St. Peter's Basilica Basilica di San Pietro in Vaticano
The interior of St. Peter's Basilica by Giovanni Paolo Pannini Saint Peters Basilica by Giovanni Paolo Panini (1691-1765) This image has been released into the public domain by the copyright holder, its copyright has expired, or it is ineligible for copyright. ... The interior of the Pantheon, Rome Giovanni Paolo Pannini or Panini (Piacenza, June 17, 1691 – Rome, October 21, 1765) was an Italian painter and architect. ...
Basic information
Location	Vatican City
Geographic coordinates	41°54′8″N 12°27′12″E / 41.90222, 12.45333Coordinates: 41°54′8″N 12°27′12″E / 41.90222, 12.45333
Religious affiliation	Roman Catholic
Year consecrated	1626
Ecclesiastical status	Major basilica
Architectural description
Architect(s)	Donato Bramante Antonio da Sangallo the Younger Michelangelo Vignola Giacomo della Porta Carlo Maderno Gianlorenzo Bernini Map of Earth showing lines of latitude (horizontally) and longitude (vertically), Eckert VI projection; large version (pdf, 1. ... The following is a list of religions and spiritual traditions. ... The Roman Catholic Church, most often spoken of simply as the Catholic Church, is the largest Christian church, with over one billion members. ... Ecclesiastical polity is the operational and governance structure of a church or Christian denomination. ... The Basilica of St. ... For other uses, see Architect (disambiguation). ... Donato Bramante Donato Bramante (1444 – March 11, 1514) was an Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. ... Antonio da Sangallo the Younger (or Antonio Cordiani) (April 12, 1484 - August 3, 1546) was a Florentine architect active during the Italian Renaissance. ... For other uses, see Michelangelo (disambiguation). ... The Rocca of Vignola. ... Giacomo della Porta (c. ... Façade of St. ... A self portrait: Bernini is said to have used his own features in the David (below, left) Gian Lorenzo Bernini (Giovanni Lorenzo Bernini) (December 7, 1598 - November 28, 1680), who worked chiefly in Rome, was the pre-eminent baroque artist. ...
Architectural type	Church
Architectural style	Renaissance and Baroque
Direction of facade	East
Year completed	1626
Specifications
Capacity	60,000 +
Materials	Stone and marble

The Basilica of Saint Peter (Latin: Basilica Sancti Petri), officially known in Italian as the Basilica di San Pietro in Vaticano and commonly known as St. Peter's Basilica, is located within the Vatican City in Rome. It occupies a "unique position" as one of the holiest sites and as "the greatest of all churches of Christendom".^[1][2][3] In Catholic tradition, it is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus and, according to tradition, was the first Bishop of Antioch, and later first Bishop of Rome. While St. Peter's is the most famous of Rome's many churches, it is not the first in rank, an honour held by the Pope's cathedral church, the Basilica of St. John Lateran. (See: Status) For the architectural structure, see Church (building). ... Architectural style is a way of classifying architecture largely by morphological characteristics - in terms of form, techniques, materials, etc. ... This article is about the European Renaissance of the 14th-17th centuries. ... For other uses, see Baroque (disambiguation). ... A compass rose For other uses, see East (disambiguation). ... Events September 30 - Nurhaci, chieftain of the Jurchens and founder of the Qing Dynasty dies and is succeeded by his son Hong Taiji. ... Concrete and metal rebar used to build a floor Building material is any material which is used for a construction purpose. ... Latin was the language originally spoken in the region around Rome called Latium. ... For other uses, see Rome (disambiguation). ... This T-and-O map, which abstracts the known world to a cross inscribed within an orb, remakes geography in the service of Christian iconography. ... St Peter redirects here. ... Topics in Christianity Movements · Denominations Ecumenism · Relation to other religions Preaching · Prayer Music · Liturgy · Calendar Symbols · Art · Criticism Important figures Apostle Paul · Church Fathers Constantine · Athanasius · Augustine Anselm · Aquinas · Palamas Luther · Calvin · Wesley Arius · Marcion of Sinope Archbishop of Canterbury · Pope Coptic Pope · Ecumenical Patriarch Christianity Portal This box:      For... This article is about Jesus of Nazareth. ... The Patriarch of Antioch, is one of the original patriarchs of early Christianity, who were bishops with influence over other sees. ... It has been suggested that this article or section be merged with Pope. ... For other uses, see Pope (disambiguation). ... For other uses, see Cathedral (disambiguation). ... The late Baroque façade of the Basilica of St. ...

Catholic tradition holds that Saint Peter's tomb is below the altar of the basilica. For this reason, many Popes, starting with the first ones, have been buried there. There has been a church on this site since the 4th century. Construction on the present basilica, over the old Constantinian basilica, began on April 18, 1506 and was completed in 1626.^[4] // On December 23, 1950, in his pre-Christmas radio broadcast to the world, Pope Pius XII announced the discovery of Saint Peters tomb. ... Look up Altar in Wiktionary, the free dictionary. ... For other uses, see Pope (disambiguation). ... Look up Constantine in Wiktionary, the free dictionary. ... is the 108th day of the year (109th in leap years) in the Gregorian calendar. ... 1506 was a common year starting on Monday (see link for calendar) of the Gregorian calendar. ...

St. Peter's is famous as a place of pilgrimage, for its liturgical functions and for its historical associations. It is associated with the papacy, with the Counter-reformation and with numerous artists, most significantly Michelangelo. As a work of architecture, it is regarded as the greatest building of its age.^[5] Contrary to popular misconception, Saint Peter's is not a cathedral, as it is not the seat of a bishop. It is properly termed a basilica. Like all the earliest churches in Rome,^[6] it has the entrance to the east and the apse at the west end of the building. This article is about the religious or spiritual journey. ... A liturgy is the customary public worship of a religious group, according to their particular traditions. ... The Pope is the Catholic Bishop and patriarch of Rome, and head of the Roman Catholic Church and the Eastern Catholic Churches. ... The Counter-Reformation or the Catholic Reformation was a strong reaffirmation of the doctrine and structure of the Catholic Church, climaxing at the Council of Trent, partly in reaction to the growth of Protestantism. ... For other uses, see Michelangelo (disambiguation). ... This article is about building architecture. ... For other uses, see Cathedral (disambiguation). ... Look up basilica in Wiktionary, the free dictionary. ...

Status

St. Peter's Basilica from the River Tiber. The iconic dome dominates the skyline of Rome.

The Basilica of St. Peter is one of four major basilicas of Rome, the others being the Basilica of St. John Lateran, Santa Maria Maggiore and St. Paul outside the Walls). It is the most prominent building inside the Vatican City. Its dome is a dominant feature of the skyline of Rome. Probably the largest church in Christianity,^[7] it covers an area of 2.3 ha (5.7 acres) and has a capacity of over 60,000 people. One of the holiest sites of Christendom in the Catholic tradition, it is traditionally the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus and, according to Roman Catholic tradition, also the first Bishop of Antioch, and later first Bishop of Rome. Although the New Testament does not mention Peter's presence or martyrdom in Rome, Catholic tradition holds that his tomb is below the baldachin and altar; for this reason, many Popes, starting with the first ones, have been buried there. Construction on the current basilica, over the old Constantinian basilica, began on April 18, 1506 and was completed in 1626.^[8] Tiber River in Rome The River Tiber (Italian Tevere), the third longest river in Italy (disputed — see talk page) at 406 km (252 miles) after the Po and the Adige, flows through the Campagna and Rome in its course from Mount Fumaiolo to the Tyrrhenian Sea, which it reaches in... For other uses, see Rome (disambiguation). ... The Basilica of St. ... For other uses, see Rome (disambiguation). ... The late Baroque façade of the Basilica of St. ... Saint Mary Major, in Italian, Santa Maria Maggiore, is one of the five great ancient basilicas of Rome, Italy. ... St. ... The Basilica of Saint Peter (Latin: ), officially known in Italian as the Basilica di San Pietro in Vaticano and commonly known as St. ... For the architectural structure, see Church (building). ... Topics in Christianity Movements · Denominations Ecumenism · Relation to other religions Preaching · Prayer Music · Liturgy · Calendar Symbols · Art · Criticism Christianity Portal This box:      Christianity is a monotheistic[1] religion centered on the life and teachings of Jesus of Nazareth as presented in the New Testament. ... A hectare (symbol ha) is a unit of area, equal to 10 000 square metres, commonly used for measuring land area. ... This article is about the unit of measurement. ... This T-and-O map, which abstracts the known world to a cross inscribed within an orb, remakes geography in the service of Christian iconography. ... St Peter redirects here. ... Topics in Christianity Movements · Denominations Ecumenism · Relation to other religions Preaching · Prayer Music · Liturgy · Calendar Symbols · Art · Criticism Important figures Apostle Paul · Church Fathers Constantine · Athanasius · Augustine Anselm · Aquinas · Palamas Luther · Calvin · Wesley Arius · Marcion of Sinope Archbishop of Canterbury · Pope Coptic Pope · Ecumenical Patriarch Christianity Portal This box:      For... This article is about Jesus of Nazareth. ... The Roman Catholic Church, most often spoken of simply as the Catholic Church, is the largest Christian church, with over one billion members. ... The Patriarch of Antioch, is one of the original patriarchs of early Christianity, who were bishops with influence over other sees. ... It has been suggested that this article or section be merged with Pope. ... For the New York prison see The Tombs. ... The Grand Master of the Knights Hospitaller at Rhodes under a canopy of estate, on a dais: there is a cushion under his feet Margaret Beaufort, Queen Mother, at prayer, by an anonymous artist, about 1500 Engraving of the Gnadenaltar in the Vierzehnheiligen Basilica, Bad Staffelstein, Bavaria. ... Look up Altar in Wiktionary, the free dictionary. ... For other uses, see Pope (disambiguation). ... is the 108th day of the year (109th in leap years) in the Gregorian calendar. ... 1506 was a common year starting on Monday (see link for calendar) of the Gregorian calendar. ...

Although the Vatican basilica is neither the Pope's official seat or first in rank among the great basilicas,(St. John Lateran) it is most certainly his principal church, as most Papal ceremonies take place at St. Peter's due to its size, proximity to the Papal residence, and location within the Vatican City walls. In the apse of the basilica is Bernini's monument enclosing the "Chair of St. Peter" or cathedra, sometimes presumed to have been used by Saint Peter himself, but which was a gift from Charles the Bald and used by various popes.^[9] Late Baroque façade of the Basilica, completed, after a competition for the design, by Alessandro Galilei in 1735 St. ... A self portrait: Bernini is said to have used his own features in the David (below, left) Gian Lorenzo Bernini (Giovanni Lorenzo Bernini) (December 7, 1598 - November 28, 1680), who worked chiefly in Rome, was the pre-eminent baroque artist. ... Cathedra Petri The chair of a bishop is a cathedra. ... The cathedra of the Pope in the apse of St. ... Charles the Bald[1] (numbered Charles II of France and the Holy Roman Emperor) (French: , German: ) (13 June 823 – 6 October 877), Holy Roman Emperor (875–877) and king of West Francia (840–877), was the youngest son of Emperor Louis the Pious, by his second wife Judith. ...

History

Burial site of St. Peter

Main article: Saint Peter's tomb

After the crucifixion of Jesus in the second quarter of the 1st century AD, it is recorded in the Biblical book of the Acts of the Apostles that one of his twelve disciples, Simon known as Peter, a fisherman from Galilee, took a leadership position among Jesus' followers and was of great importance in the founding of the Christian Church. Among those who were converted was Paul of Tarsus, known as the Apostle Paul, whose travels are recorded and from whose hand many letters exist, exhorting and encouraging a number of the local churches founded as Christianity spread across the Roman Empire. It is recorded that St. Paul travelled to Rome. It is believed by a long tradition that St. Peter also travelled to Rome and, like Paul, met his martyrdom there. // On December 23, 1950, in his pre-Christmas radio broadcast to the world, Pope Pius XII announced the discovery of Saint Peters tomb. ... For other uses, see Crucifixion (disambiguation). ... This article is about Jesus of Nazareth. ... For the literature genre, see Acts of the Apostles (genre). ... According to tradition, Peter was crucified upside-down, as shown in this painting by Caravaggio. ... For other uses, see Galilee (disambiguation). ... Topics in Christianity Movements · Denominations Ecumenism · Relation to other religions Preaching · Prayer Music · Liturgy · Calendar Symbols · Art · Criticism Christianity Portal This box:      Christianity is a monotheistic[1] religion centered on the life and teachings of Jesus of Nazareth as presented in the New Testament. ... Paul of Tarsus (b. ... For other uses, see Roman Empire (disambiguation). ... Historically, a martyr is a person who dies for his or her religious faith. ...

The statue of Saint Peter in the basilica

According to Catholic tradition, Peter was the recognised head of the Christian church in Rome, and therefore its first bishop. It was to Peter, that Jesus said the words, recorded in the Gospel of Matthew, chapter 16, verse 18: "And I say also unto thee, That thou art Peter, and upon this rock I will build my church; and the gates of hell shall not prevail against it" (King James Version). The name Peter is "Petrus" in Latin and "Petros" in Greek, deriving from "petra" which means "stone" or "rock" in Greek. The Gospel of Matthew (literally, according to Matthew; Greek, Κατά Μαθθαίον or Κατά Ματθαίον, Kata Maththaion or Kata Matthaion) is a synoptic gospel in the New Testament, one of four canonical gospels. ... Latin was the language originally spoken in the region around Rome called Latium. ...

While it is accepted by the Protestant churches and the Orthodox churches that Jesus' statement refers to Peter's confession of faith: "Thou art the Christ and the Son of the Living God" (Matthew 16:16), the Roman Catholic Church adheres to the belief in the Primacy of Simon Peter and hence the continued primacy of his successors as bishops of Rome. Wikisource has original text related to this article: Bible, English, King James, Matthew A number of Christian denominations hold that Simon Peter was the most prominent of the apostles, favoured by Jesus of Nazareth with the first place of honour and authority. ...

Traditionally, it is believed that St. Peter was crucified head downwards. His remains were buried near a road leading out of the city, the Via Cornelia, on the hill Vaticanus. The location is known to have been the site of a pagan and Christian cemetery. Peter's grave was initially marked, not by a monument, but simply by a red rock, symbolic of his name, but insignificant to non-Christians. For the film starring Mario Lanza, see Seven Hills of Rome (film). ...

December 23, 1950, in his pre-Christmas radio broadcast to the world, Pope Pius XII announced the discovery of Saint Peter's tomb.^[10] This was the culmination of 10 years of archaeological research under the crypt of the basilica, an area inaccessible since the 9th century. The burial place appears to have been an underground vault, with a structure above it believed to have been built by Pope Anacletus in the 1st century. Human remains were discovered, but it could not be ascertained with any certainty if they were indeed the bones of the apostle Peter. is the 357th day of the year (358th in leap years) in the Gregorian calendar. ... Year 1950 (MCML) was a common year starting on Sunday (link will display the full calendar) of the Gregorian calendar. ... Pius XIIs signature Pope Pius XII (Latin: ), born Eugenio Maria Giuseppe Giovanni Pacelli (March 2, 1876 – October 9, 1958), reigned as the 260th pope, the human head of the Roman Catholic Church and sovereign of Vatican City, from March 2, 1939 until his death. ... St Peter redirects here. ... Anacletus, or Anencletus, was the third pope (after St Peter and St Linus). ...

A conjectural view of the Old Saint Peter's Basilica by H. W. Brewer, 1891

Image File history File links Download high-resolution version (831x551, 501 KB) (Vaticano) como se encontrava ainda em 1450 – Basílica da época de Constantino. ... Image File history File links Download high-resolution version (831x551, 501 KB) (Vaticano) como se encontrava ainda em 1450 – Basílica da época de Constantino. ... Drawing of Old Saint Peters Basilica at about 1450. ...

Old St. Peter's

Main article: Old Saint Peter's Basilica

Old St. Peter's Basilica was the fourth century church begun by the Emperor Constantine between 326 and 333 AD. It was of typical basilical Latin Cross form with an apsidal end at the chancel, a wide nave and two aisles on either side. It was over 103.6 metres (350 ft) long and the entrance was preceded by a large colonnaded atrium. This church had been built over the small shrine believed to mark the burial place of St. Peter. It contained a very large number of burials and memorials, including those of most of the popes from St. Peter to the 15th century. Since the construction of the current basilica, the name Old St. Peter's Basilica has been used for its predecesor to distinguish the two buildings.^[11] Drawing of Old Saint Peters Basilica at about 1450. ... Constantine. ... The traditional form of the Christian cross, known as the Latin cross The Christian cross is a familiar religious symbol of most Christianity. ... In Anatomy, atrium refers to a structure of the heart. ...

The plan to rebuild

By the end of the 15th century, having been neglected during the period of the Avignon Papacy, the old basilica was in bad repair. It appears that the first pope to consider rebuilding, or at least making radical changes was Pope Nicholas V(1447 – 55). He commissioned work on the old building from Leone Battista Alberti and Bernardo Rossellino and also got Rossellino to design a plan for an entirely new basilica, or an extreme modification of the old. His reign was frustrated by political problems and when he died, little had been achieved. ^[12] He had, however, had 2,522 cartloads of stone transported from the Roman Colosseum.^[13] The Papal palace in Avignon In the history of the Roman Catholic Church, the Avignon Papacy was the period from 1309 to 1377 during which seven popes, all French, resided in Avignon: Pope Clement V: 1305–1314 Pope John XXII: 1316–1334 Pope Benedict XII: 1334–1342 Pope Clement VI... Nicholas V, né Tomaso Parentucelli (November 15, 1397 – March 24, 1455) was Pope from March 6, 1447, to his death. ... Late statue of Leon Battista Alberti. ... Bernardo Gamberelli, better known as Bernardo Rossellino, (c. ... The Colosseum by night: exterior view of the best-preserved section. ...

In 1505, Pope Julius II, failing to heed warnings that the death of Nicholas V was an omen to those who might interfere with St Peter's, in order to glorify Rome and also undoubtedly for his own self agrandizement,^[5] made a decision to demolish the ancient building and replace with something grander. A competition was held, and a number of the designs have survived at the Uffizi Gallery. A succession of popes and architects followed in the next 120 years, their combined efforts resulting in the present building. The scheme begun by Julius II continued through the reigns of Leo X (1513 1521), Hadrian VI (1522 – 1523). Clement VII (1523 – 1534), Paul III (1534 – 1549), Julius III (1550 – 1555), Marcellus II (1555), Paul IV (1555 – 1559), Pius IV (1559 – 1565), Pius V (saint) (1565 – 1572), Gregory XIII (1572 – 1585), Sixtus V (1585 – 1590), Urban VII (1590), Gregory XIV (1590 – 1591), Innocent IX (1591), Clement VIII(1592 – 1605), Leo XI (1605), Paul V (1605 – 1621), Gregory XV (1621 – 1623), Urban VIII (1623 – 1644) and Innocent X (1644 – 1655) Pope Julius II (December 5, 1443 – February 21, 1513), born Giuliano della Rovere, was Pope from 1503 to 1513. ... Pope Leo X, born Giovanni di Lorenzo de Medici (11 December 1475 – 1 December 1521) was Pope from 1513 to his death. ... The house where Adrian VI was born Adrian VI (also known as Hadrian VI or Adriano VI), born Adrian dEdel (March 2, 1459 - September 14, 1523), pope from 1522 to 1523, was born in Utrecht, the Netherlands, and studied under the Brethren of the Common Life either at Zwolle... For the antipope (1378–1394) see antipope Clement VII. Pope Clement VII (May 26, 1478 – September 25, 1534), born Giulio di Giuliano de Medici, was a cardinal from 1513 to 1523 and was Pope from 1523 to 1534. ... Pope Paul III with his cardinal-nephew Alessandro Cardinal Farnese (left) and his other grandson (right), Ottavio Farnese, Duke of Parma Pope Paul III (February 29, 1468 – November 10, 1549), born Alessandro Farnese, was Pope of the Roman Catholic Church from 1534 to his death 1549. ... Pope Julius III (September 10, 1487 – March 23, 1555), born Giovanni Maria Ciocchi del Monte, was Pope from February 22, 1550 to 1555. ... Marcellus II, né Marcello Cervini degli Spannochi (May 6, 1501 – May 1, 1555), cardinal of Santa Croce, a native of the area of Ancona, Italy, was elected pope to succeed Julius III on April 9, 1555. ... Pope Paul IV (June 28, 1476 – August 18, 1559), né Giovanni Pietro Carafa, was Pope from May 23, 1555 until his death. ... Pius IV, né Giovanni Angelo Medici (March 31, 1499 – December 9, 1565), pope from 1559 to 1565, was born of humble parentage in Milan, unrelated with the Medicis of Florence. ... Pope St. ... Pope Gregory XIII (January 7, 1502 – April 10, 1585), born Ugo Boncompagni, was Pope from 1572 to 1585. ... Pope Sixtus V (December 13, 1521 – August 27, 1590), born Felice Peretti, was Pope from 1585 to 1590. ... Pope Urban VII (August 4, 1521 – September 27, 1590), born Giovanni Battista Castagna, was Pope for thirteen days in September 1590. ... Pope Gregory XIV (February 11, 1535 â€“ October 16, 1591), born Niccolò Sfondrati, was Pope from December 5, 1590 â€“ October 16, 1591. ... Pope Innocent IX (July 20, 1519 – December 30, 1591), born Giovanni Antonio Facchinetti, who was born to a modest working family in the mountainous comune of Cravegna, in the diocese of Novara, northern Italy, was a Canon Lawyer, diplomat, and chief administrator during the reign of Pope Gregory XIV (1590... Pope Clement VIII (Fano, Italy, February 24, 1536 – March 3, 1605 in Rome), born Ippolito Aldobrandini, was Pope from January 30, 1592 to March 3, 1605. ... Leo XI, né Alessandro Ottaviano de Medici (June 2, 1535, Florence – April 27, 1605, Rome), was Pope from April 1, 1605 to April 27 of the same year. ... Paul V, né Camillo Borghese (Rome, September 17, 1552 – January 28, 1621) was Pope from May 16, 1605 until his death. ... Pope Gregory XV with his Cardinal Nephew of unprecedented income and authority, Ludovico Ludovisi, known as il cardinale padrone. ... Pope Urban VIII (April 1568 – July 29, 1644), born Maffeo Barberini, was Pope from 1623 to 1644. ... Pope Innocent X (May 6, 1574 – January 7, 1655), born Giovanni Battista Pamphilj (or Pamphili), was Pope from 1644 to 1655[1]. Born in Rome of a family from Gubbio in Umbria who had come to Rome during the pontificate of Pope Innocent IX, he graduated from the Collegio Romano...

Architecture

Successive plans

Bramante's plan

Raphael's plan

Michelangelo's plan, extended with Maderna's nave and facade

Pope Julius' scheme for the grandest building in Christendom^[5] was the subject of a competition for which a number of entries remain intact in the Uffizi Gallery, Florence. It was the design of Bramante that was selected, and for which the foundation stone was laid in 1506. This plan was in the form of an enormous Greek Cross with a dome inspired by that of the huge circular Roman temple, the Pantheon.^[5] The main difference between Bramante's design and that of the Pantheon is that where the dome of the Pantheon is supported by a continuous wall, that of the new basilica was to be supported only on four large piers. This feature was maintained in the ultimate design. Bramante's dome was to be surmounted by a lantern with its own small dome but otherwise very similar in form to the Early Renaissance lantern of Florence Cathedral designed for Brunelleschi's dome by Michelozzo.^[14] Image File history File links Size of this preview: 341 × 600 pixelsFull resolution (497 × 874 pixel, file size: 83 KB, MIME type: image/jpeg) Proyecto de Rafael. ... Image File history File links Size of this preview: 341 × 600 pixelsFull resolution (497 × 874 pixel, file size: 83 KB, MIME type: image/jpeg) Proyecto de Rafael. ... Donato Bramante Donato Bramante (1444 - March 11, 1514), Italian architect, who introduced the Early Renaissance style to Milan and the High Renaissance style to Rome, where his most famous design was St. ... This is a disambiguation page — a navigational aid which lists other pages that might otherwise share the same title. ... Look up Pantheon in Wiktionary, the free dictionary. ... View of the façade with Giottos Bell Tower. ... Palazzo Medici in Florence. ...

Bramante had envisioned that the central dome be surrounded by five lower domes at the diagonal axes. The equal chancel, nave and transept arms were each to be of two bays ending in an apse. At each corner of the building was to stand a tower, so that the overall plan was square, with the apses projecting at the cardinal points. Each apse had two large radial buttresses, which squared off its semi-circular shape.^[15]

When Pope Julius died in 1513, Bramante was replaced with Giuliano da Sangallo, Fra Giocondo and Raphael. Sangallo and Fr Giocondo both died in 1515. The main change in Raphael's plan is the nave of five bays, with a row of complex apsidal chapels off the aisles on either side. Raphael's plan for the chancel and transepts made the squareness of the exterior walls more definite by reducing the size of the towers, and the semi-circular apses more clearly defined by encircling each with an ambulatory.^[16] Portrait by Piero di Cosimo, c. ... This article is about the Renaissance artist. ...

In 1520 Raphael also died, in his early 30s, and his successor Peruzzi maintained changes that Raphael had proposed to the internal arrangement of the three main apses, but otherwise reverted to the Greek Cross plan and other features of Bramante.^[17] This plan did not go ahead because of various difficulties of both church and state. In 1527 Rome was sacked and plundered by Emperor Charles V. Peruzzi died in 1536 without his plan being realised.^[5] Charles (February 24, 1500 – September 21, 1558) was Holy Roman Emperor (as Charles V) from 1519-1558; he was also King of Spain from 1516-1556, officially as Charles I of Spain, although often referred to as Charles V (Carlos Quinto or Carlos V) in Spain and Latin America. ...

At this point Antonio da Sangallo (known as "Sangallo the Younger") submitted a plan which combines features of Peruzzi, Raphael and Bramante in its design and extends the building into a short nave with a wide facade and portico of dynamic projection. His proposal for the dome was much more eleborate of both structure and decoration than that of Bramante and included ribs on the exterior. Like Bramante, Sangallo proposed that the dome be surmounted by a lantern which he redesigned to a larger and much more elaborate form.^[18] Sangallo's main practical contribution was to strengthen Bramante's piers which had begun to crack.^[19] There were two Florentine architects active during the Italian Renaissance named Antonio da Sangallo. ...

On January 1st, 1547 in the reign of Pope Paul III, Michelangelo, then in his 70s, succeeded Sangallo the Younger as "Capomaestro", the superintendent of the building program at St Peter's.^[20] It is he that is to be regarded as the principal designer of a large part of the building as it stands today, and as bringing the construction to a point where it could be carried through. He did not take on the job with pleasure; it was forced upon him by Pope Paul, frustrated at the death of his chosen candidate, Giulio Romano and the refusal of Sansovino to leave Venice. Michelangelo wrote "I undertake this only for the love of God and in honour of the Apostle." He insisted that he should be given a free hand to achieve the ultimate aim by whatever means he saw fit.^[19] Fire in the Borgo, Vatican fresco Giulio Romano (ca 1499? – November 1, 1546) was an Italian painter, architect, and decorator. ... Sansovino may be Andrea Sansovino, artist Francesco Sansovino, scholar Jacopo Sansovino, sculptor and architect See also: A.C. Sansovino football club. ...

Michelangelo's contribution

Michelangelo took over a building site at which four piers, enormous beyond any constructed since the days of Ancient Rome, were rising behind the remaining nave of the old basilica. He also inherited the numerous schemes designed and redesigned by some of the greatest architectural and engineering brains of the 16th century. There were certain common elements in these schemes. They all called for a dome to equal that engineered by Brunelleschi a century earlier and which has since dominated the skyline of Renaissance Florence, and they all called for a strongly symmetrical plan of either Greek Cross form, like the iconic St. Mark's Basilica in Venice, or of a Latin Cross with the transepts of identical form to the chancel as at Florence Cathedral. Filippo Brunelleschi, 1377 - 1446, was the first great Florentine architect of the Italian Renaissance. ... San Marco di Venezia, as seen from the Piazza San Marco St Marks Basilica (Italian: Basilica di San Marco in Venezia) is the most famous of the churches of Venice and one of the best known examples of Byzantine architecture. ... View of the façade with Giottos Bell Tower. ...

Even though the work had progressed only a little in 40 years, Michelangelo did not simply dismiss the ideas of the previous architects. He drew on them in developing a grand vision. Above all, Michelangelo recognized the essential quality of Bramante's original design. He reverted to the Greek Cross and, as Helen Gardner expresses it: "Without destroying the centralising features of Bramante's plan, Michelangelo, with a few strokes of the pen converted its snowflake complexity into massive, cohesive unity."^[21]

As it stands today, St. Peter's has been extended with a nave by Carlo Maderno. It is the chancel end (the ecclesiastical "Eastern end") with its huge centrally placed dome that is the work of Michelangelo. Because of its location within the Vatican State and because the projection of the nave screens the dome from sight when the building is approached from the square in front of it, the work of Michelangelo is best appreciated from a distance. What becomes apparent is that the architect has greatly reduced the clearly defined geometric forms of Bramante's plan of a square with square projections, and also of Raphael's plan of a square with semi-circular projections.^[22] Michelangelo has blurred the definition of the geometry by making the external masonry of massive proportions and filling in every corner with a small vestry or stairwell. The effect created is of a continuous wall-surface that is folded or fractured at different angles, but lacks the right-angles which usually define change of direction at the corners of a building. This exterior is surrounded by a giant order of Corinthian pilasters all set at slightly different angles to each other, in keeping with the everchanging angles of the wall's surface. Above them the huge cornice ripples in a continous band, giving the appearance of keeping the whole building in a state of compression.^[23] Façade of St. ... Motto: None Anthem: Inno e Marcia Pontificale Capital Vatican City1 41°54′ N 12°27′ E Largest city Vatican City1 Official languages Latin2 Government Head of State Secretary of State Governor Elective monarchy Pope Benedict XVI Angelo Cardinal Sodano Edmund Cardinal Szoka Independence -Treaty signed Lateran Treaties 11 February 1929...

Dome- successive designs and final solution

The dome of St. Peter's rises to a total height of 136.57 m (448.06 ft) from the floor of the basilica to the top of the external cross. It is the tallest dome in the world.^[24] Its internal diameter is 41.47 metres (136.06 ft), being just slightly smaller than the two other huge domes that preceded it, those of the Pantheon of Ancient Rome and the Florence Cathedral of the Early Renaissance. It was to these two domes that the architects of St. Peter's looked for solutions as to how to go about building what was conceived, from the outset, as the greatest dome of Christendom. Tempietto di San Pietro in Montorio, Rome, 1502, by Bramante. ...

Bramante and Sangallo

View down from the dome showing Bramante's huge piers and Michelangelo's apsidal termination.

The dome of the Pantheon, 43.3 metres (142 ft), (the widest dome in the world until the building of the Sports Pavilion in Rome in ...date), stands on a circular wall with no entrances or windows except a single door. The whole building is as high as it is wide. Its dome is constructed in a single shell of concrete, made light by the inclusion of a large amount of the volcanic stones tufa and pumice. The inner surface of the dome is deeply coffered which has the effect of creating both vertical and horizontal ribs, while lightening the overall load. At the summit is an ocular opening ...metres (27 ft) across which provides light to the interior.^[5] Photograph available under GFDL license. ... Photograph available under GFDL license. ... This article is about the construction material. ... Perspectival effect created when looking up at a painting. ...

Bramante's plan for the dome of St. Peter's follows that of the Pantheon very closely, and like that of the Pantheon, was designed to be constructed in tufa concrete for which he had rediscovered a formula. With the exception of the lantern that surmounts it, the profile is very similar, except that in this case the supporting wall becomes a drum raised high above ground level on four massive piers. The solid wall, as used at the Pantheon, is lightened at St. Peter's by Bramante piercing it with windows and encircling it with a peristyle. In Roman architecture a peristyle is a columned porch or open colonnade in a building that surrounds a court that may contain an internal garden. ...

In the case of Florence Cathedral, the desired visual appearance of the pointed dome existed for many years before Brunelleschi made its construction feasible.^[25] Its double-shell construction of bricks locked together in herringbone pattern (re-introduced from Byzantine architecture), and the gentle upward slope of its eight stone ribs made it possible for the construction to take place without the massive wooden formwork necessary to construct hemispherical arches. While its appearance, with the exception of the details of the lantern, is entirely Gothic, its engineering was highly innovative, and the product of a mind that had studied the huge vaults and remaining dome of Ancient Rome.^[14] Filippo Brunelleschi, 1377 - 1446, was the first great Florentine architect of the Italian Renaissance. ...

Sangallo's dome looks to both these predecessors. He realised the value of both the coffering at the Pantheon and the outer stone ribs at Florence Cathedral. He simplified, strengthened and extended the peristyle of Bramante into a series of arched and ordered openings around the base, with a second such arcade set back in a tier above the first. In his hands, the rather delicate form of the lantern, based closely on that in Florence, became a massive structure, surrounded by a projecting base, a peristyle and surmounted by a spire of conic form.^[26] The whole design achieves the vertical massing and complexity of a three-tiered wedding cake, complete with icing-sugar lace.

Michelangelo and Giacomo della Porta

St. Peter's Basilica from Castel Sant'Angelo showing the dome rising behind Maderna's facade

Michelangelo redesigned the dome, taking into account all that had gone before. His dome, like that of Florence, is constructed of two shells of brick, the outer one having 16 stone ribs, twice the number at Florence but far fewer than in Sangallo's design. As with the designs of Bramante and Sangallo, the dome is raised from the piers on a drum. The encircling peristyle of Bramante and the arcade of Sangallo are reduced to 16 pairs of Corinthian columns, each of ...metres (50 ft) high which stand proud of the building, connected by an arch. Visually they appear to buttress each of the ribs, but structurally they are probably quite redundant. The reason for this is that the dome is ovoid in shape, rising steeply as does the dome of Florence Cathedral, and therefore exerting less outward thrust than does a hemispherical dome, such as that of the Pantheon, which, although it it not butttressed, is countered by the downward thrust of heavy masonry which extends above the circling wall.^[5][19] Image File history File links Download high resolution version (1600x1200, 578 KB) Please see the file description page for further information. ... Image File history File links Download high resolution version (1600x1200, 578 KB) Please see the file description page for further information. ... For the town with the same name, see Castel SantAngelo (RI) Castel SantAngelo from the bridge. ...

The ovoid profile of the dome has been the subject of much speculation and scholarship over the past century. Michelangelo died in 1564, leaving the drum of the dome complete, and Bramante's piers much bulkier than originally designed, each 18 metres (59 ft) across. On his death the work continued under his assistant Vignola with Giorgio Vasari appointed by Pope Pius V as a watchdog to make sure that Michelangelo's plans were carried out exactly. Despite Vignola's knowledge of Michelangelo's intentions, little happened in this period. In 1585 the energetic Pope Sixtus appointed Giacomo della Porta who was to be assisted by Domenico Fontana. The five year reign of Sixtus was to see the building advance at a great rate.^[19] The Rocca of Vignola. ... Giorgio Vasari (30 July 1511 – 27 June 1574) was an Italian painter and architect, who is today famous for his biographies of Italian artists, considered the ideological foundation of art-historical writing. ... Giacomo della Porta (c. ... Domenico Fontana (1543 – 1607) was an Italian architect of the late Renaissance. ...

The engraving by Stefan du Pérac was published in 1569, five years before the death of Michelangelo.

Michelangelo left a few drawings, including an early drawing of the dome, and some drawings of details. There were also detailed engravings published in 1569 by Stefan du Pérac who claimed that they were the master's final solution. Michelangelo, like Sangallo before him, also left a large wooden model. Giacomo della Porta subsequently altered this model in several ways, in keeping with changes that he made to the design. Most of these changes were of a cosmetic nature, such as the adding of lion's masks over the swags on the drum in honour of Pope Sixtus and adding a circlet of finials around the spire at the top of the lantern, as proposed by Sangallo. The major change that was made to the model, either by della Porta, or Michelangelo himself before his death, was to raise the outer dome higher above the inner one.^[19] Image File history File links No higher resolution available. ... Image File history File links No higher resolution available. ...

A drawing by Michelangelo indicates that his early intentions were towards an ovoid dome, rather than a hemispherical one.^[21] The engraving shows a hemispherical dome, but this was perhaps an inaccuracy of the engraver. The profile of the wooden model is more ovoid than that of the engraving, but less so than the finished product. It has been suggested that Michelangelo on his death bed reverted to the more pointed shape. However Lees-Milne cites Giacomo della Porta as taking full responsibility for the change and as indicating to Pope Sixtus that Michelangelo was lacking in the scientific understanding of which he himself was capable.^[19]

Helen Gardner suggests that Michelangelo made the change to the hemispherical dome of lower profile in order to establish a balance between the dynamic vertical elements of the encircling giant order of pilasters and a more static and reposeful dome. Gardner also comments "The sculpturing of architecture [by Michelangelo]... here extends itself up from the ground through the attic stories and moves on into the drum and dome, the whole building being pulled together into a unity from base to summit."^[21]

It is this sense of the building being sculptured, unified and "pulled together" by the encircling band of the deep cornice that led Mignacca to conclude that the ovoid profile, seen now in the end product, was an essential part Michelangelo's first (and last) concept. The sculptor/architect has, figuratively speaking, taken all the previous designs in hand and compressed their contours as if the building were a lump of clay. The dome must appear to thrust upwards because of the apparent pressure created by flattening the building's angles and restraining its projections.^[23] If this explanation is the correct one, then the profile of the dome is not merely a structural solution, as perceived by Giacomo della Porta; it is part of the integrated design solution that is about visual tension and compression. In once sense, Michelangelo's dome may appear to look backward to the Gothic profile of Florence Cathedral and ignore the Classicism of the Renaissance, but on the other hand, perhaps more than any other building of the 1500s, it prefigures the architecture of the Baroque. Classicism door in Olomouc, The Czech Republic Teatr Wielki in Warsaw Church La Madeleine in Paris Classicism, in the arts, refers generally to a high regard for classical antiquity, as setting standards for taste which the classicist seeks to emulate. ... For other uses, see Baroque (disambiguation). ...

Completion

The dome was brought to completion by Giacomo della Porta and Fontana.

Giacomo della Porta and Fontana brought the dome to a completion in 1590, the last year of the reign of Sixtus V. His successor, Gregory XIV, saw Fontana complete the lantern and had an inscription to the honour of Sixtus V placed around its inner opening. The next pope, Clement III, had the cross raised into place, an event which took all day, and was accompanied by the ringing of the bells of all the city's churches. In the arms of the cross are set two lead caskets, one containing a fragment of the True Cross and a relic of St. Andrew and the other containing medallions of the Holy Lamb.^[19] According to Christian tradition, the True Cross is the cross upon which Jesus was crucified. ... Saint Andrew (Greek: Andreas, manly), the Christian Apostle, brother of Saint Peter, was born at Bethsaida on the Lake of Galilee. ...

In the mid-18th century, cracks appeared in the dome, so four iron chains were installed between the two shells to bind it, like the rings that keep a barrel from bursting. As many as ten chains have been installed at various times, the earliest possibly planned by Michelangelo himself as a precaution, as Brunelleschi did at Florence Cathedral.

Around the inside of the dome is written, in letters 2 metres (6.5 ft) high:

Beneath the lantern is the inscription: The Vulgate Bible is an early 5th century version in Latin, partly revised and partly translated by Jerome on the orders of Pope Damasus I in 382. ...

Discovery of Michelangelo draft

On December 7, 2007, a fragment of a red chalk drawing of a section of the dome of Saint Peter's, almost certainly by the hand of Michelangelo was discovered in the Vatican archives.^[27] The drawing shows a small precisely drafted section of the plan of the entabulature above two of the radial columns of the cupola drum. Michelangelo is known to have destroyed thousands of his drawings before his death.^[28] The rare survival of this example is probably due to its fragmentary state and the fact that detailed mathematical calculations had been made over the top of the drawing. ^[27] is the 341st day of the year (342nd in leap years) in the Gregorian calendar. ... Year 2007 (MMVII) was a common year starting on Monday of the Gregorian calendar in the 21st century. ... For other uses, see Michelangelo (disambiguation). ...

The change of plan

On the first day of Lent, February 18, 1606, under Pope Paul V, the demolition of the remaining parts of the Constantinian basilica began. The marble cross set at the top of the pediment by Pope Sylvester and the Emperor Constantine was lowered to the ground. The timbers were salvaged for the roof of the Borghese Palace and two rare black marble columns, the largest of their kind, were carefully stored and later used in the narthex. The tombs of various popes were opened, treasures removed and plans made for reinterment in the new basilica.^[19] For other uses, see Lent (disambiguation). ... is the 49th day of the year in the Gregorian calendar. ... Events January 27 - The trial of Guy Fawkes and other conspirators begins ending in their execution on January 31 May 17 - Supporters of Vasili Shusky invade the Kremlin and kill Premier Dmitri December 26 - Shakespeares King Lear performed in court Storm buries a village of St Ismails near...

The Pope had appointed Carlo Maderno in 1602. He was a nephew of Domenico Fontana and had demonstrated himself as a dynamic architect. Maderno's idea was to ring Michelangelo's building with chapels, but the Pope was hesitant about deviating from the master's plan, even though he had been dead for forty years. The Fabbrica or building committee, a group drawn from various nationalities and generallly despised by the Curia who viewed the basilica as belonging to Rome rather than Christendom, were in a quandary as to how the building should proceed. One of the matters that influenced their thinking was the Counter-Reformation which increasingly associated a Greek Cross plan with paganism and saw the Latin Cross as truly symbolic of Christianity.^[19] Façade of St. ... A Curia in early Roman times was a subdivision of the people, i. ...

Another influence on the thinking of both the Fabbrica and the Curia was a certain guilt at the demolition of the ancient building. The ground on which it and its various associated chapels, vestries and sacristies had stood for so long was hallowed. The only solution was to build a nave that encompassed the whole space. In 1607 a committee of ten architects was called together, and a decision was made to extend Michelangelo's building into a nave. Maderno's plans for both the nave and the facade were accepted. The building began on May 7 1607 and proceeded at a great rate, with an army of 700 labourers being employed. The following year, the facade was begun, in December 1614 the final touches were added to the stucco decoration of the vault and early in 1615 the partition wall between the two sections was pulled down. All the rubble was carted away, and the nave was ready for use by Palm Sunday.^[19] For the book by Kurt Vonnegut Jr. ...

Maderno's facade

The facade

The façade designed by Maderno, is 114.69 metres (376.28 ft) wide and 45.55 metres (149.44 ft) high and is built of travertine stone, with a giant order of Corinthian columns and a central pediment rising in front of a tall attic surmounted by statues of Christ, John the Baptist, and eleven of the apostles. The inscription on the facade reads: Image File history File links Size of this preview: 800 × 534 pixelsFull resolution (1000 × 667 pixel, file size: 416 KB, MIME type: image/jpeg) File history Legend: (cur) = this is the current file, (del) = delete this old version, (rev) = revert to this old version. ... Image File history File links Size of this preview: 800 × 534 pixelsFull resolution (1000 × 667 pixel, file size: 416 KB, MIME type: image/jpeg) File history Legend: (cur) = this is the current file, (del) = delete this old version, (rev) = revert to this old version. ... Travertine Travertine terraces at Mammoth Hot Springs, Yellowstone National Park A carving in travertine Travertine is a sedimentary rock. ... For the hip-hop producer with the same name, see John the Baptist (producer). ...

The façade is often cited as the least satisfactory part of the design of St. Peter's. The reasons for this, according to James Lees-Milne, are that it was not given enough consideration by the Pope and committee because of the desire to get the building completed quickly, coupled with the fact that Maderno was hesitant to deviate from the pattern set by Michelangelo at the other end of the building. Lees-Milne describes the problems of the facade as being too broad for its height, too cramped in its details and too heavy in the attic storey. The breadth is caused by modifying the plan to have towers on either side. These towers were never executed above the line of the facade because it was discovered that the ground was not sufficiently stable to bear the weight. One effect of the facade and lengthened nave is to screen the view of the dome, so that the building, from the front, has no vertical feature, except from a distance.^[19] Paul V, né Camillo Borghese (Rome, September 17, 1552 – January 28, 1621) was Pope from May 16, 1605 until his death. ...

The narthex

Image File history File linksMetadata Download high resolution version (1712x2288, 824 KB) San Pietro in Vaticano - doors Photographer: Vincent de Groot. ... Image File history File linksMetadata Download high resolution version (1712x2288, 824 KB) San Pietro in Vaticano - doors Photographer: Vincent de Groot. ...

Narthex and portals

Behind the facade of St. Peter's stretches a long portico or "narthex" such as was occasionally found in Italian Romanesque churches. This is the part of Maderno's design with which he was most satisfied. Its long barrel vault is decorated with ornate stucco and gilt, and succesfully illuminated by small windows between pendentives, while the ornate marble floor is beamed with light reflected in from the piazza. At each end of the narthex is a rather theatrical space framed by ionic columns in each of which is set and equestrian figure, Charlemagne by Cornacchini (18th century) to the south and Emperor Constantine by Bernini (1670) to the north. For the American band, see Charlemagne (band). ... Agostino Cornacchini (August 27, 1686-1754) was an Italian sculptor and painter of the Rococo period, active mainly in Rome. ... Flavius Valerius Aurelius Constantinus[2] (27 February c. ...

Five portals, of which three are framed by huge salvaged antique columns, lead into the basilica. The central portals has a bronze door created by Antonio Averulino in 1455 for the old basilica and somewhat enlarged to fit the new space. Antonio di Pietro Averlino (c. ...

Maderno's nave

Maderno's nave, looking towards the chancel

To the single bay of Michelangelo's Greek Cross, Maderno added a further three bays. He made the dimensions slightly different to Michelangelo's bay, which makes it quite clear to the observer where the two architectural works meet. Maderno also tilted the axis of the nave slightly. This was not by accident, as suggested by his critics. An ancient Egyptian obelisk had been erected in the square outside, but had not been quite aligned with Michelangelo's building, so Maderno compensated, in order that it should, at least, align with the Basilica's facade. ^[19]

The nave has huge paired pilasters, in keeping with Michelangelo's work. The size of the interior is so "stupendously large" that it is hard to get a sense of scale within the building.^[19][29] The four cherubs who flutter against the first piers of the nave, carrying between them two Holy Water basins, appear of quite normal cherubic size, until approached. Then it becomes apparent that each one is over 2 metres high and that real children cannot reach the basins unless they scramble up the marble draperies. The aisles each have two smaller chapels and a larger rectangular chapel, the Chapel of the Sacrament and the Choir Chapel. These are lavishly decorated with marble, stucco, gilt, sculpture and mosaic. Remarkably, there are very few paintings, although some, such as Raphael's "Sistine Madonna" have been reproduced in mosaic. The most precious painting is a small icon of the Madonna, removed from the old basilica.^[19]

Maderno's last work at St. Peter's was to design a crypt-like space or "Confessio" under the dome, where the Cardinals and other privileged persons could descend in order to be nearer the burial place of the apostle. Its marble steps are remnants of the old basilica and around its balustrade are 95 bronze lamps.

Furnishing of St. Peters

Pope Urban VIII and Bernini

As a young boy Gianlorenzo Bernini (1598-1680) visited St. Peter's with the painter Annibale Carracci and stated his wish to build "a mighty throne for the apostle". His wish came true. As a young man, in 1626, he received the patronage of Pope Urban VIII and worked on the embellishment of the Basilica for 50 years. Appointed as Maderno's successor in 1629, he was to become regarded as the greatest architect and sculptor of the Baroque period. Bernini's works at St. Peter's include the baldacchino, the Chapel of the Sacrament, the plan four the niches and loggias in the piers of the dome and the chair of St. Peter.