 it is the place of ostentation,pomp and
grandeur. The stage where the world's greatest spiritual power
displays its wealth and grandeur. The cathedral is enormous and
often limitless power of patronage especially during the
Renaissance ensured that the finest works of art by the greatest
masters, including Michelangelo and Raphael are stacked here. The
unimaginable conception, scale and beauty of the structure is yet
unbelievably pure and still enshrine the greatest of all human
feelings - adoration.
Topography
The cathedral stands at the place of an earlier circus. And
obelisk without hieroglyphics was erected and now stands in the
Piazza di S Pietro. Emperor Nero came to watch these shows that
proved very handy when Christians had to be massacred. St Peter's
crucification spot has been hollowed through tradition and an altar
marks the exact spot. Near Nero's circus ran via Cornelia, a
highway that, like others in those days, was lined with sepulchral
monuments. The Vatican hill is located very near the Tiber
River.
Basilica of Constantinople - The simple crucification spot
acquired grandiose dimensions under Constantine's rule. A
magnificent basilica was built on the southern side in the form of
a cross that was divided into five naves. It became the depositary
for much of the treasures looted in the name of marauding
Christendom. This was reflected also in the growing magnificence.
Exquisite marble decorations, rich vestments for the sacricrsty,
harmonious and grandiosely decorated and entablature and beautiful
pavements became its salient features. A covered colonnade
connected the basilica with the Porta di S. Pietro at the Castle of
Sant' Angelo and was the thoroughfare for innumerable pilgrims. It
was decided to build a palace near Basilica where the pope would
meet and bless the countless pilgrims. With time, churches,
monasteries cemetries and hospices were added to the simple tomb of
the "Fisher of Man".
HISTORY
The passage of time wreaked havoc on the original Constantine's
building and during Renaissance the need of reconstruction became
acute. Julius II called for a competition in which Bramante won,
and brought with him unlimited enthusiasm, a glorious breath of
vision and innumerable plans. His basic plan was to build the
Pantheon upon the Constantinian basilica, so that a mighty dome
would rise upon a building in the form of a Greek cross. Vociferous
conflicts arose after his death, and his original plans were all
but overturned. But when Michelangelo took control, he recognized
the brilliance of the original plan and built upon it. The building
might have been completed earlier but the delay caused it to be
inaugurated on 18th Nov. 1626 by Urban VIII. The accretions have
done the damage, cannot hide Michelangelo's original vision that
unravels at distance. The external walls glow in a brilliant golden
hue and the pure and splendid design is guaranteed to weaken your
knees.
DESCRIPTION
The 4 principal divisions stretch out from the door but are
interconnected from the passage behind the dome piers. The smaller
and the lower aisles are on the side of nave. The general
decorations include colored marble incrustations, stucco figures,
rich gilding, mosaic decoration, and marble figures on the
pilasters, ceiling, and walls. The nave ends with the 95 feet high
precious bronze baldachino, which Bernini erected for Urban VI. The
body of St. Peter's lies beneath at the "confessions of St. Peters
". The central focus is of course the tomb of St. Peters there are
also the high altar in the tribune, where you find the chair of the
Prince of Apostles, and the mighty slab of porphyry upon which the
German emperors were formerly crowned. Moving forward, don't miss
the marble reliefs of many popes on the piers, the heroic statues
of the founders of the orders that extend also over the transepts
and the nave of the tribune. In the left transept the confessionals
of St. Peter's occur and facing it stand the colossal marble
statues of Sts. Longinus, Helena, Veronica, and Andrew. Above the
statue of St. Helena the so-called great relics are displayed in
the gallery including the venerated large fragment of the True
Cross. The designs of Cavaliere d'Arpino in the form of the four
Evangelists are depicted in magnificent mosaics above the four
galleries of the dome. In the frieze above stand the proud Latin
inscription, the letters of which are six feet high: "Thou art
Peter, and upon this rock I will build My Church, and I will give
thee the keys of Heaven".
THE DOME
The easy staircase has been replaced by an elevator but the
fabulous view of the eternal city remains as astonishing as ever. A
stairway also takes you to the lantern whose external gallery
offers a site you will remember. For, the view afforded of the
garden of Vatican palace and the panoramic view of the city has few
parallels. The entire city is bounded by magnificent hills and is
indescribably beautiful. The double dome is enormous and almost as
large as a pantheon, rising to 120 mts above the floor. But it is
simply not its vastness that makes it unique. Michelangelo's dome
is not a hemisphere, but a paraboloid: its vertical thrust is made
more emphatic by the bold ribbing. The paired Corinthian columns
seem to be part of the drum, but stands away like a buttresses in
order to absorb the outward thrust of the dome's weight. The grand
arched openings just visible in the illustration but normally
invisible to viewers below, enable access (not to the public) all
around the base of the drum; they are dwarfed by the monumental
scale of their surroundings. Above, the vaulted dome rises to
Fontana's two-stage lantern, capped with a spire.
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