St. Peter's Square in Rome - history of creation. Papal and Vatican gardens. The genius of illusions of the Baroque era.

Address: Vatican, St. Peter's Square
Date of construction: 1626
Height: 132.5 m
Shrines: Saint Peter's tomb
Coordinates: 41°54"07.7"N 12°27"12.0"E

North of the center of Rome, in the territory dwarf state of the Vatican, in Piazza San Pietro rises the Cathedral (Basilica) of St. Peter - the largest Catholic church in the world.

Bird's eye view of the cathedral

Its huge 136-meter dome seems to float above the Vatican. The largest churches in Europe could fit inside St. Peter's Basilica - this is evidenced by special marks on the floor showing their size. According to legend, at the base of the basilica there is the tomb of St. Peter - one of the 12 disciples of I. Christ. During the Christian persecution of Nero, in 64, the Apostle Peter was crucified on an inverted cross upside down at his own request, since he considered himself unworthy to die the same death as Christ. In 324, the Roman Emperor Constantine I the Great erected a Christian temple over the burial site of the apostle. Legend says that in the first cathedral of St. Peter on Christmas night in 800, Pope Leo III crowned Charles I the Great.

View of the cathedral from the south

During the Captivity of Avignon, when the residence of the popes was not in Rome, but in Avignon, St. Peter's Basilica fell into disrepair and was demolished at the beginning of the 16th century. On April 18, 1506, in its place, Pope Julius II laid the first stone in the foundation of the cathedral. In 1626, Pope Urban VIII consecrated the new temple.

St. Peter's Cathedral - the creation of the greatest masters of the Renaissance

Brilliant masters of the Renaissance took part in the construction of the cathedral. In 1506, the project of the architect Donato Bramante was approved, according to which the cathedral should be built in the form of a square with a Greek (equilateral) cross inscribed in it. After Bramante's death, construction was headed by Rafael Santi, who redesigned the church in the form of a Latin cross, that is, an elongated cross.

View of the cathedral from Castel Sant'Angelo

In 1546, 70-year-old Michelangelo took charge of the construction work. He returned to Bramante's idea, making the supporting structures more massive, and erected the drum of the central dome. After the death of Michelangelo, the architects Giacomo della Porta and Giacomo da Vignola completed the main dome, giving it a more elongated outline, and erected two small domes. In 1605, the architect Carlo Maderno lengthened the longitudinal axis of the cathedral, thus returning to the shape of the Latin cross, and erected a façade in the classical style. 50 years later, Giovanni Lorenzo Bernini built St. Peter's Square in front of the Cathedral.

Relics of the Saint's Cathedral

Peter The facade of St. Peter's Cathedral is crowned with huge statues of Christ, John the Baptist and 11 apostles (except St. Peter). There are five entrances to the cathedral. The last entrance on the right side, the so-called "Holy Gate", is almost always locked - it opens only in the jubilee year, celebrated every quarter of a century.

View of the cathedral from the Tiber River

The interiors of the cathedral amaze with their grandiose size and richness of decoration. There are many altars, tombstones, stucco moldings, mosaics, and sculptures. Among the statues, Michelangelo's marble Pieta stands out. It depicts a grieving Madonna holding a lifeless Christ in her arms.

In 1972, Australian geologist Laszlo Toth tried to break the statue. Armed with a hammer, he attacked the Pietà, shouting: “I am Jesus Christ!” Since the medical commission recognized L. Toth as mentally ill, no charges were brought against him. After restoration, the statue was protected with bulletproof glass. In the center of the cathedral stands an altar surrounded by 44 unquenchable lamps.

General view of the cathedral

They are lit over the coffin in which the relics of St. Peter rest. Above the altar is a bronze ciborium (canopy) by Bernini, supported by four twisted columns. The top of the altar is crowned with a bronze ball with a cross, and under the ciborium hangs a gilded dove - a symbol of the Holy Spirit. Next to the tomb of the Apostle Peter, in the underground crypt, other holy popes also found their final refuge. Not far from the altar there is a bronze figure of St. Peter, who sits on the papal throne and holds in his hand the keys to the Kingdom of Heaven. The statue is credited with miraculous power: if you make a wish and rub the apostle’s foot, asking him for help, then all your aspirations and hopes will be fulfilled.

Visit to St. Peter's Basilica

There are two ways to get to the top of the dome of St. Peter's Basilica - by elevator and by a staircase consisting of 500 steps. Co observation deck there are amazing views of Rome and the Vatican. To the left of the cathedral is the central entrance to the Vatican, guarded by guards.

Cathedral facade

Not a single solemn service in the Cathedral of St. is complete without the participation of the guards. Peter, not a single official reception with the Pope. The guards are dressed in striped yellow and purple medieval costumes. According to legend, this form was invented by Michelangelo himself. Planning a visit to the Cathedral of St. Petra must dress appropriately - shorts, short skirts, T-shirts and tops that expose the shoulders are not acceptable.

Saint Paul's Cathedral(Italian: Basilica di San Pietro in Vaticano) - Catholic cathedral on the territory of the sovereign state of the Vatican. One of the four patriarchal basilicas of Rome and the ceremonial center of the Roman Catholic Church. Until 1990, St. Peter's Basilica 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 dimensions of St. Peter's Cathedral are simply amazing. It occupies an area of ​​22067 sq.m. The height of the cathedral is 138 m, length without portico - 186.36 m, and with 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 time of Nero, Christians were martyred. In 67, the Apostle Peter was brought here after the trial. Peter asked that his execution not be compared to Christ’s. Then he was crucified head down. St. Clement, the then bishop of Rome, with the faithful disciples of the apostle, took his body from the cross and buried him in a nearby grotto.

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. At the first council in 800, Pope Leo III crowned Charlemagne 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 outshine both pagan temples, and existed 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 only perceived from a distance, from Via della Concigliazione. Finally, on 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.

The height of the facade, built by the architect Maderno, is 45 m, width - 115 m. The attic of the facade is crowned with huge, 5.65 m high, statues of Christ, John the Baptist and the eleven apostles (except for the Apostle Peter). 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 the 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 pulpit.
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 St. 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, on the instructions of Cardinal Jacopo Stefaneschi, the monumental Navicella mosaic was created, 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 as evidence of this. Giotto knew how to write 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 when the old building was destroyed; 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)

The Doors of Death are so named because funeral processions usually exited through these doors. In preparation for the 1950 anniversary, Pope Pius XII announced a competition in 1947 to create three doors leading from the portico to the cathedral. The most outstanding artist among the winners was Giacomo Manzu. The door was made in 1961-64. 10 scenes on the doors express the Christian meaning of death. At the top right is the crucifixion of the Savior, on the left is the Dormition of the Virgin Mary. Below are reliefs with a bunch of grapes and a sheaf of ears of grain, which simultaneously serve as door handles. When grapes and wheat die, they turn into wine and bread. During the sacrament of the Eucharist, they are transformed into the Body and Blood of Christ, that is, into the bread of life and the wine of salvation. Below on the right are depicted: the death of the first martyr St. Stephen; the death of Pope Gregory VII, defending the Church from the claims of the emperor; death 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)

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

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

Equestrian statue of Emperor Constantine the Great, one of Bernini's masterpieces.

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. Here is depicted one of the episodes of the war between Constantine and Maxentius.

Eusebius, a contemporary of the event, who heard about it personally from Constantine the Great, narrates:

One afternoon, when the sun had already begun to decline to 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: “By this conquer.” 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)

The total length of the basilica is 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 heiress 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 of the sculptor Canova - the 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 British Catholic aristocrat James Francis Edward Stuart, exiled from his homeland, 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, three of them: Peter, James and John, He elevated to high mountain There, too, during prayer, Favor was transformed 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, which gives peace, hope and faith.

The film combines two plots - the transfiguration of Christ and the episode about the meeting of the apostles with a demon-possessed boy who was healed by Jesus Christ, who descended from Mount Tabor. The painting itself is now in Pinakothek Vatican, and in the cathedral there is a mosaic copy of it.

Dome. (38 on the cathedral plan)

The dome, an architectural masterpiece, has a height of 119 m inside and a diameter of 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 the angel who led his hand while writing the Gospel, Mark - with the lion, Luke - with the ox, John - with the 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. Mark,1599, by Cesare Nebbia (1536-1614)

St. Matthew, 1599, Cesare Nebbia

St. John, 1599 by Giovanni De Vecchi (1537-1615)

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)

Author: Andrea Bolgi, student of Bernini, 1635, relic-particles of the Life-Giving Cross. 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 Equal-to-the-Apostles, an honor that only 5 other women were awarded in Christian history(Mary Magdalene, First Martyr Thekla, Martyr Apphia, Princess Olga and 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);

in the Catholic Church - August 18;

in the Lutheran Church - May 21;

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

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. There are 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. Memory is accomplished in Orthodox Church July 12 (Julian calendar), in the Catholic Church 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.

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 with an image of 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.

Altarpiece "Last Communion of St. Jerome" by the artist 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, determined new course Vatican policy, which corresponded to new realities and was designed to establish a dialogue between different countries and confessions, 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. In 2000, Pope John Paul II beatified John XXIII; This is the first step towards the canonization of one of the most popular popes of the 20th century. The Catholic Church honors the memory of Pope John XXIII on October 11. The Italians called him "Good Pope". On April 27, 2014, John XXIII was canonized by Pope Francis.

Tombstone of Gregory XIII. (71 on the cathedral plan)

The bas-relief recalls the reform carried out by the pope - the introduction of a new calendar (Gregorian). October 4, 1582 was followed by October 15. October 4 is the day of remembrance of St. Francis, which in no case should 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 Catholic Church Pope Francis.
On April 27, 2014, John Paul II was canonized by 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. Most Outstanding piece of art from those 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 tombstone 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” is one of the works in which art historians see the watershed 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 very young and a 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 Pieta surpasses almost all other sculptural works of Michelangelo.

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