What's in St. Peter's Square? St. Peter's Basilica in the Vatican: why it is worth visiting the main Catholic church in the world. Baldasare Peruzzi and Antonio da Sangallo

Saint Paul's Cathedral(Italian: Basilica di San Pietro in Vaticano) is a Catholic cathedral on the territory of the sovereign state of Vatican City. One of the four patriarchal basilicas of Rome and the ceremonial center of the Roman Catholic Church.

Until 1990, St. Peter's Cathedral 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).

The size of St. Peter's Basilica is simply amazing. It covers an area of 22067 sq.m. Cathedral height - 138 m, length without portico - 186.36 m, and with a portico - 211.5 m. Architectural style: Renaissance And baroque.

Once upon a time, in the place where St. Peter's Cathedral now stands, there were the gardens of Nero's circus (from it, by the way, the obelisk from Heliopolis remains, which to this day stands in St. Peter's Square).

In the circus arena during the times Nero Christians were martyred. In 67, after the trial, he was brought here Apostle Peter. 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.

The first basilica was built in 324 during the reign of the first Christian Emperor Constantine, and the remains of St. Peter were transferred there. In the first council in 800, Pope Leo III crowned Carla Great Emperor of the West.

At the beginning of the 16th century, the basilica, which had already 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. Peter's Basilica. 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, he headed the construction Raphael, returning to the traditional form of the Latin cross (with an elongated fourth side), then Baldassare Peruzzi, stopped at a centric structure, and Antonio da Sangallo, who chose the basil 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) Giacomo della Porta, giving it a more elongated outline.

Of the four small domes envisioned by Michelangelo, 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. architect by order of Paul V Carlo Maderno extended the eastern branch of the cross - 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 hidden by the facade, lost its dominant significance and is perceived only from a distance, from Via della Concigliazione. Finally, November 18, 1626, on the 1300th anniversary of the first basilica, Pope Urban VIII consecrated the new cathedral.

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.

Height of the façade built architect Maderno, 45 m, width - 115 m. The attic of the façade is crowned by huge, tall 5.65 m, statues of Christ, John the Baptist and the eleven apostles (except the Apostle Peter). The inscription on the facade: "IN HONOREM PRINCIPIS APOST PAVLVS V BVRGHESIVS ROMANVS PONT MAX AN MDCXII PONT VII" (Pope Paul V Borghese, Roman Pontiff in the year 1612, the seventh year of his pontificate, erected in honor of the Prince of the Apostles).

From the portico, five portals lead to the cathedral. The doors of the central portal were made in the middle of the 15th century. and come from the old basilica. The middle of the nine balconies on the façade is called the Loggia of the Blessing. It is from here that the Pope addresses the numerous believers gathering in St. Peter's Square with a blessing "Urbi et Orbi" - "To the City and the World."

On the plan of the cathedral the numbers indicate:

1.Mosaic by Giotto “Navicella”.

2. Portico.
3.Equestrian statue of Charlemagne.
4.Gate of death.
5.The Gates of Good and Evil.
6. Filaret's door.
7. Door of Mysteries.
8.Holy door.
9. Inner courtyard of St. Gregory the Illuminator (elevator for the dome).
10.Equestrian statue of Constantine the Great.
11. Nave
12.Baptistery (baptismal font made from a sarcophagus).
13.Monument to Maria Sobieska.
14.Tomb of the Stuarts.
15.Tombstone of Pope Benedict XV.
16.Capella della Presentatione (gifts).
17.Tombstone of Pope John XXIII.
18.Tombstone of Pope Pius X.
19.Tombstone of Pope Innocent VIII.
20. Corot Chapel (choir chapel).
21.Altar of the Immaculate Conception.
22.Tombstone of Pope Leo XI (
23.Tombstone of Pope Innocent XI
24.Altar “Transfiguration” (last painting by Raphael).
25.Clementine Chapel.
26.Altar of Pope Pius VII.
27.Altar of Pope Gregory the Great.
28.Entrance in the sacristy.
29.Tombstone of Pope Pius VII.
30.Altar of Lies.
31.Figure of the Apostle Andrew the First-Called (old entrance to the grottoes).
32.Bronze statue of St. Peter (
33. Figure of the centurion Longinus (old entrance to the grottoes).
34.Figure of Holy Queen Helen Equal to the Apostles.
35.Figure of St. Veronica.
36.Canopy(
37. "Confessional" (tomb of St. Peter).
38.Dome.
39.Left transpet (mass is celebrated here daily).
40.Altar of the Crucifixion of St. Peter.
41.Altar of St. Joseph.
42.Altar of St. Thomas.
43.Tombstone of Pope Alexander VII.
44.Altar of the Sacred Heart.
45.Capella Column.
46.Altar of Our Lady Column.
47.Bas-relief(
48.Tombstone of Pope Alexander VIII
49.Altar of St. Peter healing the lame.
50.Tribune-Altar of the department.
51.Tombstone of Pope Paul III(
52.Cathedra of St. Peter.
53.Tombstone of Pope Urban VIII (
54.Tombstone of Pope Clement X (
55.Altar of St. Peter raising Tabitha.
56.Altar of St. Petronilla.
57.Chapel of the Archangel Michael.
58.Altar Navicella
59.Tombstone of Pope Clement XIII(
60.Right Transept.
61.Altar of St. Erasmus.
62.Altar of Saints and Venerable Martinian.
63.Altar of St. Wenceslas.
64.Altar of St. Basil.
65.Tombstone of Pope Benedict XIV
66.Altar of St. Jerome (Body of Pope John XXIII).
67. Chapel of San Gregorio.
68.Icon “Madonna del Socorso”.
69.Tombstone of Pope Gregory XVI.
70.Tombstone of Pope Gregory XIV.
71.Tombstone of Pope Gregory XIII.
72.Chapel of the Holy Sacraments (only for worshipers).
73.Tombstone of Matilda of Tuscany(
74.Tombstone of Pope Innocent XII.
75.Tombstone of Pope Pius XII.
76. Chapel of San Sebastiano (Tombstone of the new Blessed John Paul II).
77.Tombstone of Pope Pius XI.
78.Tombstone of Queen Christina of Sweden.
79.Tombstone of Pope Leo XII.
80. “Pieta” (sculptor Michelangelo)

Mosaic by Giotto "Navicella".(1 on the cathedral plan)

Enter the portico opposite the central portal, face the square and look up. In the lunette above the entrance there is a famous mosaic Giotto“Navicella” (Italian shuttle), created in 1310 by Giotto di Bondone or simply Giotto (1267-1337) - Italian artist and architect of the Proto-Renaissance era. One of the key figures in the history of Western art.

Having overcome the Byzantine icon painting tradition, he became the true founder of the Italian school of painting and developed a completely new approach to depicting space. Giotto's works were inspired by Leonardo da Vinci, Raphael, Michelangelo.

Presumably in 1300, Giotto was in Rome, where, under the guarantee of Cardinal Jacopo Stefaneschi, a monumental monument was created Navicella mosaic, a work that glorified the creator throughout Italy. The mosaic was located in the atrium of St. Peter's Church (IV century). Now this artist’s creation dates back to 1310.

The chronicler Filippo Villani spoke of Giotto's great talent and referred to this work in confirmation of this. Giotto knew how to paint a person as if “he was breathing, talking, crying or rejoicing.”

The theme of the mosaic composition - the Miracle on Lake Henicapet - symbolically illustrates the mercy of Christ to the people. Jesus saves the boat with the apostles caught in a storm and the drowning Peter.

The plot also symbolizes the very salvation of the Church from all possible misfortunes. Unfortunately, this creation was lost during the destruction of the old building; only a copy of the Baroque mosaic was preserved in the portico of the new church. The true form of the work can only be guessed from the sketches of artists of the 14th-15th centuries. and the surviving original mosaic frame.

Portico of the Cathedral.(2 on the cathedral plan)




Equestrian statue of Charlemagne(3 on the cathedral plan) , the first to be crowned in the cathedral in 800,

Gate of Death. (4 on the cathedral plan)

Gate of Death 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 in space; death of mother at home in front of crying child. Below on the left are the murder of Abel, the peaceful death of Joseph, the crucifixion of St. Peter and the death of the “good pope” John XXIII.

Gates of Good and Evil. (5 on the cathedral plan)

"Gates of Good and Evil" 1975/77 Luciano Minguzzi (1911/2004), on the occasion of the eightieth birthday of Pope Paul VI. Evil is represented by a picture of martyrs during the 1943 partisan massacre at Casalecchio on the Rhine.

Filaret's door. (6 on the cathedral plan)

The huge bronze doors of the central entrance were made by the Florentine master Antonio Averuline, known as Filaret (1445). At the top of the doors there are large figures of the Savior and the Mother of God sitting on the throne. In the center are the apostles Peter and Paul. The two lower marks depict scenes of the trial of Nero and the subsequent execution of the apostles: the beheading of St. Paul and the crucifixion of St. Peter.

The doors are framed by numerous scenes on the themes of ancient myths (Leda and the Swan, Romulus and Remus, the Rape of the Sabine Women) and Aesop's fables ("The Wolf and the Lamb", "The Fox and the Crane", "The Crow and the Fox"), intricate floral patterns, as well as portraits emperors and other prominent people of that time. The door was also the main door of the old basilica.

Above the doors is a marble bas-relief by Bernini “Jesus Entrusting Peter with the Keys of the Kingdom of Heaven.”

On the inside of the doors you can see the mark of the master who made them, depicting himself riding a donkey at the head of a procession of assistants, each following him with his own tool (hammer, chisel, compass, etc.).

Door of Mysteries. (7 on the cathedral plan)

"Door of Mysteries" 1965 - Venantius Crocetti (1913/2003), commissioned by Pope Paul VI Montini (1963/78), on the occasion of the reopening of the Second Vatican Council.

Holy door. (8 on the cathedral plan)

From inside the cathedral Holy door walled up with concrete, on the concrete there is a bronze cross and a small square box 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.

Equestrian statue of Constantine the Great. (10 on the cathedral plan)

Equestrian statue of the emperor Constantine the Great, one of the masterpieces Bernini.

It was ordered by Pope Innocent X in 1654, but the order was completed only in 1670 under Pope Clement X, who ordered the statue to be placed near the stairs leading to the Vatican Palace.

Eusebius, a contemporary of the event, who heard about it personally from Constantine the Great, narrates: “One afternoon, when the sun began to lean towards the west,” the king said, “I saw with my own eyes the sign of the cross made of light and lying in the sun with the inscription: “ win this." This sight struck with horror both the king himself and the army around him, for the cross, as a shameful instrument of execution, was considered a bad omen by the pagans. Konstantin was at a loss and said to himself: what does such a phenomenon mean? But while he was thinking, night fell. Then Christ appeared to him in a dream with a sign seen in heaven and commanded him to make a banner similar to the one seen in heaven and use it for protection when attacked by enemies.

Stucco (artificial marble) imitates damask fabric. Despite the theatricality, the fluttering folds of fabric emphasize the swiftness of the horse’s movement, and the emperor’s rush into battle and his amazement look quite realistic. Constantine, together with Charles, are considered guardians, secular defenders of the Church.

Nave. (11 on the cathedral plan)

Total length of the basilica 211.6 m. On the floor of the central nave there are marks showing the dimensions of the other 28 largest cathedrals in the world, which allows them to be compared with the largest Cathedral of St. Petra - (2) St. Paul's Cathedral Londra, (3) S. Maria del Fiore Firenze, (4) Basilica del Sacro Cuore Bruxelles, (5) Immacolata Concezione Washington, (6) Cattedrale Reims, (7) Cattedrale Colonia , (8) Duomo Milano, (9)Cattedrale Spira, (10) Basilica di S. Petronio Bologna, (11)Cattedrale Siviglia, (12)Notre Dame Parigi, (13)S.Paolo Fuori le Mura Roma,... (25) Westminster Abbey Londra, (26) Santa Sofia Istambul, (27) Cattedrale di S. Croce Boston, (28) Basilica di S. Maria Danzica e (29) Cattedrale di S. Patrizio New York.

Baptistery (baptistery - font made from a sarcophagus).(12 on the cathedral plan)

A red Egyptian porphyry sarcophagus, possibly of Emperor Hadrian, was then used as the tomb of Emperor Otto II and was placed here in 1695 under the direction of Carlo Fontana (1634-1714). The gilded bronze sarcophagus lid is the work of Lorenzo Ottoni (1648-1736).

Monument to Maria Klementina Sobieska.(13 on the cathedral plan)

Maria Clementina was considered one of the richest heiresses in Europe. King George I of England was opposed to the planned marriage of Mary Clementine and James Stuart, who laid claim to the English throne and had the opportunity to have legal heirs.

Emperor Charles VI, acting in the interests of the English king, arrested Maria Clementine, who was heading to Italy to marry James Stuart. She was imprisoned in Innsbruck Castle, she managed to escape from there to Bologna, where, by proxy, she married James Stewart, who was in Spain at that time.

Maria Clementine's father, Jacob Sobieski, welcomed the news of her escape, declaring that since she was engaged to James Stewart, she should follow him. Maria Clementine and James Stuart formally became spouses on September 3, 1719 in the chapel of the bishop's palace in Montefiascone.

At the invitation of Pope Clement XI, who recognized them as king and queen of England, Scotland and Ireland, James and Mary Clementine settled in Rome. The Pope provided them with security, allocated Palazzo Muti in Rome's Piazza di Santi Apostoli and a country villa in Albano for their residence. Every year, the spouses were paid an allowance of 12,000 crowns from the papal treasury.

Pope Clement XI and his successor Innocent XIII considered the Catholics James and Mary Clementine to be the rightful king and queen of England.

The life together of James and Maria Clementine was short-lived. Shortly after the birth of their second child, Maria Clementina left her husband and retired to the Roman convent of St. Cecilia. The reason for the breakup, according to her, was her husband’s infidelity. James insisted on his wife's return, arguing that it would be sinful to leave him and their children. However, two years later the couple divorced. Maria Clementina died on January 18, 1735.

She was buried by order of Pope Clement XII with royal honors in St. Peter's Basilica. Pope Benedict XIV commissioned the sculptor Pietro Bracci (1700-1773) to create a funerary monument for Maria Clementina.

Stuart burial vault.(14 on the cathedral plan)

Not far from the entrance you can see the creation sculptor Canova- tombstone of the last representatives of the Scottish Royal Stuart family (1817-1819). The tombstone was made at the expense of the English King George III. The exiled British Catholic aristocrat James Francis Edward Stuart and his two sons, Charles Edward Stuart and Henry Benedict Stuart, are buried here. The grave itself is located in the Vatican grottoes.

Tombstone of Pope Innocent VIII.(19 on the cathedral plan)

Of great interest is the creation created in 1498 by the sculptor Antonio Pollaiolo The tombstone of Innocent VIII is one of the few surviving monuments that were still in the old basilica. 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.

Altarpiece "Transfiguration" (last painting by Raphael 1518-1520)(24 on the cathedral plan)

Shortly before his suffering and death on the cross, Jesus Christ told the apostles that among them there are those who, before death, will see the Kingdom of God come in power.

A few days later, He led three of them: Peter, James and John, to the high Mount Tabor and there, during prayer, He was transfigured before them. “His clothes became shining, very white, like snow, as a whitener on earth cannot bleach. And Elijah appeared to them with Moses; and talked with Jesus."

This is how Evangelist Mark describes this event. The meaning of the Transfiguration of the Lord for the apostles was that when they saw Jesus crucified, they would not doubt his teaching, but would see the voluntary suffering and death of God for people. And they preached to the world that the Lord Jesus Christ is the true Son of God.

The celebration of this gospel event by the Church coincides with the harvest, so on this day it is customary to consecrate various earthly fruits and thank God for them.

Cardinal Giuliano di Medici, the future Pope Clement VII, commissioned this painting in 1517 from Raphael for the French cathedral in Narbonne - the cardinal's see. The painting was completed by Raphael's students, Giuliano Romano and Francesco Penni, after Raphael's death.

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, giving 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 Pinakothek Vatican, and in the cathedral there is a mosaic copy of it.

Dome. (38 on the cathedral plan)

The dome, a masterpiece of architecture, has a height inside 119 m and diameter 42 m. In Rome it is called "cupollone" ("dome").

Along the frieze of the dome and further along the frieze of the entire church there is a mosaic inscription in Greek and Latin (“Tu es Petrus et super hanc petram aedificabo ecclesiam mean et tibi dabo claves regni caelorum” Matthew 16:18) with the words of Christ: “You are Peter, and on this rock I will build My Church, and the gates of hell will not prevail against it; And I will give you the keys of the Kingdom of Heaven; and whatever you bind on earth will be bound in heaven, and whatever you loose on earth will be loosed in heaven.”

The dome is divided into 16 sectors and 6 horizontal tiers. At the very bottom are the 16 popes buried in the cathedral. The next tier depicts Jesus Christ, the Mother of God and the apostles.

In rectangular frames, angels are depicted holding the instruments of the Lord's passion. In round medallions there are cherubs and seraphim. Next are the angels guarding the tomb of St. Peter and the winged angels.

The inner surface of the dome is decorated with images of the four evangelists: Matthew- with an angel guiding his hand while writing the Gospel, Mark- with a lion, Luke- with an ox, John- with an eagle. The lion, eagle and ox are the so-called “apocalyptic beasts”, which St. John the Theologian writes about in his “Apocalypse” as animals that surrounded the throne of God.

St. Matthew, 1599, Cesare Nebbia

St. Luke, 1599, Giovanni De Vecchi

In 1624, Pope Urban VIII ordered Lorenzo Bernini to create 4 loggias in the Cathedral under the dome 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.(31 on the cathedral plan)

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.

Statue of St. Longinus.(33 on the cathedral plan)

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 (material from http://saintpetersbasilica.org/)

During the execution of Jesus on Golgotha, the guard was carried out by soldiers from the detachment of the centurion Longinus. Longinus and his subordinates witnessed the last minutes of the Lord's life. They were in awe of a sudden eclipse of the sun and an earthquake in which the stones fell into pieces. Horror gripped many soldiers who had seen it in their lifetime when they saw the opened graves and the dead rising from them.

According to custom, to ensure the death of the crucified man, Longinus pierced the Lord with a spear, and the blood of the Savior splashed onto his face. The Roman centurion suffered from an eye disease, and as soon as the divine blood touched them, he received healing. Everything that happened so shocked Longinus and his two friends that, looking at the Lord nailed to the cross, they publicly confessed Him as the Son of God.

After the burial of the Lord, Longinus and his men were assigned to guard the cave with the body of Jesus in order to prevent a possible attempt to kidnap him. Here he became an eyewitness to the appearance of an angel who announced to the myrrh-bearing women about the resurrection of the Son of God. The new miracle touched Longinus to the depths of his soul. He reported everything that happened to Pontius Pilate.

The procurator, who against his will, to please the Jews, gave Jesus of Nazareth to execution, was puzzled by the centurion’s story. He remembered that on the eve of the trial of Jesus, his wife Claudia had a prophetic dream, and she asked not to harm the Nazarene.

Apparently, it was in vain that he did not listen to her. Longinus reported the resurrection of the Lord to the Sanhedrin. The members of the Great Council did not believe him and decided to bribe the soldiers. They were given a significant sum for agreeing to make a statement that the body of Jesus was stolen by His disciples. Longinus, however, rejected the bribe and did not want to remain silent about the resurrection of the Lord.

Having believed in the Savior, he began to openly testify to events in which he himself was a participant. The Jewish elders soon learned about his preaching, and they immediately realized how dangerous the centurion’s public statements were for them that Jesus was the true Son of God.

With his speeches, as a neutral witness, he made the preaching of Christ’s disciples even more convincing. The high priests and elders were indignant, but with their power they could not prohibit the Roman officer from saying what he wanted.

Only Pilate, with whom the Jewish leaders did not have a good relationship, could influence him. Nevertheless, they bowed down, since Longinus, despite the warnings, did not stop preaching. When the Sanhedrin turned to Pilate with a request to reason with the officer, the procurator again felt pressure from the Jewish elders.

First, the Jews forced him to give the order to crucify Jesus, Who was accused of proclaiming Himself king and of rebelling against the emperor, now they demand the punishment of the centurion, who took the side of the rebel. In both cases, their requests contained a hidden threat to inform the emperor that Pilate was patronizing state criminals. But complicity in high treason is a serious charge, of which one may not be justified.

The procurator spoke with the officer, trying to persuade him to compromise with the Jews. But for Longinus, the truth turned out to be more valuable than the favor of his superiors. Having received a refusal, Pilate became embittered, but did not openly oppress his subordinate, who was an honored veteran, a valiant and honest man, moreover, known to the emperor himself.

However, Longinus soon learned from friends that both the procurator and noble Jews were looking for a reason to reprisal him, and he was killed for his faith in Caesarea Cappadocia in 58, where, according to other evidence, he was from.

Statue of St. Queen Helen Equal to the Apostles.(34 on the cathedral plan)

Compared to Bernini's works, this statue looks more static. Many fragments of the Holy Cross kept in the cathedral were donated to other churches. Therefore, Pope Urban VIII decided the particles were 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.

Holy Equal to the Apostles Queen Helena, Flavia Julia Helena Augusta (lat. Flavia Iulia Helena, c. 250 - 330) - mother of the Roman Emperor Constantine I. She became famous for her activities in spreading Christianity and her excavations in Jerusalem, during which the Life-Giving One was found Cross and other relics of the Passion.

For her work in spreading Christianity, Elena was canonized as an Equal-to-the-Apostles honor, which was awarded to only 5 other women in Christian history (Mary Magdalene, First Martyr Thekla, Martyr Apphia, Princess Olga and the enlightener of Georgia Nina). In the East, the veneration of Helen as a saint arose soon after her death; at the beginning of the 9th century, her cult spread to the Western Church.

The memory of Saint Helena is celebrated: in the Orthodox Church - March 6 (memory of Helen's finding of the Life-giving Cross and nails) and May 21 (dates according to the Julian calendar);

Statue of St. Veronica.(35 on the cathedral plan)

With the image of Jesus Christ. St. Veronica, in Christian tradition, is a pious Jewish woman who accompanied Christ on his way to Calvary and gave him, who was exhausted under the weight of the cross he carried on his shoulders, a linen handkerchief so that he could wipe the blood and sweat from his face. The face of Jesus was imprinted on the handkerchief . The "Plate of Veronica", considered authentic, is kept in St. Peter's Basilica in Rome.

a number of legends designed to give the image of St. Veronica historical features. According to one legend, she subsequently preached Christianity in the south of Gaul. In other legends, she is called a Greek princess or identified with Martha, the sister of Lazarus.

In Italy there was a legend according to which she healed Emperor Tiberius with the help of her plate with the miraculous image of the Savior. It is believed that the name Veronica is a corruption of Lat. vera icon (“true image”) - this is what they called the “Veronica’s cloth”, distinguishing it from other images of Christ.

The story of St. Veronica first appears in the apocryphal Acts of Pilate, dating back to the 4th or 5th century. Veronica's act of mercy is remembered during the sixth station of the Stations of the Cross. The memory is celebrated in the Orthodox Church on July 12 (according to the Julian calendar), in the Catholic Church on February 4.

Bronze statue of St. Peter. (32 on the cathedral plan)

At the end of the central nave, at the last pillar on the right next to the statue of St. Longinus, there is a statue of St. Peter, 13th century, attributed to Arnolfo di Cambio. The statue is credited with miraculous properties, and numerous pilgrims reverently place their hands on the bronze legs.

In his left hand, St. Apostle Peter holds the keys to heaven. The wall behind the statue is decorated with mosaics rather than fabric. St. Peter led the church for 25 years. For 19 centuries, the only pope who sat on the throne of Peter longer (1847-1878) than Peter himself was Pope Pius IX. His portrait is placed on the wall above the statue of the apostle. The alabaster pedestal was made in 1757 by Carlo Marchionni. The marble chair dates back to the early Renaissance.

On June 29, on the day of remembrance of the apostle, his statue is dressed in clothes, so that it seems that the statue comes to life.

Canopy ((36 on the cathedral plan)

In the dome space above the main altar there is a work by Bernini 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. Between these angels, one pair of angels holds the symbols of the pope - keys and tiara, the other pair of angels holds the symbols of St. Paul - a book and a sword. 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) was removed from the dome of the old 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 portico and the bronze bas-relief from the pediment 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.

"Confessional" (tomb of St. Peter). (37 on the plan of the cathedral)

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

Tombstone of Alexander VII by Bernini, 1678 (43 on the plan of the cathedral)

The last masterpiece of 80-year-old Bernini. 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 by order of Innocent XI, Bernini draped them.

The pontiff’s prayer is not disturbed even by the sudden appearance of Death, lifting the heavy canopy. The truth has set its foot on England, which symbolizes the pope's futile attempts to stop the spread of Anglicanism there.

Tombstone of Pope Paul III (Alessandro Farnese). (51 on the cathedral plan)

They say that the allegories of Justice and Prudence are like Dad's sister and mom. When creating the tombstone, della Porta may have used a sketch by Michelangelo, and the work on creating the tombstone itself most likely was carried out under the supervision of Michelangelo. Bernini moved the tombstone in the central apse of the cathedral in 1628.

This sculptural composition is one of the most beautiful due to its harmony and restraint. The Statue of Justice was originally naked, but in 1595 Cardinal Farnese ordered a cape for it. Prudence remained naked to the waist. The mirror is in the hand of Prudence.

The central apse also contains a design by Bernini Chair of St. Peter (1666). (52 on the cathedral plan)

Under Pope Alexander VII, the Chair of the Apostle Peter (1657-1665) was established, revered as the throne of St. Peter. Bernini decorated the throne with a magnificent bronze throne, which was carried by figures of two human heights, depicting the four Fathers of the Church. (Ambrose and Augustine as representatives of the Roman Church, Athanasius and John Chrysostom - the Greek)

From above, the throne was immersed in a sparkling golden light pouring from an oval glass window depicting a dove - a symbol of the Holy Spirit - the divine source of papal infallibility. Golden rays extend from the image of a dove in all directions and pierce the swelling clouds populated by angels.

Tombstone of Pope Urban VIII. (53 on the cathedral plan)

The coat of arms with the Barberini bees can be seen throughout the cathedral.

It was this pope who forced Galileo to renounce the teachings of Copernicus, although Urban was a personal friend of Galileo, but the political situation of that time forced him to do so. By his bull of April 22, 1639, the pope prohibited slavery in any form of Indians in Brazil, Paraguay and throughout the West Indies.

The composition of the tombstone is reminiscent of the tombstone of Pope Paul III, but is more harmonious. The magnificent figures of Mercy and Justice in white marble form a transition from the observer to the statue of the Pope, raising his hand in blessing and attracting the viewer's full attention.

Altar of St. Jerome. (66 on the cathedral plan)

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

Under the altar stands a sarcophagus containing the embalmed body of Pope John XXIII. Blessed John XXIII, Pope since 1958. Vatican diplomat, served as papal nuncio (envoy) to Bulgaria, Greece, Turkey and France. Having ascended the papal throne, he advocated peace and peaceful coexistence of states with different social systems. He sought to modernize the Catholic Church in connection with changing conditions in the world. In 1962 he convened the Second Vatican Council.

The pontificate of John XXIII, which lasted less than 5 years, set a new course for Vatican policy, which corresponded to new realities and was designed to establish dialogue between different countries and faiths, as well as improve the social situation of believers in different regions of the world. Most researchers call Pope John XXIII's policies aimed at protecting the world's poorest people an example of the affirmation of the principles of Christian socialism that developed in papal encyclicals.

Dad's activities were not properly appreciated in his inner circle. Opponents of the course of John XXIII called him the “red pope,” while supporters called him “the pope of the world.” The Pope was not destined to carry out the program of “renewal” of the Church adopted by the Second Vatican Council. He died on June 3, 1963 from stomach cancer, refusing surgery.

As it recently turned out, the body of the holy father was embalmed immediately after death by Gennaro Goglia, an assistant at the Institute of Anatomy of the Faculty of Medicine of the Catholic University of the Heart of Jesus, so when exhumed on January 16, 2001, it was found completely incorrupt.

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 4th 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.

Chapel of the Holy Sacraments. (72 on the cathedral plan)

Next to the tombstone of Gregory XIII, there is a small chapel of the Holy Sacraments.

The forged lattice of the chapel is made according to a Borromini drawing. 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 - the Tempietto rotunda 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.

The altarpiece - "Trinity of the New Testament" - is the only oil painting in the cathedral, the artist is Pietro da Cortona.

Tombstone of Matilda of Tuscany.(73 on the plan of the cathedral)

Behind the tombstone of Gregory XIII is the tombstone of the Margravess Matilda of Canossa by Bernini with his students; this was the first woman to have the honor of being buried in this cathedral. (In 1077 in Canossa, in the castle of the Margravine 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, coat of arms and the motto: TUETUR ET UNIT (I protect and unite).

Matilda of Tuscany (Italian: Matilde, Latin: Mathilde) (1046 - July 24, 1115) - Margravess of Tuscany, also called the Great Countess in history. She was a supporter of Pope Gregory VII during the struggle for investiture. One of the few medieval women who carried out military operations. Her father Boniface III of Tuscany was the ruler of most of the lands of Northern Italy, including Ferrara, Modena, Mantua, Brescia, Reggio Emilia, and had the title "Marquis of Tuscany".

In 1070, for political reasons, she entered into a secret marriage with Godfrey the Hunchback, Duke of Lorraine, who died in 1076. In her castle of Canossa, Gregory VII took refuge from Henry IV, who in 1077 came to him there for repentance. When Henry attacked Gregory in 1081, Matilda prevented the latter's complete defeat, and after Gregory's death she continued to quarrel with Henry.

In 1089, she agreed, at the request of Pope Urban II, to enter into a second secret marriage with the 18-year-old enemy of Henry IV, Welf V, the son of the Bavarian Duke; this marriage, however, was dissolved a few years later. Matilda later supported the rebellions of Conrad and Henry V against their father. Matilda appointed the Roman Church as the heir to her fief lands and estates.

Chapel of San Sebastiano. (76 on the plan of the cathedral)

Mosaic "The Death of Saint Sebastiano" from the original, 1614, by the artist Domenichino, kept in the Vatican Pinacoteca.

The tombstone of Pope Innocent XI was kept under the altar until May 2011, and in April 2011 the body of Pope Innocent XI was transferred to the Clementine Chapel. On April 29, 2011, the body of Pope John Paul II was exhumed and placed in front of the main altar of the Cathedral of St. Peter, and after beatification he was reburied in a new tomb under the altar of the Chapel of San Sebastiano. The marble slab that covered the pontiff's former grave was sent to his homeland - Poland.

Beatification of John Paul II.

In the Latin tradition, since the establishment of Pope Urban VIII in 1642, it has been customary to distinguish between the process of beatification (beatification) and sainthood (canonization).

Later, under Pope Benedict XIV, the requirements that a candidate must meet were established: his writings must be in accordance with the teachings of the Church, the virtues he has demonstrated must be exceptional, and the facts of a miracle performed through his intercession must be confirmed by documents or testimony.

For canonization, at least two miracles are required, through the intercession of the deceased. Issues of glorification are dealt with by the Congregation for the Causes of Saints in the Vatican, which studies the submitted materials and sends them, in case of a positive preliminary conclusion, for approval by the pope, after which an icon of the newly glorified is opened in St. Peter's Basilica.

John Paul II himself canonized more people as saints and beatifieds than all his predecessors after the 16th century. From 1594 (after the adoption by Sixtus V in 1588 of the apostolic constitution Immensa Aeterni Dei, concerning, in particular, issues of canonization) to 2004, 784 canonizations were made, of which 475 were made during the pontificate of John Paul II. John Paul II beatified 1,338 people.

Pope Benedict XVI has begun the process of beatifying his predecessor, John Paul II. Benedict XVI announced this at a meeting of priests in the Basilica of St. John in the Lateran in Rome. A prerequisite for beatification is the performance of a miracle. It is believed that John Paul II healed the French nun Marie Simon-Pierre of Parkinson's disease several years ago. On May 1, 2011, Pope Benedict XVI beatified John Paul II.

Canonization of John Paul II.

The canonization procedure for the 264th Pope will take place on April 27, 2014. This decision was made as a result of the cardinal consistory held by Pope Francis on September 30, 2013. On July 3, the Congregation for the Causes of Saints of the Holy See made a statement that the second miracle required for canonization, assisted by the pontiff, occurred on May 1, 2011.

The Vatican has not yet made official comments about the nature of the miraculous phenomenon. But there is already information that a miracle happened in Costa Rica to a sick woman who was healed of a severe brain disease thanks to the prayers of the late John Paul II. The decision on canonization has already been made by the current head of the Catholic Church, Pope Francis.

Tombstone Queen Christina of Sweden.(78 on the cathedral plan)

Author - Carlo Fontana, 1670 Christina (1626-1689) - Queen of Sweden, daughter of Gustav II Adolf and Maria Eleanor of Brandenburg. One of three women buried in St. Peter's Basilica. In Brussels on Christmas Day 1654, she converted to Catholicism. Christina's conversion to Catholicism caused a sensation throughout the Protestant world. From Brussels, Christina went to Italy. On November 3, 1655, in Innsbruck, she officially renounced the Protestant Church.

"Pieta" (sculptor Michelangelo). (80 on the cathedral plan)

The most famous sculpture on a religious subject. The most outstanding work of art in the cathedral. Michelangelo created it from one block of Carrara marble when he was not yet 25 years old.

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 tomb of the cardinal. The pedestal was made by Francesco Borromini in 1626.

This is the only work by the sculptor that he signed (according to Vasari, after overhearing a conversation between onlookers who argued about its authorship). Copies of the Pieta can be seen in many Catholic churches around the world, from Mexico to Korea.

"Pieta"- one of the works in which art historians see the divide between the Quattrocento and the High Renaissance. The Italian master reinterpreted the traditional Northern Gothic sculptural image of the lifeless Christ in the arms of his mother in the spirit of high humanism. Madonna is presented by him as a very young and beautiful woman who mourns the loss of the person closest to her.

Despite the difficulty of combining two such large figures in one sculpture, the composition of the Pietà is impeccable. The figures are treated as a single whole, their connection is striking in its cohesion. At the same time, the sculptor subtly contrasts male and female, living and dead, naked and covered, vertical and horizontal, thereby introducing an element of tension into the composition.

“Pieta” served as a model for subsequent interpretations of this iconographic plot. The large, fraying folds of Madonna’s robe not only deliberately enhance the dramatic fracture of the body lying on her lap, but also serve as a kind of pedestal for the entire pyramidal composition. In these sophisticated folds one can discern hidden power, both spiritual and physical, contrasting with the soft features of the Mother of God. In terms of completeness and elaboration of details, the Pietà surpasses almost all other sculptural works of Michelangelo.

In 1972, the statue was attacked by an Australian geologist of Hungarian origin, Laszlo, with a rock hammer. The one who shouted that he was Christ. After restoration, the statue was installed behind bulletproof glass to the right of the entrance to the cathedral.

The Pieta 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 importance 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.

and from the Vatican website -

The huge open space in front of the main Catholic Church in the world is a true masterpiece of urban planning in its artistic perfection. Designed by Bernini in 1657, the majestic St. Peter's Square in the Vatican today represents the grand entrance to the independent Papal State. Every day tens of thousands of tourists flock here, coming to Rome from all over the planet. And to hear the papal blessing, according to various estimates, up to 600 thousand gather in the square. believers.

Fountains in St. Peter's Square

No less interesting are the two almost identical fountains decorating the square. At first glance it seems that they were made by the hand of one master, but this is not so. Located to the left of the Vatican Square entering the Vatican Square, the Antica fountain, according to historical evidence, has been here since 1490, decorating the Sancti Petri plateau in front of the Basilica of Constantine. In 1614, the ancient fountain was slightly changed by the architect Carlo Maderno - he increased its height, placing the lower, most capacious pool on an octagonal base, replaced the upper small concave bowl with a convex one, and also decorated the base of the fountain with bas-reliefs with papal symbols.

After St. Peter's Square was framed by a colonnade, another fountain was erected according to Bernini's design in 1677, practically no different from the previous one. The work is attributed to Carlo Fontana, although some historians argue that Bernini himself may have made it. The only difference between the two medieval masterpieces is the papal symbolism applied to them.

To maintain architectural symmetry, Carlo Maderno's fountain had to be moved to a new location. Both fountains were placed on either side of the Vatican Obelisk, along the horizontal center line dividing St. Peter's Square.

Vatican Obelisk

In the center of the square stands a red granite stele, installed here during the pontificate of Sixtus V in 1586. The only Egyptian obelisk that has not been destroyed since ancient times previously adorned Nero's circus. The unique work associated with its relocation and installation in a new location was carried out under the leadership of the outstanding engineer and architect Domenico Fontana. Such an extraordinary event in the erection of the monument was immortalized on one of the frescoes of the Apostolic Library in the Vatican.

Sculptures decorating Vatican Square

At the foot of the steps leading to the basilica, on the right and left corners of its facade, there are two statues - St. Peter and St. Paul, made by Italian sculptors Giuseppe de Fabris (1790-1860) and Adamo Tadolini (1788-1868), respectively. The sculptures, installed in 1847, replaced the two previous works of Paolo Taccone and Mino del Reame, located in the same place, which had been erected since 1461. decorated the plateau of Sancti Petri in front of the Basilica of Constantine.

In the center of the upper part of the facade of the Cathedral there is a statue of the Savior carrying the cross, with a standing figure representing the Baptist John. On either side of them are statues of the 11 apostles, but the figure of Peter himself is missing.

The 140 statues decorating the colonnade represent the ecclesia of praying saints (from the ancient Greek “ἐκκλησία” - people's assembly). All the huge sculptures were made in Bernini's workshop and according to his sketches.

Religious events in the main square of the Vatican

Many people who come to Rome, not only believers, but also many tourists, strive to see the Pope in person. Not everyone knows that the opportunity to see the pontiff is available to everyone almost every Sunday. On these days, at exactly noon, the Pope blesses everyone gathered in Vatican Square, addressing them from the window of the Apostolic Palace with the Angelus prayer.

In addition, on Wednesdays, the Public Audience begins in St. Peter's Square at 10 a.m., which only in case of inclement weather can be moved from the square to the Audience Hall located nearby. However, it must be taken into account that you can only get to public audiences by purchasing a ticket.

How to get to St. Peter's Square in the Vatican

Metro: line A, to Ottaviano station.
Bus: routes No. 23, 32, 81, 590 – to the Piazza del Risorgimento stop.
Tram: line number 19 to its final stop Piazza del Risorgimento.

March 7, 2019

Basilica di San Pietro - this is how the name of one of the very first Christian churches sounds in Dante’s language. St. Peter's Basilica in the Vatican is located in the historical center of Rome, on the territory of one of the smallest states. Every year, thousands of pilgrims and tourists from different parts of the world come to the Eternal City to see with their own eyes this magnificent structure, which houses many religious shrines and famous works of art.

However, being the center of Catholicism and the symbol of the Vatican, the largest church in the world is used only as a ceremonial center for papal services only on special dates: on Catholic Christmas and Easter, during the celebration of rites during Holy Week, as well as during the proclamation of new pontiffs, the canonization of new saints , opening and closing of the Jubilee Year.

Construction of the current St. Peter's Basilica began in 1506. under Pope Julius II (Giuliano della Rovere, 1443-1513) on the site of an old church built by the Roman Emperor Constantine the Great in the 4th century.

Basilica of Constantine

The exact chronology of the construction of the ancient paleochristian church is unknown, however, according to information given in the Liber Pontificalis (Book of Pontiffs), historians have established that it was erected by Emperor Constantine during the pontificate of Sylvester the First (314-335). Work probably began between 319 and 326. on the site of the old Circus of Nero. Here, in addition to all kinds of competitions, Emperor Nero executed with particular cruelty the first Christians who believed in the Savior.

Some historians suggest that it was at this site, at the foot of the Vatican Hill, in 64 AD. Apostle Peter, a disciple and follower of Jesus Christ, was crucified. The burial place of the Christian martyr, marked by a modest tombstone, became a site of mass but secret pilgrimage over the next two hundred years. In the 4th century AD. By decree of Constantine the Great (the first of the emperors to stop all persecution of Christians), a basilica was built here, named after St. Peter.

For twelve centuries, the Basilica of Constantine was the main center of pilgrimage for Christians in Rome. Only at the end of the 14th century the church, together with the Vatican complex of buildings, became the residence of the pontiffs and was enriched with many works of art.

Interior of the Basilica of Constantine in Raphael's fresco "Donation of Rome" in the Hall of Constantine in the Vatican Museums

Nicholas V (Tomaso Parentucelli, 1397-1455), who ascended the papal throne in March 1447, decided to partially reconstruct the Vatican Palace and the dilapidated Constantinian Basilica of St. Peter. In 1452, in consultation with the architect Leone Battista Alberti, he commissioned Bernardo Rossellino to develop a design that would preserve the important ancient heritage. However, the death of the pontiff interrupted the work that had begun for a long time.

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Architects of St. Peter's Basilica

At the beginning of the 16th century, Pope Julius II decided to demolish the old church to make way for a new, grandiose building. Its construction began on April 18, 1506, according to the design (Donato Angelo di Pascuccio, 1444-1514) and was completed more than a century and a half later. According to the Italian architect, it was supposed to be a majestic structure that could not only accommodate a large number of parishioners, but also emphasize the power of the Church. For the gigantism of the presented project, the destruction and destruction of the venerable Paleo-Chrestian temple, Bramante was given the mocking nickname “Maestro ruinante”, i.e. Master of destruction. In addition, in 1507, a huge scandal arose in connection with the distribution of indulgences by Pope Julius II to those who donated funds for new construction.

In his project, Bramante took as a basis the Greek cross in the plan, in the central part of which it was planned to build a dome supported by four giant columns. The construction of the walls began soon after the project was approved, but a few years later the work was suspended due to the death of Pope Julius II, and a year later the architect himself.

Projects of St. Peter's Cathedral in plan

Since 1514, the project to build the basilica was led by Raphael Santi together with Giuliano da Sangallo and Giovanni Monsignori, better known as Fra Giocondo. Raphael proposed lengthening one of the sides of the structure, thereby bringing its shape closer to the more traditional shape of the Latin cross. Later, after the death of Raphael in 1520, the post of chief architect was taken by Antonio da Sangallo Jr., and the management of the construction work was entrusted to Baldassare Peruzzi. However, despite the large number of famous sculptors and architects who took part in the development of the project for the new basilica, the work did not move forward - each of them proposed his own, considering it the best. Construction resumed only in 1538, which continued until the death of Antonio da Sangallo in 1546.

From left to right: Donato Bramante, Rafael Santi, Baldassare Peruzzi, Giuliano da Sangallo, Antonio da Sangallo, Michelangelo Buonarroti, Carlo Maderno

Since 1546, the position of chief architect was taken by the seventy-year-old Michelangelo Buonarroti. He decided to return to Bramante's design with a large central dome. Guided by the experience of Filippo Brunelleschi, who created the incredible domed structure of Santa Maria del Fiore in Florence, Michelangelo was able to design an even more impressive structure. Unlike Brunelleschi's octagonal dome, Michelangelo's design had a more elegant shape, since it is based on sixteen faces. Unfortunately, Michelangelo was never able to see the result of his work. In 1564, after the death of the master, the continuation of construction was entrusted to the architect Giacomo della Porta (1533-1602), who completed the construction of Michelangelo's dome.

Interior view of the dome in St. Peter's Basilica

In 1603, after the death of Giacomo della Porta, Pope Clement VIII appointed Carlo Maderno (1556-1629) the new head of the construction of the basilica. He was the nephew of the famous architect Domenico Fontana and by that time had established himself as a promising and dynamic master. Maderno, using Michelangelo's preliminary sketches, designed the façade of the grandiose building. However, his work has always been subject to serious criticism. The fact is that the elongated nave of the basilica and, as a result, its gigantic facade, more than 45 meters high, brought forward, hid the stunning dome, and all the beauty of the new church could only be seen from afar.

The construction of the new St. Peter's Cathedral was completed in 1626 - on November 18, Pope Urban VIII (Maffeo Vincenzo Barberini, 1568-1644) consecrated the largest Catholic church in the world, the size of which is still amazing - with a length of 220 meters, its height including the dome is more than 136 meters, and during religious services it can accommodate more than 20 thousand. believers.

What to look for when visiting

St. Peter's Basilica in Rome amazes the imagination of everyone who first crosses the threshold of this grandiose structure. Under the arches of the main Christian temple there are priceless works of art that travelers, tourists and pilgrims coming from all over the world strive to see. However, limited in time, many do not have time to fully enjoy the centuries-old heritage of the past. In this short section of the article, our website offers you to get acquainted with some masterpieces that are worth paying attention to when visiting the basilica first.

Pieta by Michelangelo

Perhaps one of the most famous works of art located in St. Peter's Basilica is the sculptural composition of the Pietà, made by the outstanding Renaissance artist, architect and sculptor Michelangelo Buonarroti. Translated from Italian, "pieta" means "pity, compassion", and is a term used in the visual arts to designate the scene of Jesus Christ's mother mourning him.

The sculpture was made by Michelangelo in 1499, when he was only 25 years old, and which brought the young master unprecedented popularity and recognition. They started talking about him not only in Italy, but also far beyond its borders. Numerous copies of the masterpiece can today be found in many churches, museums around the world and private collections. The sculpture is installed in the first chapel from the entrance in the right nave of St. Peter's Basilica and is protected by glass.

Chapel of St. Sebastian

In the right nave of the basilica there is another remarkable chapel dedicated to Saint Sebastian. Here is the tomb of Pope John Paul II, who occupied the Holy See from 1976 to 2005.

In 2011, after the beatification ceremony, the body of the pontiff was transferred from the Sacred Grottoes of the Vatican to the Chapel of St. Sebastian. On the right side of the chapel there is a memorial sculpture of Pope Pius XI, the founder of the Vatican. It was during his pontificate, according to the Lateran Agreements, that the boundaries of the Vatican State were determined.

Canopy Bernini

Directly under the dome of the basilica is a huge bronze canopy (otherwise called a ciborium or canopy), located above the main altar of St. Peter's Basilica. Designed by order of Pope Urban VIII, it was supposed to mark the burial place of the Apostle Peter in a monumental way.

Work on its construction began in July 1624 and lasted almost ten years. This 29-meter structure is a real masterpiece - a gilded bronze canopy rests on four 20-meter spiral columns resting on high, almost human-height stone bases. For a long time it was believed that the bronze used for casting was taken from the dome of the ancient Pantheon, but this is not so - it was brought from Venice, and the bronze covering of the Temple of All Gods served to cast 80 cannons of the Castel Sant'Angelo.

Solomon's columns

The canopy columns above the main altar of St. Peter's Basilica imitate the shape of the marble Solomon columns. In the 4th century, Emperor Constantine brought to Rome several columns that he took, it is believed, from the second Temple of Solomon, which existed on the Temple Mount in Jerusalem between 586. BC. and 70g. AD They were part of the interior of the old Basilica of Constantine and were used as a pergula (the dividing structure of the temple space). When creating the interior decoration of the new St. Peter's Basilica in Rome, Bernini placed them in the niches of the four large pylons of the church.

Department

In the central apse of the basilica, behind the main altar, you can see another masterpiece of Giovanni Lorenzo Bernini - the Chair of St. Peter, made of bronze and a valuable reliquary. Inside the grandiose altar composition one of the main relics of the cathedral is kept - the original wooden throne of the First Pope, Apostle Peter. It was given as a gift to Pope John VIII by the Frankish king Charles II on the occasion of his coronation on December 25, 875.

The work is a complex sculpture, the central element of which is the Throne of Peter. Floating in the air, it is as if supported by the monumental figures of great church figures located below the throne, whose works influenced the formation and development of the Church: Saints John Chrysostom, Athanasius the Great, Ambrose of Milan and Saint Augustine.

Bronze statue of Apostle Peter

The last pylon of the central nave contains the famous bronze statue of St. Peter, made by the Italian sculptor and architect Arnolfo di Cambio (1245-1310). The ancient sculpture depicts an apostle seated on a throne, who blesses believers with his right hand and holds the key to the Kingdom of Heaven with his left. Pilgrims visiting the church treat it with special reverence - according to legend, it is believed that if you touch his right leg and ask with faith for the fulfillment of your intended desire, it will certainly come true. Over the years, the right foot has become so worn that the statue's toes are no longer visible.

Mosaic "Transfiguration" based on the painting by Raphael Santi

The Altar of the Transfiguration of Christ, located in the left nave, is decorated with a magnificent mosaic made after the famous painting by Raphael, which was one of the last works of the artist. Today, the original painting itself is in the Vatican Museums.

In our short article, of course, it is impossible to describe everything there is to see in St. Peter's Basilica in the Vatican and describe its magnificence. Our website invites readers to watch a film shown on the Culture TV channel, filmed by German filmmakers, which tells about the history of the basilica, the Vatican State, as well as the unique works of art located on its territory.

Opening hours and visiting rules

During the summer period - from April to September inclusive, the basilica is open daily from 07:00 to 19:00. From October to March – from 07:00 to 18:00. Every Wednesday, during the pontiff's general audience in the square, the cathedral is closed in the morning.

• It is prohibited to carry large bags and backpacks, sharp objects, explosive and flammable liquids. There is a search at the entrance.
• When visiting, it is recommended not to wear frivolous clothing that will cause rejection among others. In particular, in order not to violate church canons and not to offend the feelings of believers, women should cover their bare shoulders with a shawl or any other clothing.
• Taking photographs in the temple is not prohibited, but you should not use a flash.

Dome

Visiting the observation deck of the cathedral dome on foot (551 steps!) is possible daily from 08:00 to 18:00 from April to October, and from 08:00 to 16:45 from October to March. The ticket price is 8 euros.
You can also climb the dome by elevator, which will take you to the observation deck of the open terrace. The cost of the service is 10 euros.

Vatican Grottoes

The Vatican Grottoes are open every day from 07:00 to 18:00 from April to September, and from 07:00 to 17:00 from October to March. Access is from the basilica's transept.

Necropolis

St. Peter's Cathedral in the Vatican: history, architects, photos

St. Peter's Square in Rome lies in front of one of the most grandiose temples in the world - St. Peter's Basilica. Before the renovations carried out under Mussolini, St. Peter's Square literally stunned everyone who visited it. The Romans, emerging from the narrow streets, where until the last moment the dome of the cathedral was not visible, suddenly found themselves in a huge open space, surrounded on two sides by columns, and on the third by a majestic cathedral façade.

St. Peter's Square is built in the shape of an oval, the dimensions of which are 340 meters in length and up to 240 meters in width. The resulting hemisphere is a symbol of faith, which accepts any person who decides to visit the Church of St. Peter. A wide staircase leads to the basilica; the square is framed on both sides by a colonnade.

Vatican - Bernini's Colonnade

The colonnade in St. Peter's Square was built by the architect Giovanni Bernini in 1656-1667. It consists of 284 Doric columns, distributed in four rows, above which are installed 162 eight-meter sculptures of Catholic saints.

The colonnade has an interesting feature. In the center of the square, between the fountains and the obelisk, there are two points marked with white marble. If you stand on one of them, four columns from different rows will merge and only the first columns will be visible and it will seem to you that the colonnade consists of one row of columns. And if you take a step to the side, all the other columns will be visible behind the first one.

Bernini's colonnade was reproduced several times in other countries, so we can see one of the similar structures on Nevsky Prospekt in St. Petersburg - this is the colonnade of the Kazan Cathedral, built at the beginning of the 19th century by the Russian architect Andrei Voronikhin.

Obelisk in St. Peter's Square

The obelisk in the center of the square dates back to the 1st century BC, it was brought from Egypt, from the environs of modern Cairo - Heliopolis for Nero's circus, where it remained for a long time. According to legend, the ashes of Julius Caesar were kept in the ball crowning the monument.

On September 10, 1586, by order of Pope Sixtus V, the obelisk was dragged to the square using a complex device built by the engineer Domenic Fontana. The vehicle performed these difficult maneuvers with the participation of 140 horses. Domenico Fontana warned that any sound could collapse the structure and therefore any word spoken during work was punishable by execution.

At the most crucial moment, the ropes began to weaken and the huge colossus had to fall on its side. But at this time the Genoese sailor shouted: “Water on the ropes!” It was the captain of the ship named Domenico Bresca and he knew very well that when the ropes get wet, they tighten.

The 25.5 meter high obelisk was rescued and successfully installed, and Captain Bresque was summoned to the Pope. According to legend, he praised the captain and asked how he could thank him. The captain's request was modest - he asked permission to bring palm branches to the Vatican on Palm Sunday, preceding Easter.

The height of the obelisk, together with the pedestal and cross on top, is 41 meters.

However, the ashes of Julius Caesar were never discovered during these works. The ball was placed in the Vatican Museums, and a cross was installed on the obelisk.

Next to the obelisk there are two 17th-century fountains by Maderna and Bernini.

St. Peter's Square today

On Sundays and holidays, everyone who wants to hear the pope's sermon gathers here. The square is filled with chairs and those who come listen to the speech of the head of the Catholic Church in 20 languages. At exactly noon, the Pope delivers his speech from the balcony above the main entrance to the basilica or from the windows of his office, which are located on the left edge on the top floor of the building located behind the colonnade on the right.

There is one more opportunity to see dad. He holds a general audience on Wednesday at 10 a.m. True, if you don’t take a seat in advance, you won’t see anything except backs and cameras.

The rest of the time, St. Peter's Square is full of tourists who come to the museum. At the same time, we must not forget that no frivolity in clothing is allowed here. If you are not dressed appropriately, it is better to immediately buy a T-shirt with sleeves or some kind of cape-scarf at the souvenir kiosk along the way.

St. Peter's Basilica in the Vatican is the heart of the Catholic world. St. Peter's Basilica is the main decoration of the Vatican, whose artistic treasures attract millions of tourists. St. Peter's Basilica is the largest Catholic cathedral on the planet. Its main hall occupies 2.3 hectares.

The inside of St. Peter's Cathedral in the Vatican amazes with its volume, size, harmony of proportions, materials, and richness of design. The painting of the dome of St. Peter's Basilica in the Vatican by Michelangelo with coffered decoration is an artistic masterpiece of Rome. The observation deck of the dome of St. Peter's Basilica in the Vatican, accessible for an additional fee by elevator, offers the most impressive panorama of Rome.

Construction of the cathedral that we see today began in 1506 and was completed 120 years later. In 1626, St. Peter's Basilica was consecrated by Pope Abran VIII. This is a rather short construction period for a temple, the likes of which in beauty and grandeur have never been seen before.

However, this time was enough for 13 pontiffs to replace themselves in office: Julius II, Leo X, Adrian VI, Clement VII, Paul III, Julius III, Marcellus II, Paul IV, Pius IV, Pius V, Gregory XIII, Sixtus V, Urban VII. The number of architects who headed this project is also significant and replete with great names: Donato Bramante, Raphael, Baldassare Peruzzi, Antonio da Sangallo, Michelangelo, Vignola. The temple later underwent further modernization in the early 17th century under the direction of the architect Carlo Maderno, and in 1656-1667 Bernini created the square in front of the cathedral, but that is another story.

The size of the Cathedral of St. Peter the Apostle is truly amazing. When you stand in front of the main facade and look at the statues of 11 more apostles, Jesus Christ and John the Baptist on top, you realize that you cannot take in the entire cathedral. Up close, you can’t even see the most important element – ​​Michelangelo’s dome. Moving a little further into the center of St. Peter's Cathedral takes on a finished look, only now Bernini's colonnade is not included in the photo frame...

In front of the entrance to the temple there are 2 statues:

• Statue of St. Peter. Peter holds the keys to the Kingdom of Heaven, which the Lord gave him.
• Statue of St. Paul. Paul holds a spear.

There are 5 doors leading to the cathedral. One of them deserves special attention. This door (last on the right side) was created in 1950. It opens in the anniversary year every 25 years. It is not only closed for 25 years, it is concreted and decoratively decorated on the inside.

St. Peter's Basilica in the Vatican. Rome. Basilica di San Pietro.

What does St. Peter's Cathedral hide inside?!

A visit to St. Peter's Cathedral for tourists and pilgrims is considered a continuation of the tour. After visiting the Sistine Chapel, the path leads to the artistic treasures of St. Peter's Basilica in the Vatican. The interior decoration of St. Peter's Basilica exceeds all expectations. The floor is paved with multi-colored porphyry and marble.

The walls of the cathedral are decorated with stucco, gold, silver, multi-colored marble (white, pink, green), decorated with sculptures and works of art.

The temple itself has the shape of a cross, at the intersection of which in the central part of the temple stands the Papal Altar. Four powerful pillars support the dome designed by Michelangelo (two-level dome). The height of the internal dome is 119 meters, and the diameter reaches 42 meters. The pillars are decorated with niches, in each of which there are figures of saints:

• Statue of St. Andrew the First-Called (work by Francois Duquesnoy).
• Statue of Saint Veronica.
• Statue of Empress Helena with the Holy Cross in her hands (mother of Emperor Constantine).
• A five-meter statue of Saint Longinus - a soldier who pierced Jesus Christ with a spear and subsequently converted to Christianity (work by Lorenzo Bernini, 1635).

The canopy (cevorite) by the great master Lorenzo Bernini is a stunning structure supported by 4 graceful twisted columns, the tops of which are decorated with four angels. From a distance it looks wooden: the craftsman’s work is so delicate. In fact, the canopy is made of bronze, and some elements are plated with gold. Bernini worked on it for 9 years from 1624 to 1633. There are also two symbols in the work:

• symbol of the Papacy - crossed keys;
• The symbol of the influential Barberini family is the bee.

Its height is 29 meters (4-storey building). And all this is located in the center of the cathedral under a painted dome rising up (the painting is the work of the Italian artist Cavaliero d’Arpino).

Just below Michelangelo's dome and Bernini's canopy is the entrance to an underground labyrinth that leads to one of the Vatican's most valuable treasures - the burial site of St. Peter. This sacred place is reserved for the highest clergy. At the center of the cathedral is something directly related to Jesus Christ. Here you can see the symbol of St. Peter: an inverted cross.

The history of the unique cathedral begins in 64 AD. Then the king of the Roman Empire, Neuron, executed the follower of the Christian faith, the leader and first disciple of Jesus, 64-year-old Peter. According to legend, Peter asked to be crucified upside down. He believed that he was not worthy to die as the Savior. Peter was buried on Vatican Hill. In the 4th century, Christianity became the main religion of the Roman Empire and Emperor Constantine ordered the construction of a cathedral in honor of St. Peter on Vatican Hill. In the 16th century, construction began on a new cathedral that would reflect the power and influence of the Catholic Church. The new St. Peter's Basilica is a perfect example of the Renaissance. The most sacred place in St. Peter's Basilica is the Clementine Chapel. Here is the original altar and the center of the ancient cathedral. It was here that the Apostle Peter, the first disciple of Jesus Christ, was crucified, died and buried.

On the side, not far from the altar, there is a statue of St. Peter. She is considered miraculous. So don’t miss the opportunity to touch the feet of the statue of St. Peter and ask for your cherished wish to be fulfilled!

Another must-see masterpiece in St. Peter's Basilica is Michelangelo Buonarroti's Pietà.

Sculptural group “Pieta” or “Lamentation of Christ”. Michelangelo Buonarroti.

The sculptor worked on it for 2 years and completed his creation in 1499 at the age of 24. The sculptural group “Pieta” or “Lamentation of Christ” is made of marble and reaches a height of 1 meter 74 cm. Revealing the plot of “Lamentation of Christ”, the sculptures depicted only two main figures: the Virgin Mary holding her dead son Jesus Christ on her lap. Looking at the sculptural group, the question arises: why does Mary’s face look younger than that of her son Jesus. So Michelangelo tried to combine the ancient ideal of beauty with the Christian idea and embody the words of Dante, the author of the Divine Comedy, who wrote: “Our Lady, daughter of her son”!

Another interesting historical fact: the Pietà is the only work signed by Michelangelo. This was preceded by a story according to which one day Michelangelo witnessed how people admired his work in St. Peter's Basilica, and the authorship was attributed to another master. Therefore, he decided to correct this injustice and carved an inscription on the ribbon descending from Mary’s left shoulder, which translated means “Michelangelo Buonarroti the Florentine performed.”

Prices for hotels and apartments within walking distance of St. Peter's Basilica in Rome.