St.. Peter
The square is so impressive, that when visiting St.. For Peter, it is impossible to avoid a certain disappointment (codz. 7.00-19.00; Free entrance). Facade (which by no means can be considered the most successful part of the structure) obscures the dome, which can be seen from almost any other point in the city. He designed the building at the beginning of the 15th century. Bramante, but he finished, making significant changes, Carlo Moderno. As a result, the basilica tries to combine Renaissance and Baroque styles, with varying degrees of success. However, it is the most important temple of the Catholic Church, which replaced the crumbling structure, erected by Constantine at the beginning of the 4th century. at location, where the tomb of St.. Peter, and as such, whether we like it or not, it evokes admiration. The best Italian architects from the 16th and 17th centuries were employed in the construction of the basilica., and its location is of great historical importance.
In terms of dimensions, the basilica beats most churches. Contrary to typical Christian constructions (although in Rome itself it is no exception) the basilica faces west, not to the east, for this is how pagan temples were oriented, on which the first churches were modeled. Bramante originally imagined, that the basilica will be built on a Greek cross plan with a high dome above the intersection, but after his death the concept was changed. Only the very old Michelangelo returned to her, when he took over as chief architect. Michelangelo basically managed to erect the dome, but after his death, Carlo Moderno carried out a radical change of assumptions on the orders of Pope Paul V, abandoning the idea of the Greek cross. Recognized, that the Church on a Latin cross plan is more practical, because it can more easily accommodate numerous congregations. Pagan associations got rid of, which was born from the original shape, and closer to the concept of the Basilica of Constantine. As a result, however, the original idea suffered a loss - above all, the view from the square to the dome was blocked (also modified by Moderno). The interior is in the style of a developed baroque, and the creator of most of the most important works is Bernini.
INTERIOR OF THE BASILICA OF ST. PETER
Shorts are not allowed in the basilica, mini-skirts and short-sleeved shirts and this rule is very strictly followed. On the right side we can see the work of Michelangelo, Pieta, completed in the early stages of his career (at the age of 24 lat). After an act of vandalism a few years ago, the sculpture rests behind glass and seems strangely isolated from the rest of the church. Looking at Pieta, you will understand its enormous publicity: it is extremely precise, an elaborate and unique work: the flabby body of an adult man rests on the woman's lap with extraordinary grace and lightness. Michelangelo engraved his name on the strap that ran across Maria's breast, which was not typical of him, but apparently he did it on the news, that the sculpture at that time in the Basilica of Constantine was attributed to someone else.
The enormity of the building becomes more and more evident as you move along the nave, and not only thanks to the bronze juxtapositions of the lengths of other churches. Indeed, the dome is breathtaking, rising high above the tomb of St.. Peter. It is surrounded by balconies decorated with reliefs depicting the so-called "main relics" of the basilica: Veronica's scarf with the miraculous image of Christ, spear of st. Longina, which pierced the side of Christ and the fragment of the Cross - they are displayed at Easter. On the right side of the nave there is a bronze statue of St.. Peter, another of the most venerated objects in the basilica, with his right foot polished to a high shine by devout pilgrims. He carved it in the 12th century. Amolfo di Cambio. Bronze was also the material Bernini used to create the 28-meter canopy (the Palazzo Famese is the same height) cast of metal looted from the roof of the Parthenon in 1633 r. It is an almost grotesque work, at least for modern eyes, the spiral columns unknowingly parody a real canopy. However, it has an individual expression, especially in the depictions of female faces and a joyful baby on the pedestals, which were supposedly dedicated to the niece of the patron saint of Bernini, Urban VIII; for she gave birth to a child at the same time, when the sculptor was finishing work on the canopy *.
Bernini's frenetic sculptures also decorate the apse. His gigantic throne, called Cathedra Petri of marble and stucco, covers the seat, which is said to come from the chair of St.. Peter, but the thing is very doubtful. The Doctors of the Church stand around the throne, and the whole thing rises to the clouds. To the right is less showy, but the dignified tomb of Urban VIII, however, more interesting is the statue of Alexander VII carved by Bernini in the southern transept. The Pope is struggling with heavy marble drapery, and significantly points to the hourglass. It is baroque at its most melodramatic, and even the most political edition. On the left is Mercy, on the right Justice, whose foot rests on the globe, specifically in England, where, in Bernini's opinion, it was most lacking at the time.
There are countless other tombs and works of art in the basilica, and you can spend hours on each of them. However, it is better to make a selection. The treasury is accessed from the aisle (codz. 9.00-18.00; 2000 L), where, in addition to newer acquisitions, there are also works from the previous church: spiral column (other surviving columns are in the colonnade inside the dome), wall-mounted tabernacle of Donatello and rich blue and gold dalmatic, at which they were tried, that it belonged to Charlemagne (modern experts doubt this), and massive, brown, rather ugly tomb of Sixtus IV, made at the end of the 16th century. by Pollaiolo (with a supposedly very faithful image of the Pope). There is also a plaster copy of Michelangelo's Pieta, but it is viewed from a distance and through the glass cover. We return to the center of the basilica - there are stairs leading under the statue of Bernini St.. Longin to the crypt, where many popes are buried in magnificent tombs, mainly these, who have done nothing so special, to deserve a burial upstairs. There is nothing of great interest here, and because it is impossible to return to the top, the crypt is better left for the end. In the meantime, it is better to go to the other side of the basilica, from where you can get to the roof and the dome (2000 L, elevator 2500 L), but you generally need to stand in line. You can enter the dizzying gallery inside the dome, and from there to the roof, in order to look at the Square of St.. Peter. From the inner balcony, a series of steps and ramps eventually lead to the lighthouse at the top of the dome, where the views of the city are so great, as you can imagine.