How many people can St. Peter's Square accommodate? St. Peter's Basilica is the main church of the Vatican. The façade is “a church of the poor and for the poor”

St. Peter's Square was built in 1656-1667. architect Bernini; its oval part is framed by colonnades arranged in semicircles in four rows of two hundred and eighty-four columns and eighty-eight travertine supports. In the center is an Egyptian obelisk that previously stood at Nero's hippodrome, where the Apostle Peter suffered martyrdom. By order of Pope Sixtus V in 1586, the pillar weighing 322 tons was moved to St. Peter's Square.

There are two fountains on the square. One is the work of Alberto da Piacenza in an early version, it was rebuilt in 1516 by Carlo Maderna, the second fountain was created by Bernini based on the model of the first, so as not to disturb the harmony of the square, with the only change: the bowl of the fountain was expanded and lowered.

The dominant feature of the square is St. Peter's Cathedral. It is the largest Christian cathedral and the center of the Roman Catholic Church. The cathedral's capacity is about 60 thousand people. The height of the dome is 136 meters, the length of the central nave is 211 meters. On the facade of the cathedral there are statues of Christ, John the Baptist, and 11 Apostles.

The square of St. Peter's Basilica is marked in such a way that the border of the Vatican State is marked beyond the outer side of the colonnade.

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

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

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

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

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

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

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

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

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

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

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

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

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

As a result, the dome turned out to be hidden by the facade, lost its dominant significance and is only perceived 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 pulpit.
51.Tombstone of Pope Paul III(
52.Cathedra of St. Peter.
53.Tombstone of Pope Urban VIII (
54.Tombstone of Pope Clement X (
55.Altar of St. Peter raising Tabitha.
56.Altar of St. Petronilla.
57.Chapel of the Archangel Michael.
58.Altar Navicella
59.Tombstone of Pope Clement XIII(
60.Right Transept.
61.Altar of St. Erasmus.
62.Altar of Saints and St. Martinian.
63.Altar of St. Wenceslas.
64.Altar of St. Basil.
65.Tombstone of Pope Benedict XIV
66.Altar of St. Jerome (Body of Pope John XXIII).
67. Chapel of San Gregorio.
68.Icon “Madonna del Socorso”.
69.Tombstone of Pope Gregory XVI.
70.Tombstone of Pope Gregory XIV.
71.Tombstone of Pope Gregory XIII.
72.Chapel of the Holy Sacraments (only for worshipers).
73.Tombstone of Matilda of Tuscany(
74.Tombstone of Pope Innocent XII.
75.Tombstone of Pope Pius XII.
76. Chapel of San Sebastiano (Tombstone of the new Blessed John Paul II).
77.Tombstone of Pope Pius XI.
78.Tombstone of Queen Christina of Sweden.
79.Tombstone of Pope Leo XII.
80. “Pieta” (sculptor Michelangelo)

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

Enter the portico opposite the central portal, face the square and look up. In the lunette above the entrance there is a famous mosaic Giotto“Navichella” (Italian shuttle), created in 1310 by Giotto di Bondone or simply Giotto (1267-1337) - Italian artist and architect of the Proto-Renaissance. 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 Genicapets - 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 towards the west,” the king said, “I saw with my own eyes the sign of the cross made of light and lying in the sun with the inscription: “ win this." This sight struck with horror both the king himself and the army around him, for the cross, as a shameful instrument of execution, was considered a bad omen by the pagans. Konstantin was at a loss and said to himself: what does such a phenomenon mean? But while he was thinking, night fell. Then Christ appeared to him in a dream with a sign seen in heaven and commanded him to make a banner similar to the one seen in heaven and use it for protection when attacked by enemies.

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

Nave. (11 on the cathedral plan)

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

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

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

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

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

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

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

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

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

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

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

Stuart burial vault.(14 on the cathedral plan)

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

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

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

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

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

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

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

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

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

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

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

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

Dome. (38 on the cathedral plan)

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

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

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

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 rebelling against the emperor, now they demand the punishment of the centurion, who took the side of the rebel. In both cases, their requests contained a hidden threat to inform the emperor that Pilate was patronizing state criminals. But complicity in high treason is a serious charge, of which one may not be justified.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Canopy ((36 on the cathedral plan)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The bas-relief recalls the reform carried out by the pope - the introduction of a new calendar (Gregorian). October 4, 1582 was followed by October 15. October 4 is the day of remembrance of St. Francis, which in no case should have been missed.

The pope is depicted with eminent astronomers and mathematicians, including Jesuit Priest Ignatius Danti, Father Clavius ​​of Bamberg, and Antonio Lilio of Calabria. The dragon below is the heraldic animal of the Boncompagni family. Pope Clement XI, persuaded by Candinal Buoncompagni (Gregory's cousin), ordered this new tombstone.

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

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

The forged lattice of the chapel is made according to a Borromini drawing. The entrance to the chapel is closed to tourists. You can only come here for prayers.

Magnificent tabernacle by Bernini (1674), gilded bronze. The central part of the tabernacle is made in the form of a chapel - the Tempietto rotunda by the architect Bramante (1502), located in the courtyard of the monastery of San Pietro in Montorio on the Janiculian Hill (eighth hill) in Rome.

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

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

Behind the tombstone of Gregory XIII is the tombstone of the Margravess Matilda of Canossa by Bernini with his students; this was the first woman to have the honor of being buried in this cathedral. (In 1077 in Canossa, in the castle of the Margravine Matilda, the Holy Roman Emperor Henry IV, who had been excommunicated and deposed, humbly begged forgiveness from Pope Gregory VII.)

Pope Urban VIII ordered this tombstone at the end of 1633. He wanted to honor the memory of this outstanding woman. On March 10, 1634, her body was transported from Mantua to the cathedral, where the tombstone was already ready. The bas-relief by Stefano Speranza depicts Henry IV kneeling before Gregory VII on January 28, 1077. At the top of the arch, Matteo Bonarelli, Andrea Bolgi and Lorenzo Flori sculpted putti holding a crown, coat of arms and the motto: TUETUR ET UNIT (I protect and unite).

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

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

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

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

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

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

Beatification of John Paul II.

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

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

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

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

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

Canonization of John Paul II.

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

The Vatican has not yet made official comments about the nature of the miraculous phenomenon. But there is already information that a miracle happened in Costa Rica to a sick woman who was healed of a severe brain disease thanks to the prayers of the late John Paul II. The decision on canonization has already been made by the current head 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 tombstone of the cardinal. The pedestal was made by Francesco Borromini in 1626.

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

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

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

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

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

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

and from the Vatican website -

(Raffaello Santi). Since then and to this day, the basilica has been the most significant Catholic church on the planet, annually attracting millions of parishioners to services conducted by the Pope himself.

In the 4th century AD under Emperor Constantine I (lat. Flavius ​​Valerius Aurelius Constantinus), a Romanesque basilica was erected in Rome. The only thing that has survived from early Christian buildings is the monument marking the middle of St. Peter's Square, located in front of the temple.

According to Christian chronicles, the Apostle Peter (Greek: Απόστολος Πέτρος) suffered martyrdom around 64-67 AD. in Rome. The first altar of the first basilica was erected over the tomb of a follower of Christ in 313.

The Basilica of Constantine went through several reconstructions and by the 16th century had become significantly dilapidated. Pontiff Julius II (lat. Iulius II) set Donato Bramante an interesting task - to restore the ancient Christian temple and, if possible, preserve its original potential. According to the architect's idea, the updated basilica was supposed to be a large cross topped with a dome.

The spacious building with high vaults was supposed to embody the heavenly lightness of the temple, but Bramante’s death in 1514 postponed the implementation of the project indefinitely.

During Bramante's lifetime, in 1513, Rafael Santi became the second architect of the temple. Fra Giocondo was sent to help the famous master, and he in turn was replaced by Giuliano da Sangallo. The history of the creation of the temple was overshadowed by an amazing fact: during the 6 years of work on the project, three eminent masters died. Beginning in 1506, St. Peter's Cathedral received only the foundation and partly the lower wall tier, which was later dismantled.

Over the course of 40 years, the drawings of the cathedral were transformed on paper, changing the shape of the building from the Greek equilateral cross to the Latin one and finally settled on the form of the basilica proposed by Antonio da Sangallo. In 1546, da Sangallo dies and Pope Paul III engages Michelangelo to be the curator of the construction of the temple. Taking into account the accumulation of architectural ideas of his predecessors, Buonarroti decides to return to Bramante’s original plan, simplifying and at the same time strengthening the design.

It was decided to make the basilica mass in the form of a central domed building, the entrance to which was hidden by a portico draped with columns, following the example of ancient temples. Also, according to the tradition of the ancient builders, the central entrance of the temple was located on the eastern side.

During Michelangelo's lifetime, construction progressed significantly, even the drum of the dome was built.

However The genius did not have time to complete his grandiose project, in 1564 death interrupted Buonarroti's work.

Giacomo Della Porta continued work on the cathedral, making his own adjustments to Michelangelo's plan. Elements of the proto-Baroque style appeared, more elongated shapes, which is especially noticeable in the drawings of the dome drum. Buonarroti's ideas were realized in their pure form only during the construction of the western part of the temple.

By 1588, the Porte's affairs, in collaboration with Domenico Fontana, implemented a plan for preparatory work for the construction of the dome of St. Peter's Basilica. In subsequent For 2 years all the efforts of engineers and builders were concentrated on creating the main vault of the temple. Already in May 1590, Pope Sixtus V celebrated a solemn mass in the newly built cathedral.

During the summer months, a colonnade of 36 decorative columns was built, however, Sixtus V did not have time to admire the external decoration of the church, dying in August 1590. A golden lantern in the shape of a ball and a large cross over the dome of the temple were installed already under Clement VIII (lat. Clemente VIII).

The inspiration for the next round of construction of St. Peter's Cathedral was Pope Paul V. In 1605 he called on Carlo Maderno to rework the plan for the cathedral.

Greek cross, in the appearance of the building, embodied by Michelangelo, was converted to Latin, due to the lengthening of the longitudinal part.

Side naves were also added, so the temple turned into a three-nave basilica. Updated the church took on a completely different look from that originally conceived by Michelangelo– today, standing in the center of the square near the obelisk, you will see only part of the dome, and coming closer to the cathedral, you might think that this is a palace, not a church.

Description

St. Peter's Cathedral has impressive parameters: about 211 meters in length and height, including the dome - 132 m, the total area of ​​the temple is 23 thousand m 2.

Such an impressive size of the cathedral allows it to leave its closest competitors far behind. Markers with the dimensions of other Catholic churches are placed on the floor so that visitors can appreciate the monumentality of the building.

Facade

The modern facade of the cathedral was completed by the architect Carlo Moderna in the 17th century. The baroque façade covered with travertine has a respectable width of 118 m and a height of 48 m.

Classical columns support an attic topped with 13 statues. A five-meter statue of Christ, surrounded by John the Baptist and 11 apostles, adorns the front of St. Peter's Basilica. The facade of the temple is also decorated with a clock created in the 18th century by Giuseppe Valadier.

Behind the columns of the portico are hidden five gates leading inside the cathedral: the Gate of Death (Porta della Morte), the Gate of Good and Evil (Porta del Bene del Male), the Gate of Filarete (Porta del Filarete), the Gate of Sacrament (Porta dei Sacramenti), the Holy Gate (Porta Santa). The most notable of these is the Door of Death, created in the mid-20th century by sculptor Giacomo Manzu. It is through these doors that the Vatican sends its pontiffs on their final journey.

The central portal of the cathedral is decorated with two equestrian statues: Charlemagne, made in the 18th century. Augustino Cornacchini and Emperor Constantine, by Bernini (1670). Another pearl of the temple’s exterior is the Navicella degli Apostoli fresco, painted by Giotto di Bondone, completed in the 13th century.

Interior

St. Peter's Basilica has an impressive interior space, which is divided between three naves. Arched vaults 23 m high and about 13 m wide separate the central nave from the side ones. The gallery, 90 m long and with an area of ​​about 2500 m2, begins at the entrance to the temple and ends at the altar. In the last arch of the central nave there is a miraculous statue of St. Peter, cast in bronze, to which thousands of pilgrims flock.

The Vatican, represented by the cathedral, acquired a repository of the most valuable works of art, from the floor to the tip of the dome. The marble floors of the temple partially preserved elements of the former basilica, reconstructed in the 13th century.

The disk of red Egyptian porphyry on which Charlemagne knelt during his coronation in 800, as well as most of the rulers of Europe until the 15th century, attracts attention.

Many interior decor elements were created with the participation of , who spent 50 years of his creative life decorating the cathedral. One of his significant works is the statue of the Roman centurion Longinus. According to legend, a centurion, suffering from very poor eyesight, pierced the crucified Christ to ensure the death of the son of God. The blood of Christ fell on Longinus’s eyes and he immediately received his sight.. After some time, Longinus converted to Christianity, actively preached, and is now revered as one of the main Christian saints.

St. Peter's Basilica contains the spearhead of a Roman centurion as one of its relics.

Above the altar of the temple lies another masterpiece of Bernini - an extensive canopy (cevorium), resting on four figured pillars. The canopy was created under Urban VIII; many decorative elements glorify the aristocratic family of the pontiff. The fabulous cost of the master’s work was covered from the treasury of the Burberry family, but bronze and other building materials were shamelessly taken from the Pantheon (Greek: πάνθειον).

To this day there is a saying in Rome: “What the barbarians did not do, Bernini and Barberini did.”

Above the canopy is a pulpit dedicated to St. Peter, also designed by Bernini.

If you walk along the central nave of the cathedral, in the niches you can admire the statues of saints: Teresa, Helena Sophia Barat, St. Vincenzo de Paoli, John, St. Philip Neri, St. John Baptista de La Salle, St. John Bosco.

Right nave

Pieta

In the right nave of the temple there is a sculptural group “” (Lamentation of Christ) by the young Michelangelo (1499).

To protect the work of art from the harmful effects of temperature fluctuations, dust, humidity, as well as careless visitors, the statue is covered with a durable glass cover. In 1972, a religious fanatic caused serious damage to the masterpiece with a hammer!

Monument to Pontiff Leo XII

Next to the Pieta there is a monument to Pontiff Leo XII by Giuseppe de Fabris (19th century) and a monument to Christina, Princess of Sweden made by Carl Fontana in the 17th century.

In the Cappella di San Sebastiano you can admire the mosaics made by Pier Paolo Cristofari, based on sketches by Domenichino himself. The vault of the chapel is decorated with a mosaic by Pietro da Cortona.

Tomb of Margravine Matilda of Canossa

A unique monument is the tomb of Margravine Matilda of Canossa, made by Bernini. The aristocrat was the first woman buried in the temple.

Chapel of the Blessed Sacrament

The Chapel of the Blessed Sacrament (Cappella del Santissimo Sacramento) is decorated with a decorative grille created from sketches (Francesco Borromini). Inside the chapel there is bronze work by Carlo Moderno, Borromini architecture.

Left nave

Tomb of Alexander VII (lat. Alexander VII)

Bernini's last significant work adorns the tomb of Alexander VII of the Chigi family. The ensemble, made of colored marble and bronze, depicts the pontiff in prayer, surrounded by allegorical statues of Mercy, Truth, Justice and Prudence. In front of Alexander VII is a skeleton wrapped in a red robe - a symbol of death.

In the skeleton's hand there is an hourglass - a metaphor for the end of the pontiff's earthly life.

The baroque ensemble is filled with theatrical drama and full of secret meaning. Thus, one of the virtues is depicted standing on the globe. It is by no means accidental that the stone foot covers England. By the 17th century, the schism between the Catholic and Anglican churches had reached its climax. British Stuart monarchs renounced their crown in order to remain faithful to the Catholic faith. This whole contradictory situation was artistically played out by Bernini in stone. The Stuart tomb is now located inside the cathedral to the left of the entrance.

Chapel of Epiphany

In the left nave is the Chapel of the Epiphany (Cappella del Battesimo), designed by Carl Fontana and decorated with mosaics by Baciccio. Nearby is the tomb of Maria Clementina Sobieski, decorated by sculptor Pietro Bracci in the 18th century. Adjacent to it is a memorial to the Stuarts, by Atonio Canova (19th century). An interesting work by the 15th century Florentine architect Antonio Pollaiolo is the tomb of Pontiff Innocent VIII.

Center

The central space of the cathedral is limited by four pillars supporting the dome. This part of the temple was realized in accordance with the ideas of Michelangelo. In the very heart of the church you can see many mosaic paintings made according to Domenichino's sketches.

Of particular awe is the memorial to Pius VII, made in the 19th century by a non-Catholic creator, Bertel Thorvaldsen. St. Peter's Basilica has a Gregorian Chapel (Gregoriana Cappella), which reminds us of who gave humanity the Gregorian calendar. The numerous tombs of pontiffs and richly decorated chapels make an indelible impression on parishioners.

Dome

• Metro: line A, stop Ottaviano (closer to museums)
• by tram: No. 19, San Pietro stop 200 meters from the cathedral;
• by bus: No. 23, 32, 81, 590, 982, N11, Risorgimento stop, No. 64 and 40 express routes from (Termini) to St. Peter's Basilica, No. 116, Terminal Gianicolo stop;
• by regional train: Roma San Pietro station (closer to the square), train runs from Roma Trastevere station, ticket 1 euro.

St. Peter's Square in the Vatican is one of the main attractions of Romeserves as the main entrance to the small city-state.

The area, surrounded by a colonnade, is located in front of St. Peter's Basilica, the largest church in the world.

Thousands of believers traditionally gather in St. Peter's Square to hear the blessing of the Pope.

History of the square

At the beginning of our era, in the valley running between the Vatican Hill and the Janiculum Hill, the gardens of Vipsania Agrippina grew.

A circus was erected in the garden area under Emperor Nero.Martyrdom executions and performances were held in the circus arena.

In 64, according to the chronicle, a large number of people were executed, whom Nero accused of setting fire to the city of Rome.

The disciple of Jesus Christ, Saint Peter, died suffering in the circus. He was crucified on the cross with his head down.

The Apostle was secretly buried next to the circus in the cemetery.

The first altar was erected over the tomb of St. Peter, which was worshiped by Christian believers.

In the period from 319 to 336, under Emperor Constantine, the first St. Peter's Basilica was erected at the burial site of the apostle.

Stages of creating St. Peter's Square:

1. By order of Constantine, a large space was leveled next to the first basilica, removing a layer of earth from the Vatican Hill.Until the 15th century, the area in front of the temple was called the Sancti Petri plateau.
2. Pope Nicholas V commissioned the Italian architect Bernardo Rossellino, who worked on the reconstruction of the basilica, to develop a design for the new square.However, the plan was never implemented.
3. In the 16th century, the square was a large rectangular area from the basilica to the Tiber River with height differences of 10 meters.The area turned into a swamp during river floods and rains.
4. Under Pope Julius II, construction of St. Peter's Cathedral began in 1506, designed by the famous architect Donato Bramante.Grandiose work on the temple was carried out for more than a century, with the help of the best architects and craftsmen of Italy.
   
5. In 1626, the cathedral was consecrated by Pope Urban VIII. The area was an unfinished construction site.
6. Under Pope Alexander VII in 1657, the square began to take on a finished form.

Pope Alexander VII entrusted the design of the square to the famous Italian architect and sculptor Giovanni Lorenzo Bernini.

The architect faced a difficult task – create a majestic square in front of the cathedral, taking into account the existing difficult conditions (terrain, buildings, fountains and obelisk).

Bernini created a unique project according to which the square consists of two parts:

• trapezoidal, surrounded by galleries;
• oval, decorated with colonnades.

Initially, Lorenzo Bernini developed a plan for a trapezoidal square surrounded by buildings rented for shops and hotels.However, the project was not approved by the clergy, considering that the square should complement the central Christian church with its monumentality.

St. Peter's Square 18th century, painting by Giovanni Paolo Panini "The Departure of the Duke of Etienne François de Choiseul."

Architecture

Size of St. Peter's Square, measured along the main axes:

• length – 320 meters;
• width – 240 meters.

The area is covered with stone blocks made of dark porphyry - sampietrino.

The shape of the territory from above resembles a keyhole. According to Bernini's plan, the keys to the well are located in the main cathedral of the world.

St. Peter's Square (Piazza San Pietro) consists of three main parts:

1. Piazza Retta – a trapezoidal part of the square located at the entrance to the main cathedral. Bernini created the design of this part based on the work of Michelangelo Buonarroti - the piazzaCapitol in Rome.
   To reduce the four-meter drop near the cathedral, a tapering staircase 75 meters long was built.
2. Piazza Obliqua - an oval part, surrounded on both sides by semi-oval buildings with galleries, which are equipped with a colonnade.
   The colonnade is represented by:
   • 284 Doritic columns;
   • 80 travertine pillars;
   • Atticus, decorated with 140 sculptures.
     

     The combination of fountains and an obelisk on the oval part of the square creates a unique effect of being in an ellipsoidal space.

3. Piazza Rusticucci – the main entrance of the attraction, from which a view of the entire square and St. Peter’s Cathedral opens.The “front” square was built in the 20th century on the site of destroyed palaces.

In the center of the ellipsoidal part of the square there is an Egyptian obelisk, surrounded by stripes from which eight rays extend.The cardinal directions and the names of the Mediterranean winds are marked between the rays.

The shadow of the obelisk serves as the hand of the sundial, and the square serves as the dial.

To the right of the landmark are disc-shaped solar markers.They are marked with dates, which are touched at noon by the shadow of a bayonet.

Interesting fact!St. Peter's Square can accommodate about 400 thousand people!

What to see in St. Peter's Square

Piazza San Pietro is rich in unique masterpieces of art.

Main attractions:

1. Fountains.
2. Statues and sculptures.

Built between 1656 and 1667 according to a design by Lorenzo Bernini.

Semicircular structures enclose the square on both sides.

Four rows of columns are located parallel to each other, hiding the buildings behind them and the entrance to the Apostolic Palace. This creates three internal passages.

The total number of installed columns is 284. Their height is 13 meters.

Each column is crowned on the inside with a statue of a saint. In total - 140 sculptures.

Interesting fact! On both sides of the obelisk in the square there is a round marble slab set in the stone surface of the ground, with the inscription - CENTRO DEL COLONNATA.Standing on this slab, the colonnade converges in parallel, and a view of the buildings opens up.

The structure is decorated with six parapets with the coats of arms of Pope Alexander VII.

The colonnade is connected to the cathedral by two galleries:

1. Constantine the Great.
2. Charlemagne.

The length of each wing is 120 meters.

In the right gallery Charlemagne there are exhibitions dedicated to Vatican holidays.

The attraction was brought from Egypt by order of Emperor Caligula in the 1st century AD.

The obelisk served as a decoration for Nero's circus, in which St. Peter was executed.

During the Renaissance, there were several attempts to move the obelisk, but its enormous size made it difficult to move and install.

Interesting fact! There is a legend that the ashes of Julius Caesar are kept in a bronze ball at the top of the obelisk.However, during the transfer the ball was removed and the myths were dispelled.

In 1586, under Pope Sixtus V and the architect Domenic Fontana, the obelisk was moved to St. Peter's Square, which was under construction.

Using a strong platform and rollers, about 900 workers with 140 horses moved the ancient monument.

A crowd gathered for the interesting spectacle, in which conversations were strictly prohibited. For noise there was a threat of execution.

Interesting fact! There is a legend that when installing the obelisk, the ropes began to break. One captain shouted to the workers: “Water on the ropes!”Thanks to the moisture, the rope contracted and the bayonet was successfully lifted onto the pedestal.The captain received gratitude from the Pope.

The Egyptian bayonet has been preserved in good condition since ancient times.

There are 12 similar obelisks in Rome.

Description of the obelisk:

• bayonet height - 25.5 meters;
• material – red granite;
• the installed cross at the top is 15.5 meters high.

Fountains

On both sides of the Egyptian obelisk there are two identical fountains:

1. Fountain "Antika". It also decorated Piazza Sancti Petri from 1490 in front of the basilica under Constantine. Located on the right side of the obelisk.In 1614, the fountain was reconstructed by the architect Carlo Maderno.
   He made the following changes to the fountain:
   • the height of the landmark has changed;
   • the upper bowl was replaced with the convex side up;
   • elements of bas-reliefs depicting the symbolism of the pope were added
     
2. Bernini Fountain. Built according to the design of Carlo Fontana and Lorenzo Bernini.The material of the structure is made entirely of granite. ABOUTdiffers from “Antique” only in images of papal symbols.

The height of both famous fountains is 8 meters.

Papal Fountain (Tiara Fountain) - a little-known landmark located on the side of the right colonnade, outside the Vatican.Creator - Pietro Lombardi, in the 20th century. The fountain is decorated with four tiaras and keys.The water in the fountain is drinkable; you can put it in a bottle if you are thirsty.

Interesting fact! During the drought in Italy in 2017, the Vatican was the first to turn off all its fountains in order to conserve water resources.

Statues and sculptures in the square

There are two statues in front of the entrance facade of St. Peter's Basilica:

1. Statue of St. Peter. IN made by Italian sculptor Giuseppe de Fabris.
2. Statue of St. Paul. Author: Adamo Tadolini.

The sculptures were installed in 1847.

At the top of the main façade is a statue of Jesus Christ carrying a cross. There are 11 apostles nearby.

The colonnade is decorated with 140 statues of saints, created according to sketches by Gian Lorenzo Bernini.

Representatives of the Swiss army are a special “calling card” of the Vatican.

The bright uniform of the soldiers attracts the attention of all tourists. However, not everyone knows about the unique courage and loyalty of the guards.

The Swiss Guard serves as security for the city-state in the center of Rome.

Visitors to the square can receive informative information from Swiss soldiers.

Where can you see the Swiss Guards:

• at the Bronze Gate at the entrance to the square;
• at the entrance to the cathedral (far corner on the left in the square);
• behind the left colonnade;
• at the gate of Sant'Angelico street.

The soldiers are immediately noticeable thanks to their colorful yellow, blue and red striped uniform.

Museums near St. Peter's Square

Near the square are the world-famous Vatican Museums.

The Vatican Museums are a famous complex of halls with unique exhibits of outstanding masters.

A huge number of galleries are filled with incredible works of art.

The main parts of the museums that are worth visiting:

• Museum of Pius Clement;
• The Sistine Chapel;
• stanzas and loggias of Raphael;
• Chiaramonti Museum;
• Egyptian Museum;
• Etruscan Museum;
• Vatican Pinakothek.

Each Pope contributed to the maintenance of the museum complex.

The museum halls are located in the Apostolic Palace.The entrance to the palace is from the right colonnade through the Bronze Gate.

Religious events in Vatican Square

Every Sunday in St. Peter's Square you have a unique chance to see and hear the blessing of the Pope.At exactly noon, the pontiff addresses the faithful from the windows of the Apostolic Palace, reciting the Angelus prayer.

Public audience– an official reception held on the square at 10 a.m. on Wednesdays.In case of bad weather, the meeting will be moved to the Audience Hall.

On Catholic holidays, solemn masses are held in St. Peter's Square.The Swiss Guards, dressed in festive uniforms, are always present at the celebration.

How to get to events held on the square?

Access to public receptions and festive liturgies is only possible with a ticket.

The ticket can be purchased free of charge in the building near the Bronze Gate at the entrance to the Apostolic Palace.

Pontiff - Pope of Rome

From the right colonnade, the Bronze Gate opens the entrance to the Apostolic Palace, where the city leadership and the official Residence of the Pope are located.

The papal quarters are located on the top floor of the palace. In the second window on the right is the pontiff’s personal office, it is from here that he blesses those gathered in the square believers.

Next to the gate, there is a red stone built into the beams - a note about the assassination attempt on Pope John Paul II on May 13, 1981.

Opening hours

Visiting hours for St. Peter's Square: from 7.00 to 23.00 daily.

On holidays, a large number of believers gather in the square, so it is recommended to visit the attraction on weekdays.

(Source - Traveler87).

How to get to St. Peter's Square

The white line painted on the stone paving stones of the square is the state border of the Vatican.

There are several ways to get to the Vatican:

1. Walking route.
2. Metro line A, to Ottaviano station.
3. Bus route at stops:
   • ost. “Piazza del Risorgimento” - No. 23, 32, 81, 590, 11 (night);
   • ost. “Crescenzio/Risorgimento” - No. 49, 492, 982, 990, 10 (night);
   • ost. "Cavalleggeri/Fornaci" - No. 64;
   • ost. "Cavalleggeri/San Pietro" - No. 34, 46, 881, 982; 190 °F and 916 °F (on weekends), 98 and 916 (weekdays only); N5, N15 and N20 (night).
4. By tram number 19 – stop “Piazza del Risorgimento”.
5. Regional trains – stop “Roma S.Pietro”.
6. Taxi.

The best way to get to the square is from Castel Sant'Angelo along Reconciliation Street - Via della Concilazione.

Location of the square on the map

Address: Piazza San Pietro street, Vatican.

St. Peter's Square is the heart of the Vatican, the center of Catholicism and a place of pilgrimage for Christian believers.

Tourists from all over the world come to the small city-state to visit the square and see the head of the Catholic Church.

The sights of the square contain a centuries-old history, which not only believers, but also travelers come to see.

“The world is a book. And whoever has not traveled along it has read only one page of it.”

Aurelius Augustine

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

Fountains in St. Peter's Square

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

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

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

Vatican Obelisk

In the center of the square stands a red granite stele, installed here during the pontificate of Sixtus V in 1586. The only Egyptian obelisk that has remained undestroyed since ancient times previously adorned Nero's circus. The unique work associated with its relocation and installation in a new location was carried out under the leadership of the outstanding engineer and architect Domenico Fontana. Such an extraordinary event in the erection of the monument was immortalized on one of the frescoes of the Apostolic Library in the Vatican.

Sculptures decorating Vatican Square

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

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

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

Religious events in the main square of the Vatican

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

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

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

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