St. Peter's Basilica in the Vatican: why it is worth visiting the main Catholic church in the world. Vatican - Vatican Square, St. Peter's Basilica, Papal Gardens What to see inside

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

Until 1990, St. Peter's Cathedral in Rome was the largest Christian cathedral in the world; in 1990, it was surpassed by the cathedral in Yamoussoukro, the capital of the African state of Cote d'Ivoire (Ivory Coast).

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

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

In the circus arena during the times Nero Christians were martyred. In 67, after the trial, he was brought here Apostle Peter. Peter asked that his execution not be compared to Christ’s. Then he was crucified head down. St. Clement, the then bishop of Rome, with the faithful disciples of the apostle, took his body from the cross and buried him in a nearby grotto.

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

At the beginning of the 16th century, the basilica, which had already existed for eleven centuries, threatened to collapse, and under Nicholas V they began to expand and rebuild it.

This issue was radically resolved by Julius II, who ordered the construction of a huge new cathedral on the site of the ancient basilica, which was supposed to eclipse both the pagan temples and the existing Christian churches, thereby helping to strengthen the papal state and spread the influence of Catholicism.

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

After Bramante's death, he headed the construction Raphael, returning to the traditional form of the Latin cross (with an elongated fourth side), then Baldassare Peruzzi, stopped at a centric structure, and Antonio da Sangallo, who chose the basil form.

Finally, in 1546, the management of the work was entrusted to Michelangelo. He returned to the idea of ​​a central-domed structure, but his project included the creation of a multi-columned entrance portico on the eastern side (in the most ancient basilicas of Rome, as in ancient temples, the entrance was on the eastern, not the western side). Michelangelo made all the supporting structures more massive and highlighted the main space. He erected the drum of the central dome, but the dome itself was completed after his death (1564) Giacomo della Porta, giving it a more elongated outline.

Of the four small domes envisioned by Michelangelo, the architect Vignola erected only two. To the greatest extent, the architectural forms exactly as they were conceived by Michelangelo have been preserved on the altar, western side.

But the story didn't end there. At the beginning of the 17th century. architect by order of Paul V Carlo Maderno extended the eastern branch of the cross - added a three-nave basilica part to the centric building, thus returning to the shape of the Latin cross, and built a facade.

As a result, the dome turned out to be hidden by the facade, lost its dominant significance and is perceived only from a distance, from Via della Concigliazione. Finally, November 18, 1626, on the 1300th anniversary of the first basilica, Pope Urban VIII consecrated the new cathedral.

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

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

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

On the plan of the cathedral the numbers indicate:

1.Mosaic by Giotto “Navicella”.

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

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

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

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

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

The chronicler Filippo Villani spoke of Giotto's great talent and referred to this work 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)

Gate of Death so named because funeral processions usually exited through these doors.

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

During the sacrament of the Eucharist, they are transformed into the Body and Blood of Christ, that is, into the bread of life and the wine of salvation. Below on the right are depicted: the death of the first martyr St. Stephen; the death of Pope Gregory VII, defending the Church from the claims of the emperor; death in space; death of mother at home in front of crying child. Below on the left are the murder of Abel, the peaceful death of Joseph, the crucifixion of St. Peter and the death of the “good pope” John XXIII.

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

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

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

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

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

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

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

Door of Mysteries. (7 on the cathedral plan)

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

Holy door. (8 on the cathedral plan)

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

Every 25 years, on Christmas Eve (December 25), the concrete is broken before the anniversary year. In accordance with a special ritual, after three kneelings and three blows of the hammer, the Holy Door swings open and the pope, taking the cross in his hands, is the first to enter the cathedral.

At the end of the Jubilee Year, the door is closed again and sealed for the next 25 years.

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

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

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

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

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

Nave. (11 on the cathedral plan)

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

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

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

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

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

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

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

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

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

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

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

Stuart burial vault.(14 on the cathedral plan)

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

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

Of great interest is the creation created in 1498 by the sculptor Antonio Pollaiolo The tombstone of Innocent VIII is one of the few surviving monuments that were still in the old basilica. In his left hand, the pope holds the tip of the Holy spear, with which the centurion Longinus pierced the crucified Christ to ensure his death.

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

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

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

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

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

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

Vasari wrote that the unfinished painting was displayed near the head of Raphael's deathbed, breaking the hearts of everyone who saw it. The painting remained in Rome in the Palazzo Cancelleria, and was then placed in the church of San Pietro in Montorio after 1523. In 1797, Napoleon took it to Paris, the painting was returned back in 1815.

The female figure below symbolizes the Church, giving peace, hope and faith.

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

Dome. (38 on the cathedral plan)

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

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

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

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

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

St. Matthew, 1599, Cesare Nebbia

St. Luke, 1599, Giovanni De Vecchi

In 1624, Pope Urban VIII ordered Lorenzo Bernini to create 4 loggias in the Cathedral under the dome to store relics. Bernini's role in the creation of the sculptural decoration of the cathedral is very great; he worked here intermittently for almost fifty years, from 1620 to 1670. Below the loggias, in the niches of the pillars, there are huge statues corresponding to the relics kept in the loggias. Currently, some of these relics are located in other places.

Statue of the Apostle Andrew the First-Called.(31 on the cathedral plan)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Canopy ((36 on the cathedral plan)

In the under-dome space above the main altar there is a work by Bernini in the cathedral (1633) - a huge, 29 m high canopy (ciborium) on four twisted columns on which stand statues of angels, by Francois du Duquesnoy. Between these angels, one pair of angels holds the symbols of the pope - keys and tiara, the other pair of angels holds the symbols of St. Paul - a book and a sword. The unusual shape of the columns repeats the silhouette of a twisted column from the Temple of Solomon, brought to Rome after the capture of Jerusalem.

Among the laurel branches on the upper parts of the columns are visible the heraldic bees of the Barberini family. The ciborium required a huge amount of bronze. 100,000 pounds (37 or 45 tons, it all depends on which pound was used for measurements) was removed from the dome of the old cathedral, then the same amount was sent from Venice and Livorno. When this was not enough, by order of Pope Urban VIII (Barberini), the structures that supported the roof of the portico and the bronze bas-relief from the pediment were dismantled.

It was then that Pasquino said his catchphrase: “Quod non fecerunt Barbari fecerunt Barberini” (what the barbarians did not destroy, Barberini destroyed). Although the canopy does not look particularly large in the interior of the cathedral, it is equal in height to a 4-story building. Bernini's masterpiece became the personification of the Baroque style.

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

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

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

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

The last masterpiece of 80-year-old Bernini. The Pope is depicted kneeling surrounded by allegories of Mercy (with children, sculptor G. Mazzuoli), Truth (resting his left foot on the globe, sculptors Morelli and Cartari), Prudence (sculptor G. Cartari), and Justice (sculptor L. Balestri). Initially the figures were naked, but by order of Innocent XI, Bernini draped them.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The bas-relief recalls the reform carried out by the pope - the introduction of a new calendar (Gregorian). October 4, 1582 was followed by October 15. October 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, which concerned, in particular, issues of canonization) to 2004, 784 canonizations were made, of which 475 were made during the pontificate of John Paul II. John Paul II beatified 1,338 people.

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

Canonization of John Paul II.

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

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

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

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

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

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

The order for the sculptural group was received on August 26, 1498 from Cardinal Jean Bilheres de Lagraulas, ambassador of the French king; the work was completed around 1500 after the death of the cardinal, who died in 1498. The sculpture was intended for the tomb of the cardinal. The pedestal was made by Francesco Borromini in 1626.

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

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

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

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

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

The Pieta Chapel is decorated with mosaics made by F. Cristofari according to drawings by Ferri and Pietro da Cortona. The latter is called the Bernini of painting because of the quantity and significance of his works for the cathedral. Above the altar is the fresco "Triumph of the Cross" by Lanfranco, the only fresco from the cathedral not translated into mosaic. The Chapel of the Blessed Sacrament contains the only oil painting in the cathedral.

and from the Vatican website -

Ancient Roman Basilica of St. Peter

The area where St. Peter's Cathedral is located has its own history, which dates back to Ancient Rome. In the second half of the 1st century AD, it was erected here. In ancient times, circuses served as entertainment facilities for various competitions and performances. However, Nero also turned his circus into a place for executions, where Christians were tortured with particular cruelty. Among them was the Apostle Peter, who in 67 died on the cross in the arena of the Circus of Nero (he was crucified upside down). Peter’s remains were buried here, in the adjacent “circus” cemetery. Peter's tomb soon became a special place of veneration for Roman Christians, who subsequently decreed that when they were able to build their first temple, its altar would be located precisely at the burial site of St. Peter.

As is known, only under Emperor Constantine (beginning of the 4th century) persecution of the followers of Jesus Christ was stopped, and Christianity received the status of the dominant religion. The emperor contributed in every possible way to the construction of the first Christian temple, which received the name. Construction work has been completed in 326. The attraction immediately became the main center of pilgrimage in Rome. All coronations of elected pontiffs took place within the walls of the basilica, and in 800 Charlemagne was proclaimed Holy Roman Emperor here.

In 846 the basilica was plundered by the Saracens. Knowing that colossal treasures were located in the large temples of Rome, the Saracen warriors plundered those that were outside the walls of Aurelian (including St. Peter's Basilica).

In the middle of the 15th century, the old basilica, which had existed for eleven centuries, was in a dilapidated state, so Pope Nicholas V began reconstruction and expansion work. However, a fundamental decision was made only by Julius II, who, wanting to strengthen papal influence, ordered the construction of a cathedral in its place, larger in size than all existing religious buildings in the world.

Construction of St. Peter's Basilica

The author of the architectural project for the construction of St. Peter's Cathedral cannot be called one person, since over a long period of time several famous masters were involved in the development and construction. First to start work in 1506 architect Donato Bramante, whose project included the construction of a structure in the shape of a Greek cross, and after his death he took up construction Rafael Santi, which returned the appearance of the Latin cross (that is, the temple was distinguished by one elongated side). Construction then continued under the leadership of Baldassare Peruzzi, and after him Antonio da Sangallo also contributed.

Almost 40 years later, a famous painter, sculptor and architect was assigned to lead the construction work. Michelangelo Buonarotti. His idea of ​​a cathedral centered around a central dome became fundamental. Having strengthened the foundation of the structure and made it more monumental, the great architect developed a multi-columned entrance portico and erected the drum of the central dome. Michelangelo's project included four additional small domes, but after his death only two were realized by the architect Vignola, and the central dome was already erected Giacomo della Porta.

The reconstruction and rebuilding of St. Peter's Cathedral did not end there, and at the beginning of the 17th century, by the will of Paul V, the architect Carlo Maderna enlarged the eastern side of the structure by adding a three-nave basilica, and erected a façade on the western side. As a result, the dome was hidden by the monumental facade, lost its dominant significance and is only perceived from a distance (from Via della Conciliazione, which leads to St. Peter's Square). November 18, 1626 Pope Urban VIII consecrated St. Peter's Basilica.

clue: If you want to find an inexpensive hotel in Rome, we recommend checking out this special offers section. Typically discounts are 25-35%, but sometimes reach 40-50%.

Main facade

The monumental facade measures 45 by 115 meters and is topped by a cornice with an attic on which are installed statues of Jesus Christ, John the Baptist and the eleven apostles, with the exception of the Apostle Peter. Statues of the apostles Paul (with a sword in his hand) and Peter (with the key to the Kingdom of Heaven) are located in front of the entrance to the cathedral. The architrave contains the inscription “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” (IN HONOREM PRINCIPIS APOST PAVLVS V BVRGHESIVS ROMANVS PONT MAX AN MDCXII PONT VII). The entrance to the cathedral is served by five portals:

Filaret portal(central portal). Made in bronze in the middle of the 15th century for the ancient Basilica of Constantine. The panels contain images of Christ enthroned, the Madonna enthroned, St. Peter and St. Paul. The lower panels show scenes of the martyrdom of two saints. On the left is the “Beheading of St. Paul,” on the right is the “Crucifixion on the Inverted Cross of St. Peter.” The portal is crowned with a bas-relief by Bernini “Jesus Entrusts Peter with the Keys of the Kingdom of Heaven.”

holy portal(last portal on the right). Made by Vico Consorti in bronze in 1950. The portal is opened only in the Holy Jubilee Year, that is, once every 25 years. From inside the cathedral, the Holy Portal is walled up with stonework. On Christmas Eve, the masonry is dismantled, and after kneeling three times, the current pontiff enters first. At the end of the Jubilee Year, the portal is walled up for the next 25 years.

Portal of Death(first portal on the left). Manufactured in 1964. A procession passes through it during the funeral of the pontiff. The portal is decorated with images of the Holy Sepulcher, symbols of the Eucharist (bread, wine and vine branches), scenes of the murder of Abel, the death of Joseph and the martyrdom of St. Peter.

Portal of Good and Evil. Made by Luciano Minguzzi in the 70s of the 20th century.

Mystery Portal. Made by master Venanzo Crocetti commissioned by Paul VI, who first opened it in September 1965. The portal is decorated with an angel who announces the seven sacraments.

Dome

The dome of the cathedral, 138 meters high, rests on columns and is considered the tallest in the world. The inner surface of the dome is decorated with images of the four evangelists: Mark with a lion, Luke with an ox, John with an eagle and Matthew with the angel who guided his hand while writing the Gospel. The lion, eagle and ox are the so-called “apocalyptic beasts”, which John the Theologian writes about as animals that surrounded the throne of God. Around the inner circumference of the dome there is an inscription two meters high: “You are Peter, and on this stone I will build My Church and give you the keys of the Kingdom of Heaven” (TV ES PETRVS ET SVPER HANC PETRAM AEDIFICABO ECCLESIAM MEAM TIBI DABO CLAVES REGNI CAELORVM). At the bottom of the lantern there is a dedication: “To the glory of St. Peter, Sixtus V in the year 1590, in the fifth year of the pontificate” (S. PETRI GLORIAE SIXTVS PP. V. A. M. D. XC. PONTIF. V).

Before his death, Michelangelo only managed to finish the supports and drum of the dome. Further work was carried out by his student Giacomo da Vignola with the participation of Giorgio Vasari. However, 19 years later, under the new Pope Sixtus V, Giacomo della Porta and Domenico Fontana were appointed responsible for the construction. While completing the construction of the dome, the architects tried not to deviate from the plans of the author of the project, Michelangelo, and already in 1590 all work was completed. During the pontificate of Clement VIII, a cross was installed on the dome of the cathedral, on which were attached two small shrines with the relics of St. Andrew the First-Called, a particle of the Life-Giving Cross and a medallion of the Lamb of God.

- group tour (up to 10 people) for a first acquaintance with the city and main attractions - 3 hours, 31 euros

- immerse yourself in the history of Ancient Rome and visit the main monuments of antiquity: the Colosseum, the Roman Forum and the Palatine Hill - 3 hours, 38 euros

- history of Roman cuisine, oysters, truffle, pate and cheese during an excursion for real gourmets - 5 hours, 45 euros

Interior space

The interior of St. Peter's Cathedral is richly decorated with sculptures, bas-reliefs, paintings and other works of art. The central nave, on the floor of which there are marks that determine the size of the largest cathedrals in the world, is fenced. On the right, at the end of the main passage, there is a sculpture of St. Peter from the 13th century, which is considered miraculous, so every visitor tries to touch it.

In the center of the cathedral stands the main altar, at which only the Pope can serve mass. The altar is decorated with a monumental ciborium Bernini, mounted on four twisted columns that are topped with sculptures of angels. The height of the magnificent ciborium corresponds to a 4-story building. The unusual shape of the columns repeats the silhouette of a twisted column from the Temple of Solomon, taken to Rome after the capture of Jerusalem. The bronze for the ciborium was barbarously borrowed from the ancient Roman Pantheon by order of Urban VII.

The main apse of the cathedral, also created by Bernini, contains the tombstones of Urban VIII and Paul III. Here is also the pulpit of St. Peter, where four statues of the church fathers support the throne of St. Peter.

On the right side of the nave is the Chapel of Mercy, where there is a sculptural group Pieta or Lamentation of Christ, the work of 24-year-old Michelangelo. Despite the fact that this is one of the first works of the young sculptor, it testifies to the full maturity of the work of Michelangelo, who deliberately emphasized the youth of the Madonna as a symbol of eternal life. Next comes the Chapel of Saint Sebastian, where there is a large mosaic of the Martyrdom of San Sebastian, designed based on a painting by Domenichino, Pier Paolo Cristofari. In the altar of the chapel is the tomb of Blessed Pope John Paul II. Further along the passage there are monuments to Innocent XII by Filippo della Valle and Matilda Canossa's tombstone, Tuscan Margravine, which precedes the entrance to the Chapel of the Blessed Sacrament. The entrance to the chapel leads through an iron gate, the lattice pattern of which is made according to a sketch by Borromini. The chapel was designed by Carlo Maderna. Inside is the tabernacle of the Holy Communion in gilded bronze by Lorenzo Bernini, dating from 1674, as well as the Trinity altarpiece, a work by Pietro da Carton. In the Chapel of the Blessed Sacrament, the “kissing the foot” ritual took place, when believers kissed the remains of deceased pontiffs before their burial. This practice was stopped by Pius XII, whose body was displayed in the central nave after his death. Two monuments to Gregory XIII and Gregory XIV block the right passage.

The left nave is opened by the Chapel of the Baptism, designed by Carlo Fontana and decorated with mosaics by Giovanni Battista Gaulli, which were completed after his death by Francesco Trevisani. The altar mosaic painting was made in imitation of the painting of Carlo Maratta, whose painting is currently in the Basilica of Santa Maria del Angele. Immediately behind the chapel is the tomb of the granddaughter of the Polish King John III, Maria Clementina Sobieska, with a tombstone by Pietro Bracci. The nearby Chapel of the Presentation houses the body of Pius X, and along the walls are monuments to John XXIII and Benedict XV, made in the 20th century. Nearby is the small Chapel of the Crucifixion, which houses a magnificent wooden crucifix dating from the early 14th century, believed to be the work of Pietro Cavallini. Of interest is the tombstone of Innocent VIII, created by the sculptor Antonio Pollaiolo in 1490, which was still in the old basilica. St. Peter's Cathedral also houses one of the last representatives of the Scottish royal Stuart dynasty, whose tombstone was made by the famous sculptor Antonio Canova.

On the southern side of the crossroads there is the famous painting of Raphael “The Transfiguration” reproduced in mosaic. Further along the south transept is an unusual monument to Alexander VII, created by Lorenzo Bernini. In this sculptural composition, the Pope is depicted not according to church canons, sitting on a throne, but on his knees, immersed in prayer. In front of the pontiff there is a drapery of red marble, on which are supported on both sides by statues representing “Charity” and “Truth” on the one hand and “Justice” and “Prudence” on the other. In the center, from under a magnificent drapery, a skeleton figure is shown holding an hourglass with golden sand, as a symbol of the tireless flow of earthly life. This Baroque composition is considered one of Bernini's notable works.

Photo gallery

Monuments and gravestones

Sacristy

The sacristy was originally located in the Rotunda of St. Andrew on the south side of the cathedral, as a mausoleum of the imperial era of the second half of the 18th century. During several attempts to reconstruct the old sacristy, a design competition was announced in 1715, where the architect Philip Astoria won. He proposed to build a separate room for the sacristy as an extension to the existing cathedral. However, due to high construction costs, the construction of a new sacristy was delayed. It was only in 1776 that Pius VI commissioned Carlo Marchionni to build the sacristy, which we see today. The architect adhered to the general style decision and tried to fit it into the architecture of the cathedral. Currently, the Museum of Treasures of St. Peter's Basilica is located here, which contains the main sacred artifacts of the Catholic Church. Entry to the museum requires a separate ticket.

Confessional (tomb) of St. Peter

As a result of archaeological excavations initiated by Pius XII, the foundations of an ancient Roman basilica and the ruins of a Romanesque necropolis were discovered. Upon further research, bones wrapped in precious purple fabric were found in one of the niches of the necropolis in 1953. The discovery gave Pope Paul VI the basis to assert that, in all likelihood, these relics are the remains of the body of St. Peter. They are now in a tomb called the Confessional of St. Peter. You can go down to the Confessional along the double marble staircase, which is located in front of the main altar.

Interesting! The costs of building St. Peter's Cathedral turned out to be so great that to cover them, Pope Leo X had to sell the right to implement indulgences in the German lands to Albrecht of Brandenburg. The latter turned out to be an extremely greedy businessman. His abuse of indulgences became one of the reasons for the protest ideas of Luther, the Reformation and the subsequent split of Europe.

entrance ticket

Cathedral of St. Petra is the first of the seven pilgrimage basilicas of Rome. This magnificent building is the fruit of the work of several generations of the greatest masters of Italy: Raphael, Michelangelo, Bramante, Bernini worked on it. Cathedral of St. Petra can accommodate up to 60 thousand people! About 400 thousand more people can be accommodated in front of the cathedral.

Entrance to the Cathedral of St. Petra - from the right side through the control point (a large queue to it is immediately visible). To the Cathedral of St. Peter is not allowed in inappropriate clothing: if his shoulders are exposed, the skirt is above the knee. I’m not even talking about shorts and flip-flops - forget it!

Life hack: you are not allowed into the cathedral wearing a skirt even just above the knee, but you are allowed onto the dome of the cathedral. And the descent from there is to the Cathedral of St. Petra! True, this experience took place in 2009, maybe the guards have become wiser since then...

Visit the Cathedral of St. Peter's in the Vatican

REMEMBER THE DRESS CODE - no minis, shorts or bare shoulders - for both men and women! Queues to the Cathedral of St. Peter must go through a scanner, just like at the airport. But even if you pass them, the guards at the door may turn you around if you are not dressed appropriately. In the heat, many people are not allowed into the cathedral because their clothing does not meet the requirements!

The dress code is very strict in St. Petra, stricter than in .

It is best to arrive at the cathedral as early as possible. Already at 11 am the queue is already long for the entire area, at least it will take 45 minutes. In the low season, in Feral, for example, the queues are short, but there are.

Free entry:

The rules apply to the Cathedral of St. Petra and .

• 1st Sunday of every month
• World Tourism Day (27 September)
• Children under 6 years old
• Discount ticket: 6 - 18 years old, students up to 25 years old.

St. Peter's Cathedral

• daily Apr–Sep 07.00–19.00, Oct.–March until 18.00,
• free

Treasury of the Cathedral of St. Petra

• church decor, statues, papal mitres and various objects, most often gifts from kings and princes, as well as an outstanding collection of art. No photography allowed. Entrance from the Cathedral of St. Petra.
• 09.00–18.15, Oct.–March until 17.15,

• 08.00–18.00, Oct.–March until 17.00,
• Entrance at the portico of the Cathedral of St. Petra (outside)
• entrance fee
• You can go up partly by elevator (320 steps after the elevator) or on foot (551 steps, 2 euros cheaper than the elevator)
• At the top there is a 360 degree panorama and
• Admission fee: 8€ by elevator, 6€ on foot, reduced price 4€. Tickets

Vatican grottos

• Extensive dungeons or crypts located under the Cathedral of St. Petra. The tombs of popes are located here, others are buried in the cathedral. The tomb of Pope John Paul II is located in the grottoes under the floor of the cathedral and is free to visit.
• Visit the Vatican Grottoes at the end, since when you leave them you will find yourself outside the Cathedral of St. Petra.
• The entrance is at the transept of the cathedral. The narrow staircase to the Vatican Grottoes is not so easy to find - you can ask the cathedral staff for help.
• 07.00–18.00, Oct.–March until 17.00, Sun. pl.

Necropolis of the pre-Constantinian era under the cathedral

• 09.00–17.00 only with excursion
• 06 69 88 53 18
• Entrance: 13 €.

View the Pope

• If the Pope is in his residence, you can see him at noon on Sunday: the Pope usually appears at the window to pray and bless the crowd on . No tickets required.
• Or you can visit the main audience on Wednesdays, which is held in St. Petra. Tickets required.
• When the Pope is in his summer residence (July and August), the Main Audience is held in the courtyard of the city of Castelgandolfo.
• A ticket for the Main Audience with the Pope is required, but is free. It can be obtained from the Prefecture of the Papal Residence, which can be reached through the Bronze Doors. The office is open on Monday from 9:00 to 13:00, and on Tuesday from 9:00 to 18:00.
• Order a ticket by phone. +39.06.69883114 – +39.06.69884631; or fax +39.06.69885863.

Construction of the Cathedral of St. Petra

According to legend, in the place where it stands St. Peter's Cathedral(Basilica di San Pietro), the Apostle Peter was executed and buried. In 324, Emperor Constantine ordered a basilica to be built here. In 1503, Pope Julius II decided to build a new church on the site of the dilapidated basilica - the largest Christian cathedral in the world.

The work was started by Donato Bramante, then Raphael, Giuliano da Sangallo and Baldassare Peruzzi took part in them, Michelangelo worked for 20 years on the construction of the Cathedral for free, and after the death of Buonarroti - Giacomo della Porta. The last was Bernini, under whom construction was completed, and in 1626, 120 years after the start of work, the temple was consecrated.

The length of the cathedral without a portico is 186.36 m, and with a portico - 211.5 m.

In the Cathedral of St. Peter's can take more than an hour, but if you have time left, you can climb the dome of the cathedral and admire the magnificent panorama of Rome.

Interior of the Cathedral of St. Petra

The wide main staircase rises to the entrance to the cathedral. At the beginning of the square there are huge figures of the apostles Petra c Keys to Paradise (Giuseppe de Fabris, 1840) and Pavla c with a sword (Adamo Tadolini, 1838).

Heading to the temple on the right side of the square, you can approach the entrance to the interior of the Vatican, located at the beginning of Bernini's colonnade.

Through the open doors you can see in the depths Scala Regia, staircase connecting the cathedral and the Apostolic Palace. From below, the staircase seems much longer than it actually is, but this is an optical illusion: at the top the staircase gradually narrows, the vault becomes lower, the columns are smaller in size and placed closer together.

All this enhances the prospective contraction, and when dad appears at the top of the stairs, his figure seems unexpectedly large and majestic.

Portico of the Cathedral of St. Petra

In the spacious portico there are equestrian monuments, on the right is a statue Constantine C1 (Bernini, 1670), left - Charlemagne C2 (Agostino Cornacchini, 1725).

There are five gates leading to the cathedral. Far right - Holy gates C3 ( Porta Santa, 1949).

They are walled up and open only in Jubilee (Holy) years. From inside the cathedral, a bronze cross and a small box are attached to them, in which the key to the door is kept. At the beginning of the Jubilee Year, in accordance with the established ritual, after three times of kneeling and three blows of the hammer, the Holy Gates swing open, and the pope, taking the cross in his hands, is the first to enter the cathedral. At the end of the Year of Jubilee, the gates are again locked and walled up.

Door Filarete

Central bronze Filarete's door(Porta del Filarete, 1445) C4 was moved to the cathedral from the old basilica.

At the top of the door there are figures of the Savior and the Mother of God on the throne. In the middle are Saints Peter and Paul. The two lower hallmarks depict scenes of the trial and subsequent execution of the apostles. In the lower part of the last mark you can see Roman monuments: the pyramid of Gaius Cestius, the castle of St. Angel in its original form, as well as the ancient Roman pyramidal tomb called Meta Romuli, which was demolished in 1499 year by order of Alexander VI.

The main images are framed by numerous scenes on the themes of pagan myths: “Romulus and Remus”, “Leda and the Swan”, “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”, as well as portraits of emperors and ornaments made of plants and fruits.

Above the doors there is a marble bas-relief“Jesus hands Peter the keys of Paradise” (Ambrogio Buonvicino, 1614), as well as statues of Christ, John the Baptist and the eleven apostles.

Navicella mosaic

If you turn your back to the Filarete door, then above the arch of the portal you can see the remains of the old basilica mosaic "Navicella" C5 (“Ship”) from a painting by Giotto (1298). It presents a well-known gospel story: Peter goes to meet Christ walking on water, “as on dry land,” but, frightened, begins to drown and begs Jesus to save him. Jesus extends his hand to Peter with the words: “O you of little faith! Why did you doubt?

From the inside, on the right door, near the floor, you can see master's mark, who depicted himself riding a donkey at the head of a procession of assistants, each following him with his own tool (hammer, chisel, compass).

A few steps from the door on the floor there is a large porphyry circle C6, moved here from the old basilica. They marked the place where, on Christmas Eve 800, Charlemagne knelt before Pope Leo III, who crowned him as the first Emperor of the Holy Roman Empire.

Further along the central axis of the cathedral, marble slabs, which clearly demonstrate the comparative dimensions of the world's largest temples, measured from the door. They show how much St. Peter's Cathedral is superior to them.

Apse of the Cathedral of St. Petra

In the first chapel of the left nave, baptistery C7, the altar is decorated with a mosaic copy (1722) of the painting “The Baptism of Jesus Christ” by Carlo Maratti. Font made from the porphyry lid of a 4th century sarcophagus.

Near the chapel there is monument to Maria Klementina Sobieska 124 (Pietro Bracci, 1742), wife of the pretender to the English throne, Catholic James III Stuart. at the opposite pylon stands Stuart monument C9 - work of Antonio Canova (1829). The tombstone was made at the expense of the English King George III.

In the next chapel in altape depicts the scene “The Entry into the Temple of the Blessed Virgin Mary” C10 (Pietro Cristofari, 1728). Pope Pius X is buried in the chapel.

Monument to Innocent VIII

Further on the right stands a double bronze statue, moved here from the old basilica. monument to InnocentVIII C11 (Antonio del Polayolo, 1498). In the lower part of the memorial the pope is depicted deceased, and in the upper part - sitting on the throne. He holds in his hand the tip of a spear, with which, as is believed, the centurion Longinus pierced the hypochondrium of Jesus. This relic was sent to Rome from Constantinople during the reign of Innocent VIII by Sultan Bayezid II as a ransom for his brother who was captured.

Further behind the patterned forged grille there is Corot Chapel C12. Some of the relics of St. are kept here. John Chrysostom, Archbishop of Constantinople (early 5th century).

Monument to Pope Leo XI

In the passage near the left wall there is Monument to Pope LeoXI C13. The bas-relief (Allesandro Algardi, 1644) depicts the famous plot “Paris is worth a mass.” Pope Leo XI celebrates Mass, which is heard by the future king Henry IV of Bourbon. Later, the king renounced the Protestant faith and converted to Catholicism, however, he did this rather out of calculation, since in doing so he received from the pope the rights to the royal throne.

Tombstone of Innocent XI

On the contrary - Tombstone of Pope InnocentXI C14 (Pierre Etienne Monnot, 1704), during whose reign Jan Sobieski liberated Vienna from the Turkish siege. This event is also immortalized on the bas-relief of the sarcophagus. A few steps later, on one of the four supporting pillars supporting the huge dome of the cathedral, a mosaic copy (1767) of Raphael’s last painting appears “ Transfiguration of the Lord» C15.

Monument to Pope Pius VII

At the wall opposite - monument to Pope PiusVII C16 (1831). This is the only work in the cathedral performed not by a Catholic, but by a Protestant, the Danish sculptor Bertel Thorvaldsen. Near the monument - Altar of Pope Gregory the Great, under which his relics are kept in a marble shrine.

On the right side of the pylon there is a mosaic copy (1727) of a painting by Pomarancio “ Sapphire's punishment» C17. In the Acts of the Apostles it is narrated that Sapphira, together with her husband Ananias, tried to deceive the apostles by withholding part of the fortune promised to them. Opposite is the entrance to treasury cathedral

IN south transept C18, located on the site of the supposed crucifixion of St. Peter, there are three altars. In the center is depicted St. Joseph with the Lily of the Annunciation, holding the baby Jesus in his arms (Achille Funi, 1963). On the left is a copy (1784) from the painting “The Crucifixion of the Apostle Peter” by Guido Reni, and on the right is “The Confidence of St. Thomas" (1822).

Tombstone of Alexander VII

Placed next to the chapel tombstone of Pope AlexanderVII C19, one of the last works of Bernini (1678). behind the kneeling pope, allegorical figures of Justice and Prudence are visible, and in the foreground - Mercy and Truth. The master performed the Truth naked (in accordance with the rules of allegory), later it was covered with a thin bronze sheet painted with white paint. Before the praying dad Death holds an hourglass in his hand, showing that the time of his earthly life has expired.

Chapel Column

Chapel Column C20 is named after a fragment of a column of the old basilica kept here with the face of the Virgin Mary written on it. This icon is called Mater Ecclesiae, "Mother of the Church".

In the altar (Giacomo della Porta, 1581) lie the remains of Popes Leo II, Leo III and Leo IV.

On the next wall on bas-relief(Alessandro Algardi, 1653) depicts a legendary plot: Pope Leo I the Great with a cross comes out to meet Atilla and convinces him to retreat. The remains of Pope Leo I rest in the altar under the bas-relief. Another pope, Leo XII (1760-1829), rests in the center of the chapel under a white circle with the epitaph: “The most unworthy of all who bore this great name,” which he composed for himself.

Two wide steps made of porphyry, moved here from the old basilica, lead to the apse of the cathedral. Upstairs, in the stained glass window, Bernini's painting shines symbol of the Holy Spirit(1660), a dove soaring in golden rays.

Peter's Chair

Below it is located altar of the Chair of Peter C21 ( Cathedra Petri Giovanni Lorenzo Bernini, 1666). It is called so because it contains a wooden chair, on which, according to tradition, St. Peter preached two thousand years ago. The relic is framed with a complex pattern of dark bronze and gold, and the altar is supported by figures of the Fathers of the Roman and Greek Church.

Tombstone of Pope Paul III

To the left of the pulpit is a bronze Pope Paul's tombstoneIII C22, executed by Giacomo della Porta. At the pedestal of the monument there will be allegorical figures, Justice and Prudence. It is believed that Justice has the features of Giulia Farnese, sister of Paul III and mistress of Alexander VI, nicknamed for her beauty La Bella. Initially, she was depicted naked, but then a white tin blanket was thrown over her. On the contrary - Pope Urban's tombstoneVIII C23, decorated with heraldic bees, the last of Bernini's works (1647).

Chapel of the Archangel Michael

Next follows Chapel of the Archangel Michael C24, where on the left is a mosaic copy (Pietro Cristofari, 1730) from Guercino’s painting “The Burial of St. Petronilla,” a student, and according to other sources, the daughter of the Apostle Peter. The chapel itself is named after a mosaic copy (1758) of the famous painting by Guido Reni “The Archangel Michael Trampling the Defeated Satan.”

Here on the left is tomb of Pope ClementXIII C25 (Antonio Canova, 1792). On the contrary, in Navicella altar C26 (1727), the biblical story depicted on Giotto’s mosaic at the entrance to the cathedral is repeated: Peter, succumbing to doubt, walking towards Jesus along the waters of Lake Genisaret, begins to drown.

North transept

IN north transept C27 located three altars. In the central one there is a mosaic (1712) depicting the martyrdom of Saints Process and Martinian, Peter's guards in the Mamertine prison. In the center of the left altar is a mosaic copy (1739) from the painting “The Martyrdom of St. Erasmus” by Nicolas Poussin, on the sides are medallions depicting Prince Vladimir and Princess Olga, who brought Christianity to the Russian land. Opposite is a portrait of the King of Czechia St. Vaclav(1740) and medallions depicting educators Kirill And Methodius. Located under the dome of the cathedral central altarС28 with lit lamps over the shrine with the relics of the Apostle Peter. The altar is called papal because only the Pope can celebrate Mass here. Canopy(Bernini, 1633) four columns support the altar. Their twisted shape repeats the shape of the column from the Temple of Solomon, brought to Rome by Emperor Constantine after the capture of Jerusalem.

On four marble plinths there are eight bas-relief images of three bees, the coat of arms of the Barberini family, the family to which Pope Urban VIII belonged.

Dome the cathedral in Rome is called cupolone(“dome”), in diameter (42 m) it is only slightly inferior to the dome (43.4 m).

On the frieze of the dome and further along the frieze of the entire cathedral, the words are written in Greek and Latin: “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” (Matthew 16:18-19). The sails of the dome depict the Gospels with their attributes: Mark with a lion, Luke with a calf, John with an eagle, Matthew with an angel.

The dome rests on four huge pylons with 5-meter figures of saints standing in niches.

Peter's brother is depicted at the south-eastern pylon Andrey C29 (Francois Duquesnoy, 1635) - according to the Gospel, Andrew was the first to follow Jesus, and he is called the First Called. Andrew is depicted with the symbol of his martyrdom - the X-shaped cross on which he was crucified. at the southwest - figure Veronica C30 (Francesco Mochi, 1629) with the veil that she gave to Jesus going to Calvary. Jesus wiped the sweat from his eyes, and the non-man-made face of the Savior, also called the “first icon,” was imprinted on the bedspread.

The figure of the queen rises near the northwestern pylon Elena C31 (Andrea Bolgi, 1635), mother of Emperor Constantine the Great. She holds in her left hand the nails with which Jesus was nailed to the Cross, and in her right hand - the Cross itself, which she found in Jerusalem. The reliquary of the pylon contains fragments of this relic. In the niche of the north-eastern pylon there is a marble figure of a centurion Longina C32 (Giovanni Lorenzo Bernini, 1635). Before removing the body of Jesus from the cross, the centurion Longinus pierced his hypochondrium with a spear to make sure that he was dead. The tip of the spear is kept in a reliquary on the balcony of this pylon. Next to the column in the central nave there is a miraculous bronze statue of st. Petra C33 (Arnolfo li Cambio, 13th century).

Chapel of San Gregorio

Chapel of San Gregorio C34 was made according to the drawings of Michelangelo by his student Giacomo della Porta. Here in the central altar is kept an icon from the 12th century, transferred from the old basilica. Madonna del Soccorso"("Our Lady of Help"). The chapel is richly decorated with polychrome marble. Laid out on the floor coat of arms of the Boncompagny family.

Tombstone of Pope GregoryXIII C35 (Camillo Rusconi, 1723) from the Boncompagni family is located at the beginning of the right nave. The sarcophagus is supported by heraldic dragons, and it depicts the adoption of the Gregorian calendar by order of the Pope.

On the contrary, in strong contrast with the tomb of Gregory XIII, there is an empty niche above the tomb of Gregory XIV.

An elegant forged grill protects Chapel of the Holy Sacraments C36, where you can enter exclusively to perform prayer.

A gilded bronze icon case with numerous relics shines in the altar. He stands against the background of the painting “The New Testament Trinity” by the artist Pietro da Cortona. This is the only oil painting in the cathedral. On the right is a mosaic copy of Domenichino’s painting “The Ecstasy of St. Francis."

located opposite Tombstone of Matilda of Tuscany C37 (Bernini, 1637), a countess who lived in the 11th century, during acute conflicts between the emperor and the Pope, and acted on the side of the pope. Among other things, she conducted military operations. The bas-relief depicts the scene of the repentance of Emperor Henry IV before Pope Gregory VII in Canossa, Matilda's castle, which was provided to the pope as a refuge.

Opposite the next chapel with a mosaic depicting the martyrdom of St. Sebastian (copy from a painting by Domenichino), - monument to the Swedish Queen Christina C38 (Carlo Fontana, 1702), buried in the cathedral crypt.

Pieta by Michelangelo

You can finish your tour of the cathedral at the chapel with the famous “ Drinking» C39 (Michelangelo, 1499). The white marble sculpture depicts the Madonna with the body of Jesus after being taken down from the cross. Maria appears in the guise of a young girl. After a maniac damaged the statue in 1972, it was covered with bulletproof glass.

Near the Pietà there is a descent into crypto C40. At a depth of 4 m there are extensive dungeons, called “sacred grottoes”, where tombs, mosaics and frescoes that survived from the old basilica are collected.

Jubilee year

In 1300, Pope Boniface VIII established the procedure for celebrating the centenary anniversaries of the church. The Pope promised remission of all sins to those pilgrims who would make a penitential pilgrimage to Rome and perform penance, namely, visit the Basilicas of St. Peter and St. Paul daily for fifteen days. For residents of Rome, this period increased to thirty days.

St. Peter's Square in Rome (Rome, Italy) - description, history, location, reviews, photos and videos.

• Tours for May to Italy
• Last minute tours to Italy

Previous photo Next photo

St. Peter's Square in the Vatican (Piazza San Pietro) stretches out in the form of two semicircles in front of one of the main Catholic shrines - St. Peter's Basilica. It was built in the mid-17th century according to the design of Giovanni Bernini, the great Italian architect and sculptor.

It is in Piazza San Pietro that thousands of Catholics from all over the world gather to hear the Pope speak live. This is also a favorite place for those tourists who are passionate about history and culture.

You can see the Pope with your own eyes (and even hear with your own ears) every Wednesday at 11 am: it is at this time that he traditionally reads a sermon to his flock. All the action is broadcast on two large screens, so don’t be afraid to miss something.

The square is framed by semicircular colonnades of the Tuscan order. In the very “heart” of the square there is an Egyptian obelisk, which was brought to Rome from an African country by the scandalous and notorious Caligula (by the way, the emperor adhered to the ancient Roman religion and believed in the existence of various deities). The obelisk simultaneously serves as a gnomon - an ancient astronomical instrument.

St. Peter's Square

By the way, the obelisk in St. Peter's Square is the only one that stood unchanged until the Renaissance, since the Romans believed that the ashes of Gaius Julius Caesar were kept on its top.

It is noteworthy that St. Peter's Square is separated from Rome by a thin white line drawn directly on the paving stones. As a rule, no one pays attention to it, but in vain: this is the most state border there is.

St. Peter's Square in Rome is also known as Piazza San Pietro. It was created in the seventeenth century according to the design of the architect Bernini and is a popular attraction of the Vatican. The architectural highlight of the square is St. Peter's Basilica, one of the most recognizable basilicas in Rome.

Immediately after Alexander VII was elected as the new Pope in April 1655, he hired the sculptor and architect Lorenzo Bernini to create a new plaza in front of the façade of St. Peter's Basilica. Following Alexander's wishes, Bernini presented a design for an elliptical square 240 meters wide and 196 meters long. Construction of the square began in 1965 and was completed 11 years later, in 1667.

Colonnades of St. Peter's Square

St. Peter's Square is bordered on both sides by colonnades. According to Bernini's idea, they symbolize the arms of the church embracing the world. The colonnades were built in 1660 and consist of 4 rows of columns 20 meters high and 1.6 meters wide. In total, there are 284 Doric columns and 88 pilasters. At the top of the colonnade there are 140 statues, also created by Bernini and his students. They depict popes, martyrs, evangelists and other religious figures.


To the left and right of the central obelisk of the square are circular marble plates that indicate the center of the elliptical square. Standing on any of these plates and looking at the colonnade, you will see only one row of columns instead of four. Bernini was not just a great sculptor and architect, he also knew geometry very well. On special occasions, including the election of a new Pope and Easter, nearly 400,000 people fill the spacious square.

Obelisk and fountains

In the center of St. Peter's Square there is an Egyptian obelisk 25.5 meters high, which together with the pedestal rises as much as 41 meters. The obelisk was originally located in Heliopolis, Egypt, and was created for the city's prefect, Cornelius Gallus. In 37, Caligula decided to transport the obelisk to Rome on a specially created platform, installing it at the base of the Circus of Nero on the territory of what is now the Vatican.


In 1585, Pope Sixtus V decided to move the obelisk 300 meters away, to St. Peter's Basilica, which was under construction at that time. The move was a monumental task, and even Michelangelo considered such a project impossible. But Sixtus stubbornly wanted to move the stele and attracted the architect Domenico Fontana to realize this idea. It took 900 workers and more than a hundred horses, but Fontana was up to the task. It took 5 months, and on September 10, 1586, the Obelisk was installed in front of the basilica.


In 1613, a fountain designed by Carlo Maderno was installed in St. Peter's Square. It was installed on the right side of the obelisk located in the center. To maintain symmetry, Bernini decided to install an identical copy of the fountain on the left side. The fountain was created in 1677 by the architect Carlo Fontana.

St. Peter's Cathedral

St. Peter's Square is a magnificent entry point to St. Peter's Basilica, which was created between 1506 and 1626 and borders the square on the west side. The basilica is the largest in the world. The interior of the cathedral is decorated with magnificent monuments, many of which were created by the great Bernini.



Be sure to climb to the top of the basilica's impressive dome - designed by another great architect, Michelangelo. From here you have the most magnificent views of the square.

 

It might be useful to read:

• How to get on an excursion to Antarctica?;
• Czech Republic Troy Castle. Troja Castle in Prague. Ancient winery and museum;
• Böcklin and his “island of the dead” A cultural phenomenon of its time;
• Air tickets to Crimea Air tickets to Crimea will become cheaper;
• What you can and cannot take with you;
• Open left menu Heviz How to get from Budapest to Lake Heviz;
• Cable car in Nha Trang (Vinpearl) The longest cable car in the world Vietnam;
• Kamenets-Podolsk fortress - a historical monument of Ukraine Life outside the walls of the Kamenets-Podolsk fortress;