Lorenzo Bernini (1639), Saint Helena (no. 84),[161]​ by Andrea Bolgi (1646), Saint Veronica (no. 80),[162]​ by Francesco Mochi (1632), and Saint Andrew (no. 76),[163]​ by François Duquesnoy (1640). Above each of the statues there is a balcony closed by bars behind which there are various reliquaries: in that of San Longinos there is the relic of the Sacred Lance; in Santa Elena there is part of the Vera Cruz "Vera Cruz (Christianity)"); In that of Santa Veronica the cloth with the face of Christ printed is preserved; and in that of Saint Andrew, brother of Saint Peter, the skull of this apostle was preserved, although Paul VI later gave it to the Orthodox as a gesture of good will.[164]​ In the upper part of each pillar there are four mosaics that represent the evangelists with their respective iconographic representation.[165]​.

• - Statues of the pillars of the dome.

• - Saint Veronica.

• - Saint Helena.

• - Saint Longinus.

Dome

The dome of St. Peter's Basilica rises to a total height of 136.57 m from the ground to the top of the external cross. It is the tallest dome in the world. Its internal diameter is 41.47 m, slightly smaller than two of the three enormous domes that preceded it: that of the Pantheon of Agrippa, 43.3 m; and that of the cathedral of Florence, 44 m. The architects of San Pedro based themselves on these two domes to find a way to build what was conceived as the largest dome in Christendom. Between 1547 and 1590 its construction was carried out by Michelangelo Buonarroti, who later died and his disciple Giacomo Della Porta took his place.[166]​[167]​.

The interior perimeter of the dome presents the Latin inscription with letters 2 m high:[66]​.

Under the lantern there is the inscription:.

• - Views from the dome of San Pedro.

The Main Sacristy is a building external to the basilica, located on the south side, which is connected to the temple through two corridors on arches that access the basilica through the tomb of Pius VIII and the Choir Chapel.

In 1715 a competition was held to build a sacristy. The winner was a project by Filippo Juvara, whose wooden model is preserved in the basilica's warehouses, but whose high cost prevented its execution. In 1776, Pope Pius VI commissioned Carlo Marchionni to execute the current building, whose construction was completed in 1784. The completed work was harshly criticized, especially by the scholar Francesco Milizia, which forced Marchionni to leave the city.

The sacristy has an octagonal plan and is covered by a dome. It is flanked by several buildings, among which are the Sacristy of the canons and beneficiaries, the Chapter House and the Treasury.

The Vatican Grottoes were formed by the difference in height between the new and the old basilica. They are shaped like an underground church with three naves. They have been used as the burial place of many popes. Access is via a double staircase surrounded by an elegant balustrade on which 99 votive lamps burn; This staircase starts from the front of the Papal Altar. The staircase ends before the confessio of San Pedro (no. 65), work of Carlo Maderno. Before the mosaic of Christ Pantocrator is the chest that keeps the palliums "Palio (religious clothing)"). Behind this chest are the marble remains of the tomb of Saint Peter built by Emperor Constantine "Constantine I (emperor)"). At the bottom is the bronze ball, called "cataract" or "billicus confessionis", which served as access, since the construction of the first basilica, to Peter's tomb.

Pope Pius The presence of this burial area confirms the belief that the burial site of Saint Peter is located on the site where first a monument and then the basilica were erected.

After the excavation, in 1953 a niche was found in which an incomplete writing in Greek with the name of Peter could be recognized and inside which there were some bones wrapped in a purple cloth and gold thread. This discovery was announced by Pius XII, convinced that, in all probability, the remains were that of the body of Saint Peter. These remains were placed underground, in the original position that corresponds exactly to the vertical of the Papal Altar, the baldachin and the dome.

• - Some tombs of popes in the Vatican Grottoes.

• - Tomb of Paul II.

• - Tomb of Benedict XV.

• - Tomb of Urban VI.

• - Tomb of John Paul I.

• - Tomb of Benedict XVI.

The archpriest of St. Peter's Basilica is the executive head of worship and pastoral care of the basilica, and is always a cardinal. Some of the most notable archpriests of the basilica were Cardinals Giovanni Gaetano Orsini (1276-1277) and Pietro Barbo (1445-1464), who later became Popes Nicholas III and Paul II, respectively.

Cardinal Mauro Gambetti currently holds the position, since February 22, 2021.

• - This work contains a translation derived from «St. Peter's Basilica" from English Wikipedia, published by its editors under the GNU Free Documentation License and the Creative Commons Attribution-ShareAlike 4.0 International License.

• - This work contains a translation derived from “Basilica di San Pietro in Vaticano” from Italian Wikipedia, published by its editors under the GNU Free Documentation License and the Creative Commons Attribution-ShareAlike 4.0 International License.

• - Wikimedia Commons hosts a multimedia category on St. Peter's Basilica.

• - St. Peter's Basilica on Wikimapia.

• - Official website of St. Peter's Basilica.

• - Virtual tour of St. Peter's Basilica.

• - Live webcam from the Vatican Basilica and St. Peter's Square on the official website of Vatican City State.

Tomb of Saint Peter

After the crucifixion and resurrection of Jesus, in the second quarter of the century, it is recorded in the biblical book of the Acts of the Apostles that one of his twelve disciples, Simon Peter, a fisherman from Galilee, occupies a leadership position among his followers, having great importance in the founding of the Christian Church.

Simon Peter, after a ministry of about thirty years, traveled to Rome. In the year 64, during the reign of Emperor Nero, Christians were held responsible for the great fire of Rome, for which Peter was martyred, like many other Christians. He was crucified upside down, at his own request, because he considered himself unworthy to die in the same way that Christ had done.[9] The crucifixion took place near the Egyptian obelisk at one end of the Circus of Nero. This obelisk was brought from the city of Heliopolis by Caligula in the year 37 AD. C.[10]​ It is currently located in St. Peter's Square, and is venerated as a "witness" to the death of the apostle. It is one of several ancient obelisks in Rome.[11]​.

According to tradition, Peter's remains were buried outside the Circus, on the Vatican Hill, along the Via Cornelia, which started from the Circus, less than 150 m from the place of his death. Peter's tomb was marked by a red rock, a symbol of his name, which helped Christians identify it and, at the same time, was meaningless to non-Christians, which avoided possible reprisals. Years later, a sanctuary or "cella memoriae" was built in this place, which almost 300 years later became the ancient Basilica of Saint Peter.[10]​.

In 1939, during the papacy of Pius In fact, the area covered by Vatican City had been a cemetery since before the construction of Nero's Circus. In addition, the victims of the circus executions were buried there, as well as numerous Christians who chose to be buried near the apostle. The excavations revealed, at different levels, the remains of the sanctuaries that existed in the times of Clement VIII (1594), Callistus II (1123) and Gregory I (590-604). All the constructions were on an aedicule that contained bone fragments in a purple-dyed cloth with gold decorations. Although it could not be determined with certainty that the bones were those of Peter, the clothing suggested a burial of great importance. On December 23, 1950, Pope Pius XII announced the discovery of the tomb of the apostle Saint Peter.[5]​.

Old basilica

The ancient basilica was built on the site of Peter's tomb, not far from the circus of Nero. The works were ordered by Emperor Constantine, at the expense of Pope Sylvester I; They began between 326 and 330, and ended 30 years later. Many emperors were crowned before the main altar of this church, such as Charlemagne, upon whom Pope Leo III "Leo III (pope)") imposed the imperial crown "Imperial Crown (Holy Roman Empire)") on Christmas Day in the year 800.[12]​[13]​.

Reconstruction plan

At the end of the century, after the period of the Avignon papacy, the early Christian basilica was in considerable disrepair and threatened to collapse. The first pope to consider rebuilding, or at least making radical changes, was Nicholas V in 1452. He commissioned work on the old building to Leon Battista Alberti and Bernardo Rossellino, who was in charge of designing the most important changes. In his project, Rossellino maintained the longitudinal body of five naves "Nave (architecture)") covered with vaulted ceilings and renewed the transept with the construction of a wider apse to which he added a choir "Choir (architecture)"); This new intersection between the transept "Cruise (architecture)") and the apse would be covered with a vault. This configuration devised by Rossellino influenced Bramante's later project. The works were interrupted three years later, upon the death of the pope, when the walls only managed to rise one meter from the ground. However, the pope ordered the demolition of the Colosseum in Rome and, at the time of his death, 2,522 cartloads of stone had been transported for use in the new building.

Fifty years later, in 1505, under the pontificate of Julius II, the works were restarted, with the idea that the new building would be the appropriate setting to house his tomb; The Pope intended with the work to "aggrandize himself in the popular imagination."[14] For this purpose, a competition was held, and several of the designs currently exist in the Uffizi Gallery in Florence. The plan initiated by Julius II continued through the papacies of Leo IV (1559-1565), Saint Pius V (1565-1572), Gregory XIII (1572-1585), Sixtus V (1585-1590), Urban VII (1590), Gregory Paul V (1605-1621), Gregory XV (1621-1623), Urban VIII (1623-1644) and Innocent X (1644-1655).

Contenido

El papa Julio II se propuso continuar las obras iniciadas por Nicolás V, pero en 1505 decidió la construcción de una nueva basílica ex-novo, acorde con la nueva estética renacentista.

Bramante project

The laying of the first stone took place on April 18, 1506.[15]​[16]​ Julius II himself chose this date as the most favorable to begin the works on the advice of his astrologers, who had previously carried out the calculations at his command.[17]​ The project was commissioned to the architect Donato d'Angelo Bramante, who had arrived shortly before from Milan, and who had earned the trust of the pope over the previous architect, Giuliano da Sangallo. He was even in charge of the design of the Belvedere Courtyard. The project consisted of a building with a Greek cross plan inscribed in a square and covered by five domes, the central one being the largest and supported by four large pillars, inspired by the Basilica of Saint Mark, and a clear example of a centralized plan typical of the Renaissance.[18] The central dome, inspired by that of Agrippa's Pantheon, was located above the transept, and the rest in the corners. This idea was captured in a medal minted by Caradosso to commemorate the laying of the temple's first stone on April 18, 1506. Also important in the construction of the church was the application of the theoretical studies of Francesco di Giorgio, Filarete and, above all, Leonardo da Vinci, for churches with a centralized plan, whose results are clearly inspired by the octagonal plan of the Florence cathedral.

The work began with the demolition of the early Christian basilica, which was highly criticized inside and outside the Church by personalities such as Erasmus of Rotterdam and Michelangelo, who criticized the destruction of the columns of the old basilica.[19] Bramante was nicknamed "ruinous master", and Andrea Garner mocked him in the satire Scimmia ("Monkey"), published in Milan in 1517, where he presents the deceased architect before Saint Peter, who reproaches him for the demolition when he proposes the reconstruction of heaven.[20] To these scandals we had to add that of the sale of indulgences for the construction of the basilica, which had an important role in the birth of the Protestant Reformation of Martin Luther, who saw the work on his trip to Rome at the end of 1510, and on the basis of which he would write the ninety-five theses. With all this, Bramante was not able to see the work progress much, as he died in 1514, when only little more than the four large pillars that were to support the large central dome had been built. Bramante's project consisted of gigantic pilasters and a large hemispherical dome supported by a drum of columns. The space generated inside was a magnificent manifestation of the Renaissance image. As for the exterior, it did not have a true façade, since this was of secondary importance.

• - Bramante project.

• - Medal with Bramante's project.

• - Original traces of Bramante.

Projects by Rafael and Sangallo

From 1514, Rafael Sanzio took over the direction of the work, with Brother Giovanni Giocondo and Antonio da Sangallo the Younger, who continued directing the works, together with Baldassarre Peruzzi, after Raphael's death in 1520. All of them changed Bramante's plan, opting for designs that were inspired by the traditional Latin cross basilica plan with a longitudinal body of three naves.[18] Sangallo presented in 1546 an expensive wooden model, currently stored in the basilica, in which he synthesized all the ideas that had arisen previously. He defended the centralized plan designed by Peruzzi, covered by an enormous dome larger than the one planned by Bramante, and topped with a gigantic double drum "Drum (architecture)"); The complex was flanked by two tall bell towers.

• - Rafael's project.

• - Design by Sangallo.

Michelangelo's project

After Sangallo's death in 1546, Pope Paul III entrusted the direction of the works to Michelangelo Buonarroti, who took up Bramante's idea of ​​a Greek cross plan. Bramante's original design had structural problems that had to be corrected. Under the direction of Michelangelo, the walls of the apse were raised, of imposing grandeur. However, the most important contribution of the genius was the large dome that is located just above the main altar and the site where tradition indicates that the tomb of the apostle Saint Peter is located. It is a structure that, although very heavy, seems to float in the air.[21]​ The construction of the dome was completed twenty-four years after the death of Michelangelo according to the definitive design of Domenico Fontana and Giacomo della Porta, who barely modified the master's plans.[22]​ The mosaics inside the dome are by Giuseppe Cesari, and represent the different hierarchies of saints in heavenly glory, God the Father being represented in the lantern "Lantern (architecture)") central.

• - Engravings from Michelangelo's project, by Étienne Dupérac.

• - Exterior view.

• - Section.

Conclusion of the work

The current configuration of the basilica in the shape of a Latin cross was the work of Carlo Maderno, who during the pontificate of Paul V added three new bays and designed the façade, composed of balconies and covered by columns of giant order. The basilica was completed in 1626 and was solemnly consecrated by Pope Urban VIII, although there were still many details to finish.

Gian Lorenzo Bernini, at the request of Alexander VII, designed the immense St. Peter's Square and the colonnade that surrounds it. Above it and around the entire perimeter of the square you can see numerous statues of saints from all periods and places. Above the façade of the basilica are statues of eleven of the apostles (except Saint Peter), Saint John the Baptist and, in the center, Christ. Bernini was also responsible for undertaking the designs and plans for the bell towers that were to complete the façade left by Maderno; The only tower completed under the direction of Bernini, between 1638 and 1641, had to be demolished shortly after its erection due to the obvious signs of instability of the structure. The clocks that occupy the ends of the façade were included at the end of the 19th century, and are the work of Giuseppe Valadier, who also placed the immense bell previously cast in one of the lateral bodies, which are all that can be considered a bell tower once it was decided not to consider the construction of towers on the façade again.

Bernini also took care of a large part of the interior decoration of the temple. His most notable work in this regard is the spectacular baldachin, made of solid bronze, over the main altar of the basilica. The bronze used in the construction of the baldachin was extracted from the coffered ceilings of the dome of the Pantheon of Agrippa in Rome, which gave rise to the phrase: "Quod non fecerunt barbari, fecerunt Barberini", a Latin expression that means: "What the barbarians did not do, the Barberini have done", in reference to Urban VIII, in whose papacy it was completed. Formed by four twisted columns with volutes "Volute (architecture)"), it presents vegetal decoration, angels and simulated fabrics; Bees appear everywhere, the heraldic symbol of the Barberini, to whose family the pontiff belonged.

Bernini also intervened in the decoration of the interior of the apse, which he projected as a dazzling glory around an oculus with the dove of the Holy Spirit, placing beneath it a reliquary with the Chair of Saint Peter supported by the gigantic bronze sculptures of the Fathers of the Church. He also devised the decoration of the pillars of the dome, which he conceived as niches that housed the most famous relics of the basilica; Under his direction, four monumental sculptures were placed, representing Saint Helena, Saint Andrew, Saint Veronica and Saint Longinus, and he himself took care of the creation of the last one. The great architect was undoubtedly the favorite of the popes during the century and his mark is omnipresent inside the temple. In addition to the aforementioned works, he also designed the decoration of the Chapel of the Blessed Sacrament, with a small temple flanked by adoring angels; the funerary monument of the Countess Matilde di Canossa, protector of the papacy in the Middle Ages; as well as the tombs of Popes Urban VIII and Alexander VII, both key pieces of Baroque sculpture.

Architects of the basilica

• - 1506: Bramante, in collaboration with Giuliano da Sangallo.

• - 1514: Rafael Sanzio, in collaboration with Giuliano da Sangallo, who was replaced by his nephew Antonio da Sangallo the Younger in 1515, and Friar Giocondo until his death that same year.

• - 1520: Antonio da Sangallo the Younger, with his collaborator Baldassarre Peruzzi until 1527.

• - 1546: Michelangelo.

• - 1564: Pirro Ligorio and Jacopo Barozzi da Vignola.

• - 1573: Giacomo della Porta with Domenico Fontana.

• - 1603: Carlo Maderno.

• - 1629: Gian Lorenzo Bernini.

La basílica de San Pedro es uno de los edificios más grandes del mundo. Tiene 218 m de largo[23]​ y 136 m de altura hasta la cúpula; presenta una superficie total de 23 000 m². El edificio está conectado con el palacio Apostólico por un corredor a lo largo del pasillo al lado de la Scala Regia, junto a la fachada de la plaza de San Pedro, y dos corredores que lo conectan con la sacristía adyacente. Estos pasos elevados fueron ideados por Miguel Ángel, de modo que su presencia no interrumpe el perímetro de la basílica y permite la existencia de ramificaciones en el templo. El exterior está construido con travertino, y se caracteriza por el uso del orden gigante a partir del cual se establece el ático. Esta configuración es idea de Miguel Ángel y se mantuvo en el cuerpo longitudinal añadido por Carlo Maderno.

El interior de la basílica aloja 45 altares y 11 capillas que guardan obras de arte muy valiosas, entre ellas algunas de la antigua basílica, como la estatua de bronce de San Pedro "Estatua de San Pedro (Basílica de San Pedro)") (núm. 89), atribuida a Arnolfo di Cambio.

Abroad

The exterior walls of the basilica, except for the main façade, are made up of flat surfaces separated by pilasters. The first body presents enormous niches in which there are large sculptures of saints, intended by John Paul II to commemorate saints and founders of the Christian era; Above these are the large windows that illuminate the interior of the temple. Other, smaller windows open above the entablature. Some of the sculptures found outside are those of Saint Teresa of Los Andes, the work of Juan Eduardo Fernández Cox,[24]​ Saint Teresa of Jesús Jornet,[25]​ Saint Mariana de Jesús,[26]​ Saint Josemaría Escrivá, the work of Romano Cosci,[27]​ Saint Genoveva Torres, the work of Alessandro Romano,[28]​ Saint Soledad Torres Acosta,[28]​ Saint Brigid of Sweden, Saint Catherine of Siena, Saint Joseph Manyanet y Vives,[29]​ Saint Gregory I the Illuminator,[30]​ Saint María Josepha of the Sacred Heart,[31]​ Saint Marcellin Champagnat,[32]​ Saint Rafaela María del Sagrado Corazón, work of Marco Augusto Dueñas,[31]​ and Saint Marón "Marón (saint)"), by the same author and which he occupied in 2011 the last niche left free in the basilica.[33]​.

main facade

The main façade of the basilica measures 115 m wide and 46 m high.[34] It was built by the architect Carlo Maderno between 1607 and 1614. It is articulated through the use of giant columns that frame the entrance and the "Balcony of Blessings", the place from where the election of the new pope is announced to the faithful, and from where he imparts the blessing Urbi et Orbi. Behind the balcony is a large hall, used by the pope for audiences and other events, called the "Classroom of Blessings." Below is a high relief by Ambrogio Buonvicino made in 1614, titled The Giving of the Keys to Saint Peter. On the entablature, located below the central pediment "Fronton (architecture)"), the inscription is engraved:.

The façade is preceded by two statues of Saint Peter[35]​ and Saint Paul,[36]​ carved in 1847 by Giuseppe De Fabris and Adamo Tadolini, respectively, to replace previous ones made by Paolo Taccone and Mino del Reame in 1461. At the top of the façade is the attic, in which eight windows decorated with pilasters open. Crowning the attic is a balustrade where 13 5.7 m statues are located: Christ the Redeemer appears in the center, John the Baptist to his right, and ten of the twelve apostles, except Saint Peter. The sculptures are, from left to right: Judas Thaddeus, Matthew, Philip, Thomas, James the Greater, John the Baptist, Christ the Redeemer, Andrew, John the Evangelist, James the Less, Bartholomew, Simon and Matthias. On each side there are two clocks made in 1785 by Giuseppe Valadier. Under the clock on the left are the bells of the basilica. The façade was restored on the occasion of the jubilee of the year 2000.

• - Saint Peter.

• - View from behind of the statues that crown the façade.

• - Saint Paul.

Bells

The basilica has six bells:

• - The first is the «Campanone», located under the clock. Its note is F minor, it has a diameter of 2.316 m and an estimated weight of 8950 kg.

• - The next is “Campanoncino”, made in 1725 by Inocencio Casini. It has a diameter of 1.772 m, a mass of 3640 kg and its note is B minor double flat diminished 6/16 of a semitone.

• - The third bell is the "Rota", the oldest of all. It was carried out by Guidotto Pisano in the century and its original function was to summon the auditors of the Court of the Roman Rota. Its weight is 1815 kg. Its note is D minor diminished 6/16 of a semitone.

• - The fourth bell is “Predica”, made in 1909 by Giovanbattista Lucent, which weighs 830 kg. Its note is F major diminished 8/16 of a semitone.

• - The fifth is “Ave María”, recast in 1932 by Daciano Colbachini. It has a diameter of 75 cm and weighs 250 kg. Its note is B major diminished 5/16.

• - The last bell is “Campanella”, cast in 1825 by Louis Luce. It weighs 235 kg and its note is C major diminished 3/16 of a semitone.

When the six bells ring in unison it is called plenum. This happens on the most important holidays of the liturgical year: Easter, Christmas, Epiphany and Pentecost. Furthermore, they are played on the solemnity of Saint Peter and Saint Paul, on June 29. Since the 2005 conclave, the bells of Saint Peter have played an important role since their sound is different depending on the result of the votes. This measure was applied to eliminate any doubt about the color of the smoke preceding the "Habemus Papam" announcement.

Portico

The portico[37]​ is located between the five arches that open on the façade and the doors of the temple. The entrance is flanked by two equestrian statues: Charlemagne (no. 2),[38]​ on the left, work by Agostino Cornacchini in 1725, and Constantine "Constantine I (emperor)") (no. 8),[39]​ work by Bernini in 1670, located before the entrance to the Apostolic Palace on the Scala Regia. The vault is decorated with a design by Martino Ferrabosco but made by Ambrogio Buonvicino, and includes the sculptures of thirty-two popes, located on the sides of the lunettes "Luneta (architecture)"), which contain reliefs in which episodes from the life of Saint Peter are represented.[40]​.

On the wall above the main entrance to the basilica there is a part of the mosaic called La Navicella, the work of Giotto and which was in the ancient Basilica of Saint Peter, placed in 1674 (no. 1).[41]​.

Doors

Access to the basilica from the portico is through five doors, from left to right they are: "Door of Death", "Door of Good and Evil", "Door of Filarete", "Door of the Sacraments" and "Holy Door".

The "Door of Death" (no. 3)[42]​ was commissioned by John XXIII and made in 1963 by the sculptor Giacomo Manzú and takes its name from this being the exit door for the funeral processions of the popes.[43]​ Four panels are presented: in the first there is a representation of the Deposition of Christ and the Assumption of Mary. In the second, the symbols of the Eucharist, bread and wine, are represented. In the third painting the theme of death appears, representing the murder of Abel, the death of Joseph, the martyrdom of Saint Peter, the death of John XXIII (in one corner the title of the encyclical Pacem in terris appears), the death in exile of Gregory VII and six animals in the act of death. On the inside of the door there is the sculptor's handprint and a moment from the Second Vatican Council in which the first African cardinal, Laurean Rugambwa, pays tribute to the pope.

The "Door of Good and Evil" (no. 4)[44] is the work of Luciano Minguzzi, made between 1970 and 1977.

The "Puerta de Filarete" or "central door" (no. 5)[45]​ was ordered to be built by Pope Eugenio IV to Antonio Averulino Filarete, who built it between 1439 and 1445. It is made of bronze and divided into two sheets, each of which presents three superimposed paintings. In the paintings at the top, Christ enthroned is represented on the left and the Virgin enthroned on the right; In the central panels, Saint Peter is represented giving the keys to Pope Eugene IV and Saint Paul with a sword and a vase of flowers. The lower paintings present the martyrdom of the two saints: on the left the beheading of Saint Paul, and on the right the crucifixion of Saint Peter. The panels are framed by medallions with the profiles of the emperors, and between them friezes with episodes from the pontificate of Eugene IV. On the inside there is the unusual signature of the author.

• - Filarete's signature on the inside of the door.

The "Door of the Sacraments" (no. 6)[46]​ was built by Venanzo Crocetti and inaugurated by Paul VI on September 12, 1965. An angel appears announcing the seven sacraments "Sacramento (Catholicism)").[43]​.

The door on the right is the "Holy Door" (no. 7),[47] made in bronze by Vico Consorti in 1950 and donated to Pope Pius XII by Swiss Catholics for the jubilee of that year. On two plaques on both sides of the door are the shield of Pius Just above the door is the inscription: GREGORIVS XIII PONT MAX. Between these two inscriptions are the plaques that commemorate its recent opening:.

This door remains closed and covered with cement on the inside. Only the Pope can open and close it during Holy Years, remaining open throughout the year for access by the faithful who can earn indulgences. In November 2015, the wall that kept it sealed was carefully torn down, removing from its interior a chest with the keys to the door and other documents, in preparation for the start of the Jubilee of Mercy.[48]

central nave

The interior space is divided into three naves separated by large pillars. The central nave[49] measures 187 meters long and 45 meters high; It is covered by a large barrel vault. Between 1962 and 1965 this nave hosted the sessions of the Second Vatican Council.

It is worth highlighting the particular design of the marble floor, which presents elements of the ancient basilica, such as the Egyptian red porphyry disc on which Charlemagne knelt on the day of his coronation. The nave presents an area of ​​ten thousand square meters of mosaics, the result of the work of many artists, mainly from the 19th century, such as Pietro da Cortona, Giovanni De Vecchi, Caballero de Arpino and Francesco Trevisani.

In the arches there are statues of the virtues.[49] On the pillars on the left, starting with the door, ecclesiastical authority, divine justice, virginity, obedience, humility "Humility (Christianity)"), patience, justice "Justice (virtue)") and strength "Fortitude (Christianity)"). On those on the right, beginning with the altar, charity "Charity (virtue)"), faith "Faith (virtue)"), innocence, peace, clemency, constancy "Constancy (virtue)"), mercy and strength.

Niches open in the pillars in which there are sculptures of 39 founding saints. On the pillars on the right, there are the statues of Saint Teresa of Jesus (no. 93, 1754),[50] Saint Magdalene Sophia Barat (no. 93, 1934),[51] Saint Vincent de Paul (by Pietro Bracci, no. 92, 1754),[52] Saint John Eudes (no. 92, 1932),[53]​ Saint Philip Neri (no. 91, 1737),[54]​ Saint John Baptist de La Salle (no. 91, 1904),[55]​ the ancient bronze statue of Saint Peter "Statue of Saint Peter (Saint Peter's Basilica)") (by Arnolfo di Cambio, no. 89, 1300)[56]​ and Saint John Bosco (no. 90, 1936).[57]​ On the pillars on the left: San Pedro de Alcántara (no. 72, 1713),[58]​ Santa Lucía Filippini (no. 72, 1949),[59]​ San Camilo de Lelis (no. 73, 1753),[60]​ San Luis María Grignion de Montfort (no. 73, 1948),[61]​ San Ignacio de Loyola (by Camillo Rusconi, no. 74, 1733),[62]​ San Antonio María Zaccaria (no. 74, 1909),[63]​ San Francisco de Paula (no. 75, 1732)[64]​ and San Pedro Fourier (no. 75, 1899).[65]​.

On the perimeter of the nave appears, located in the entablature under the vault, with letters two meters high, the inscription:[66]​.

• - Saint Teresa of Jesus.

• - Saint Vincent de Paul.

• - Saint Philip Neri.

• - San Camilo de Lelis.

• - San Pedro de Alcántara.

• - Saint Ignatius of Loyola.

• - Saint Anthony Mary Zaccaria.

• - San Francisco de Paula "Francisco de Paula (saint)").

Epistle ship

It is the ship located on the right. The first chapel houses the Pieta, by Michelangelo (no. 9).[67] Moving along the nave are the funerary monuments of Leo Next is the chapel of Saint Sebastian "Sebastian (martyr)") (no. 13),[70] presided over by a large mosaic of the saint's martyrdom, the work of Pier Paolo Cristofari, based on a painting by Domenichino; the ceiling is decorated with mosaics by Pietro da Cortona. Under the altar, since his beatification in 2011, the remains of Saint John Paul II have been preserved, behind a marble slab with the inscription "SANCTVS IOANNES PAVLVS PP. II».[71]​.

In this chapel the funerary monuments of Pius XI (no. 12)[72]​ and Pius

Next are the monuments to Innocent The Blessed Sacrament is preserved in this chapel. Next to the ciborio "Ciborio (architecture)") made of bronze and lapis lazuli that presides over the altar, there are two adoring angels, and large oil lamps burning permanently. The chapel was designed by Carlo Maderno to connect the current basilica with the body of the old one. It is characterized by having a lower roof than the body of the basilica, which is why it is closed with an attic that hides the different elevation of the roof. It contains two monuments: that of Gregory

• - Pieta, by Michelangelo.

• - Monument to Queen Christina of Sweden.

• - Monument to Innocent XII.

• - Monument to Matilde de Canossa.

• - Monument to Gregory XIII.

gospel ship

It is the ship located on the left. The first chapel is the "Baptism Chapel" (no. 71),[79] designed by Carlo Fontana and decorated with Baciccio mosaics later made by Francesco Trevisani; The mosaic behind the altar imitates a painting by Carlo Maratta in the Basilica of Saint Mary of the Angels and Martyrs.

After this chapel are the funerary monuments containing the tombs of Clementina Sobieski (no. 70),[80]​ work by Pietro Bracci from 1742, and that of the Stuarts (no. 69),[81]​ work by Antonio Canova from 1829, with the burials of King James III and his sons Charles Edward Stuart and Cardinal Henry Benedict. Stuart. Next is the "Chapel of the Presentation" (no. 67),[82]​ on whose altar is the body of Saint Pius Next, there is the monument to Pius

Finally, there is the Choir Chapel (no. 63),[87] presided over by the Altar of the Immaculate Conception (no. 62). The Immaculate Conception of the altar was crowned by Pius IX and again by Pius On the last pillar before passing to the ambulatory are the monuments to Leo XI (no. 61),[90]​ built by Alessandro Algardi in 1644, and to Innocent

• - Monument to Clementina Sobieski.

• - Monument to the Stuarts.

• - Monument to Benedict XV.

• - Tomb of Innocent VIII.

• - Tomb of Leo XI.

• - Monument to Innocent XI.

Girola

The ambulatory or ambulatory is the space that surrounds the four pillars that support the dome and is the heart of the church as Michelangelo had designed it.

On the pillar that corresponds to the epistle nave is the Altar of Saint Jerome (no. 20),[92]​ with the tomb of Pope John XXIII, above which there is a large mosaic of a painting by Domenichino. The space between the Chapel of the Sacrament and the transept houses the Gregorian Chapel (no. 21),[93] closed by a vault that on the outside forms one of the two smaller domes. Here is the monument to Gregory XVI (no. 22),[94]​ work of Luigi Amici between 1848-1857. Next to it, on the north wall, is the "Altar of the Virgin of Perpetual Help" (no. 23),[95]​ where the relics of Saint Gregory of Nazianzus are found. Next to it is the Altar of Saint Basil (no. 24),[96]​ adorned with a mosaic from the 19th century, where the remains of Saint Josaphat Kuncewicz are located and, in front of it, the funerary monument of Benedict XIV (no. 25).[97]​.

Once you have crossed the transept, the Altar of the Navicella (no. 32) appears,[98]​[99]​ and, opposite, the monument to Clement XIII (no. 31),[100]​ by Antonio Canova from 1787-1792. Next are the altars of the Archangel Saint Michael (no. 33),[101]​ of Saint Petronila (no. 34)[102]​ and of "Saint Peter and the Resurrection of Tabitha" (no. 36).[98]​[103]​ On the west wall is the monument to Clement X (no. 35),[104]​ work of Mattia de Rossi from the end of the century.

On the south side of the ambulatory there is, in the column of the dome, an altar presided over by a mosaic that reproduces the famous painting of The Transfiguration "The Transfiguration (Raphael)"), by Raphael (no. 59),[105]​ on whose altar is the body of Blessed Innocent XI. The adjacent chapel, similar to the Gregorian, is the "Clementine Chapel" (no. 58);[106]​ there are the funerary monuments of Gregory the Great (no. 56)[107]​ and Pius VII (no. 57),[108]​ by Bertel Thorvaldsen from 1831, the only non-Catholic artist who worked in the basilica. Next is the Altar of Lie (no. 55), [98]​[109]​ adorned with a mosaic from the century; In front of this is the monument to Pius VIII (no. 54),[110]​ built by Pietro Tenerani in 1866, with a door that leads to the Main Sacristy of the basilica.[111]​.

On the other side of the transept is the funerary monument to Pope Alexander VII (no. 47),[112]​ a notable work by Gian Lorenzo Bernini that shows the pope absorbed in prayer, with death, represented by a skeleton holding an hourglass, above a door symbolizing the entrance to the afterlife. Opposite, there is the "Altar of the Sacred Heart of Jesus" (no. 48),[98]​[113]​ with mosaics from 1930. Below is the "Chapel of Our Lady of Pilar" (no. 44),[114]​ where the altars dedicated to the Virgin of Pilar (no. 46)[115]​ and Leo I the Great are located. (no. 45),[116]​ with a magnificent marble altarpiece by Alessandro Algardi about the expulsion of Attila made between 1645-1653. Finally, before the presbytery "Presbytery (architecture)"), there is the "Altar of Saint Peter curing a paralytic" (no. 43),[98]​[117]​ from the 19th century, and the tomb of Pope Alexander VIII (no. 42).[118]​.

Organ

The organ of the basilica is located between the ambulatory and the presbytery and was built by Tamburini in 1962. It has two bodies that are located in the arms of the ambulatory that start from the presbytery, respectively nicknamed "Cornu Epistulae" and "Cornu Evangelii". These two bodies correspond to two organs built at the beginning of the century by Vegezzi-Carlo Bossi and Walker. The organ of the first body includes the registers of the second and third keyboard, while the second body corresponds to the first and fourth keyboard. The pedal registers are divided into two parts as the organist needs. Two electric transmission consoles are used; one is located between the seats of the singing choir during the celebrations inside, while another is located in the plaza for the celebrations outside. They were built by the manufacturer Mascioni in 1999.

In 1875, Aristide Cavaillé-Coll offered Pope Pius IX the design of a large organ that was never realized, as well as other projects, always coming from France. Currently, the organists are James Edward Goettsche and Gianluca Libertucci.

• - «Cornu Evangelii».

• - Organ keyboard.

• - «Cornu Epistulae».

• - Choir organ.

Transept

The north transept extends towards the Vatican Apostolic Palace and was designed and built by Michelangelo, who expanded the ambulatory that his predecessors had designed, so that it gained some niches for altars crowned by large windows. In the north transept,[119]​ there are three altars dedicated to Saint Wenceslas (no. 27),[120]​ Saint Erasmus (no. 29),[121]​ and, in the center, that of the holy martyrs Processo and Martiniano (no. 28).[122]​ The south transept is similar to the previous one,[123]​ with the altars dedicated to Saint Joseph (no. 51),[124]​ in the center, and those of the Crucifixion of Saint Peter (no. 52)[98]​[125]​ and that of Saint Thomas (no. 50).[126]​.

Along the transept, in the niches of the pillars, there are sculptures of saints and founders of congregations and religious orders. In the right transept: Saint Bonfiglio Monaldi (no. 30, 1906),[127]​ Saint Joseph of Calasanz (no. 30, 1755),[128]​ Saint Paul of the Cross (no. 85, 1876),[129]​ Saint Bruno (no. 85, 1744),[130]​ Saint Louise of Marillac (no. 26, 1954),[131]​ Saint Peter Nolasco (no. 26, 1742),[132]​ Saint Mary Euphrasia Pelletier (no. 86, 1942)[133]​ and Saint John of God (no. 86, 1745).[134]​ In the left transept: Saint William of Vercelli (no. 49, 1878),[135]​ Saint Norbert of Xanten (no. 49, 1767),[136]​ Saint Angela of Mérici (no. 79, 1866),[137]​ Saint Juliana Falconieri (no. 79, 1740),[138]​ Saint Joan Antida Thouret (no. 53, 1949),[139]​ Saint Jerome Emiliani (no. 53, 1757),[140]​ Saint Francisca Cabrini (no. 77, 1947)[141]​ and Saint Cajetan of Thiene (no. 77, 1738).[142]​.

On the perimeter of the left transept appears, in the entablature under the vault with letters two meters high, the inscription:[66]​.

For its part, in the right transept there is the inscription:[66]​.

• - Saint Juliana Falconieri.

• - Saint William of Vercelli.

• - Saint Paul of the Cross.

• - Saint Bruno.

• - Saint John of God.

Presbytery

The presbytery "Presbytery (architecture)") presents a structure similar to that of the ends of the transept. It is dominated by the Chair of Saint Peter (no. 39),[98]​[143]​ located in the center. It is a monumental reliquary by Gian Lorenzo Bernini, containing a chair from the early Christian period that according to tradition was the one used by Saint Peter; The chair rests on the sculptures of the four Fathers of the Church. The complex appears illuminated by a stained glass window with a dove, symbolizing the Holy Spirit.

To the left of the cathedra is the monument to Paul III (no. 40),[144] designed by Giacomo della Porta. For its part, on the right is the tomb of Urban VIII (no. 38),[145]​ made by Bernini in 1627; The monument is dominated by a statue of the Pope in the act of blessing; Allegorical figures of Charity "Charity (virtue)") and Justice "Justice (virtue)") flank the sarcophagus, and in the center a skeleton writes the epitaph. On the columns are the sculptures of Saint Dominic de Guzmán (no. 37, 1706),[146]​ San Francisco Caracciolo (no. 37, 1834),[147]​ San Francisco de Asís (no. 41, 1727)[148]​ and San Alfonso María de Ligorio (no. 41, 1839) 83, 1727).[153]​.

On the perimeter of the presbytery the inscription appears in Latin and Greek:[66]​.

Papal Altar

The Papal Altar is located in the "Cruise (architecture)" transept, located under the dome, and is framed by the monumental baldachin of Saint Peter (no. 82),[154]​ the work of Gian Lorenzo Bernini, built between 1624 and 1633. Made of bronze taken from the Pantheon, it is 30 m high. It is supported by four Solomonic columns, in imitation of the twelve columns that lined up in front of the altar of the ancient basilica and that a medieval legend traced back to the Temple of Solomon itself, owing its name to him.[155]​[156]​ Of these original columns, eight were reused in the decoration of the pillars of Michelangelo's dome (two on each pillar, on the statues that face the baldachin) and two in the Chapel of the Blessed Sacrament. Of the remaining two, one was lost and the last is in the Treasury (next to the Sacristy), and is known as colonna degli ossessi ("of the possessed"), since, always according to tradition, it is the one on which Jesus relied when preaching at the age of twelve, and it was believed in the Middle Ages that he had the power to expel demons during exorcisms.[156]​.

In the center, in the shadow of the baldachin, surrounded by the immense space under the dome, is the papal altar, a block of white marble in the shape of a parallelepiped, and above it a bronze crucifix and a set of seven candlesticks, in which only the pope can celebrate the Eucharist on solemn occasions. It was placed vertically on the tomb of Saint Peter and consecrated on June 5, 1594 by Pope Clement VIII. This altar is known as the "Altar of Confession", as it is located above the place known as "Confessio", the tomb of the Apostle who confessed his faith with his martyrdom.[98]​[157]​[158][159]​.

On the pillars that support the dome there are four sculptures facing the altar, commissioned by Urban VIII, they are:

Saint Longinus (no. 88),[160]​ by Gian Lorenzo Bernini (1639), Saint Helena (no. 84),[161]​ by Andrea Bolgi (1646), Saint Veronica (no. 80),[162]​ by Francesco Mochi (1632), and Saint Andrew (no. 76),[163]​ by François Duquesnoy (1640). Above each of the statues there is a balcony closed by bars behind which there are various reliquaries: in that of San Longinos there is the relic of the Sacred Lance; in Santa Elena there is part of the Vera Cruz "Vera Cruz (Christianity)"); In that of Santa Veronica the cloth with the face of Christ printed is preserved; and in that of Saint Andrew, brother of Saint Peter, the skull of this apostle was preserved, although Paul VI later gave it to the Orthodox as a gesture of good will.[164]​ In the upper part of each pillar there are four mosaics that represent the evangelists with their respective iconographic representation.[165]​.

• - Statues of the pillars of the dome.

• - Saint Veronica.

• - Saint Helena.

• - Saint Longinus.

Dome

The dome of St. Peter's Basilica rises to a total height of 136.57 m from the ground to the top of the external cross. It is the tallest dome in the world. Its internal diameter is 41.47 m, slightly smaller than two of the three enormous domes that preceded it: that of the Pantheon of Agrippa, 43.3 m; and that of the cathedral of Florence, 44 m. The architects of San Pedro based themselves on these two domes to find a way to build what was conceived as the largest dome in Christendom. Between 1547 and 1590 its construction was carried out by Michelangelo Buonarroti, who later died and his disciple Giacomo Della Porta took his place.[166]​[167]​.

The interior perimeter of the dome presents the Latin inscription with letters 2 m high:[66]​.

Under the lantern there is the inscription:.

• - Views from the dome of San Pedro.

The Main Sacristy is a building external to the basilica, located on the south side, which is connected to the temple through two corridors on arches that access the basilica through the tomb of Pius VIII and the Choir Chapel.

In 1715 a competition was held to build a sacristy. The winner was a project by Filippo Juvara, whose wooden model is preserved in the basilica's warehouses, but whose high cost prevented its execution. In 1776, Pope Pius VI commissioned Carlo Marchionni to execute the current building, whose construction was completed in 1784. The completed work was harshly criticized, especially by the scholar Francesco Milizia, which forced Marchionni to leave the city.

The sacristy has an octagonal plan and is covered by a dome. It is flanked by several buildings, among which are the Sacristy of the canons and beneficiaries, the Chapter House and the Treasury.

The Vatican Grottoes were formed by the difference in height between the new and the old basilica. They are shaped like an underground church with three naves. They have been used as the burial place of many popes. Access is via a double staircase surrounded by an elegant balustrade on which 99 votive lamps burn; This staircase starts from the front of the Papal Altar. The staircase ends before the confessio of San Pedro (no. 65), work of Carlo Maderno. Before the mosaic of Christ Pantocrator is the chest that keeps the palliums "Palio (religious clothing)"). Behind this chest are the marble remains of the tomb of Saint Peter built by Emperor Constantine "Constantine I (emperor)"). At the bottom is the bronze ball, called "cataract" or "billicus confessionis", which served as access, since the construction of the first basilica, to Peter's tomb.

Pope Pius The presence of this burial area confirms the belief that the burial site of Saint Peter is located on the site where first a monument and then the basilica were erected.

After the excavation, in 1953 a niche was found in which an incomplete writing in Greek with the name of Peter could be recognized and inside which there were some bones wrapped in a purple cloth and gold thread. This discovery was announced by Pius XII, convinced that, in all probability, the remains were that of the body of Saint Peter. These remains were placed underground, in the original position that corresponds exactly to the vertical of the Papal Altar, the baldachin and the dome.

• - Some tombs of popes in the Vatican Grottoes.

• - Tomb of Paul II.

• - Tomb of Benedict XV.

• - Tomb of Urban VI.

• - Tomb of John Paul I.

• - Tomb of Benedict XVI.

The archpriest of St. Peter's Basilica is the executive head of worship and pastoral care of the basilica, and is always a cardinal. Some of the most notable archpriests of the basilica were Cardinals Giovanni Gaetano Orsini (1276-1277) and Pietro Barbo (1445-1464), who later became Popes Nicholas III and Paul II, respectively.

Cardinal Mauro Gambetti currently holds the position, since February 22, 2021.

• - This work contains a translation derived from «St. Peter's Basilica" from English Wikipedia, published by its editors under the GNU Free Documentation License and the Creative Commons Attribution-ShareAlike 4.0 International License.

• - This work contains a translation derived from “Basilica di San Pietro in Vaticano” from Italian Wikipedia, published by its editors under the GNU Free Documentation License and the Creative Commons Attribution-ShareAlike 4.0 International License.

• - Wikimedia Commons hosts a multimedia category on St. Peter's Basilica.

• - St. Peter's Basilica on Wikimapia.

• - Official website of St. Peter's Basilica.

• - Virtual tour of St. Peter's Basilica.

• - Live webcam from the Vatican Basilica and St. Peter's Square on the official website of Vatican City State.