19th-century drawing of St. Peter's Basilica as it is thought to have looked around 1450. The Vatican obelisk is on the left, still standing on the spot where it was erected on the orders of the Emperor Caligula in 37 AD.
Fresco showing cutaway view of Constantine's St. Peter's Basilica as it looked in the 4th century
Old St. Peter's Basilica was the church buildings that stood, from the 4th to 16th centuries, where St. Peter's Basilica stands today in Vatican City. Construction of the basilica, built over the historical site of the Circus of Nero, began during the reign of Roman Emperor Constantine I. The name "old St. Peter's Basilica" has been used since the construction of the current basilica to distinguish the two buildings.[1]
An early interpretation of the relative locations of the Circus of Nero, and the old and current Basilicas of St. PeterMaarten van Heemskerck – Santa Maria della Febbre, Vatican obelisk, Saint Peter's Basilica in construction (1532)A map, c.1590, by Tiberio Alfarano of the interior of Old Saint Peter's, noting the locations of the original chapels and tombsFontana della Pigna (1st century AD), which stood in the courtyard of the Old St. Peter's Basilica during the Middle Ages and then moved again, in 1608, to a vast niche in the wall of the Vatican facing the Cortile della Pigna, located in Vatican City, in Rome, Italy
History
Construction began by orders of the Roman Emperor Constantine I between 318 and 322, after his conversion to Christianity[3] and took about 40 years to complete. Over the next twelve centuries, the church gradually gained importance, eventually becoming a major place of pilgrimage in Rome.
Papal coronations were held at the basilica, and in 800, Charlemagne was crownedemperor of the Carolingian Empire there. In 846, Saracenssacked and damaged the basilica.[4] The raiders seem to have known about Rome's extraordinary treasures. Some holy—and impressive—basilicas, such as St. Peter's Basilica, were outside the Aurelian walls, and thus easy targets. They were "filled to overflowing with rich liturgical vessels and with jeweled reliquaries housing all of the relics recently amassed". As a result, the raiders destroyed Saint Peter's tomb[5] and pillaged the holy shrine.[6] In response Pope Leo IV built the Leonine wall and rebuilt the parts of St. Peter's that had been damaged.[7]
By the 15th century, the church was falling into ruin. Discussions on repairing parts of the structure commenced upon the pope's return from Avignon. Two people involved in this reconstruction were Leon Battista Alberti and Bernardo Rossellino, who improved the apse and partially added a multi-story benedictionloggia to the atrium façade, on which construction continued intermittently until the new basilica was begun. Alberti pronounced the basilica a structural abomination:
I have noticed in the basilica of St. Peter's in Rome a crass feature: an extremely long and high wall has been constructed over a continuous series of openings, with no curves to give it strength, and no buttresses to lend it support... The whole stretch of wall has been pierced by too many openings and built too high... As a result, the continual force of the wind has already displaced the wall more than six feet (1.8m) from the vertical; I have no doubt that eventually some... slight movement will make it collapse...[8]
At first, Pope Julius II had every intention of preserving the old building, but his attention soon turned toward tearing it down and building a new structure. Many people of the time[who?] were shocked by the proposal, as the building represented papal continuity going back to Saint Peter. The original altar was to be preserved in the new structure that housed it. The church was demolished in 1505 and construction of the new church began the following year.[9]
Design
Bronze statue of Saint Peter by Arnolfo di Cambio, dating to the 13th century
Constantine took great pains to build the basilica on the site he and Pope Sylvester I believed to be Saint Peter's grave, which had been marked since at least the second century.[1][13] This influenced the layout of the building, which was erected on the sloped Vatican Hill,[13] on the west bank of the Tiber River.[1] Notably, since the site was outside the boundaries of the ancient city, the apse with the altar was located in the west, so that the basilica's façade could be approached from Rome itself to the east. The exterior, unlike earlier pagan temples, was not lavishly decorated.[1]
The church was capable of housing from 3,000 to 4,000 worshipers at one time. It consisted of five aisles, a wide central nave and two smaller aisles to each side, which were each divided by 21 marble columns, taken from earlier pagan buildings.[14] It was over 350 feet (110m) long, built in the shape of a Latin cross, and had a gabled roof which was timbered on the interior and which stood at over 100 feet (30m) at the center. In the 6th century, an atrium—known as the "Garden of Paradise"—was added at the entrance and had five doors, which led to the body of the church.
The altar of Old St. Peter's Basilica used several Solomonic columns. According to tradition, Constantine took these columns from the Temple of Solomon and gave them to the church; however, the columns were probably from an Eastern church. When Gian Lorenzo Bernini built his baldacchino to cover the new St. Peter's altar, he drew from the twisted design of the old columns. Eight of the original columns were moved to the piers of the new St. Peter's.
Mosaics
The 1628 full-size copy in oil of the great Navicella mosaic by Giotto1673 engraving showing the Navicella mosaic's placement on the basilica
The great Navicella mosaic (1305–1313) in the atrium is attributed to Giotto di Bondone. This giant mosaic, commissioned by Cardinal Jacopo Stefaneschi, occupied the whole wall above the entrance arcade facing the courtyard. It depicted St. Peter walking on the waters. This extraordinary work was mainly destroyed during the construction of the new St. Peter's in the 16th century, but fragments were preserved. Navicella means "little ship" referring to the large boat which dominated the scene, and whose sail—filled by storm winds—loomed over the horizon. Such a natural representation of a seascape was known only from ancient works of art.
The nave ended with an arch, which held a mosaic of Constantine and Saint Peter, who presented a model of the church to Christ. On the walls, each having 11 windows, were frescoes of various people and scenes from both the Old and New Testament.[15] According to combined statements by Ghiberti and Vasari, Giotto painted five frescoes of the life of Christ and various other panels, some of which Vasari said were "either destroyed or carried away from the old structure of St. Peter's during the building of the new walls."[16]
The fragment of an 8th-century mosaic, the Epiphany, is one of the very rare remaining bits of the medieval decoration of Old St. Peter's Basilica. The precious fragment is kept in the sacristy of Santa Maria in Cosmedin. It proves the high artistic quality of the destroyed mosaics. Another one, a standing madonna, is on a side altar in the Basilica of San Marco in Florence.
Navicella mosaic – fragment in Boville Ernica
Navicella mosaic – fragment in Vatican
Mosaic of the Adoration of the Magi, today in Santa Maria in Cosmedin
Mater misericordiae, today in San Marco in Florence
Mosaic, today in the Museo Barracco
Two pairs of the original Solomonic columns now support curved pediments to form trompe-l'œilporticoes on the piers of St. Peter's
A sketch by Giacomo Grimaldi of the interior of St. Peter's during its reconstruction, showing the temporary placement of some of the tombs
Since the crucifixion and burial of Saint Peter in 64 AD, the spot was thought to be the location of the tomb of Saint Peter, where there stood a small shrine. With its increasing prestige, the church became richly decorated with statues, furnishings and elaborate chandeliers, and side tombs and altars were continuously added.[1]
The structure was filled with tombs and bodies of saints and popes. Bones continued to be found in construction as late as February 1544.
The majority of these tombs were destroyed during the 16th and 17th centuries' demolition of Old St. Peter's Basilica (save one which was destroyed during the Saracen Sack of the church in 846). The remainder were transferred, mostly just the sarcophagi or coffins and their contents, to modern St. Peter's Basilica, which stands on the site of the original basilica, and a handful of other churches of Rome.
The only papal tombs to survive the demolition and be properly reconstructed in the present St Peter's are the two from the 1490s by Antonio del Pollaiuolo, of Pope Innocent VIII and Pope Sixtus IV. These were well-regarded and innovative works, with bronze effigies by a major Florentine sculptor.[17]
Along with the repeated translations from the ancient Catacombs of Rome and two 14th century fires in the Archbasilica of Saint John Lateran, the rebuilding of St. Peter's is responsible for the destruction of approximately half of all papal tombs. As a result, Donato Bramante, the chief architect of modern St. Peter's Basilica, has been remembered as Maestro Ruinante.[18]
Front side. Tempera on wood. cm 178 × 89 (central panel); cm 168 × 83 c. (side panels); cm 45 c. × 83 c. (each section of the predella).Back side. Tempera on wood. cm 178 × 89 (central panel); cm 168 × 83 c. (side panels); cm 45 c. × 83 c. (each section of the predella).
It is a rare example in Giotto's work of a documented commission, and includes Giotto's signature, although the date, like most dates for Giotto, is disputed, and many scholars feel the artist's workshop was responsible for its execution.[20] It had long been thought to have been made for the main altar of the church; more recent research suggests that it was placed on the "canon's altar", located in the nave, just to the left of the huge arched opening into the transept.[21] It is now at the Pinacoteca Vaticana, Rome.
↑ Gardner, 57–58, gives the documentation from the obituary book of St. Peter's. Most scholars date the altarpiece to c. 1320; Gardner dates it to c. 1300; Anne Mueller von den Haegen dates it to c. 1313; Kessler dates it to between 1313 and 1320.
The Papal Basilica of Saint Peter in the Vatican, or simply Saint Peter's Basilica, is a church of the Italian High Renaissance located in Vatican City, an independent microstate enclaved within the city of Rome, Italy. It was initially planned in the 15th century by Pope Nicholas V and then Pope Julius II to replace the ageing Old St. Peter's Basilica, which was built in the fourth century by Roman emperor Constantine the Great. Construction of the present basilica began on 18 April 1506 and was completed on 18 November 1626.
The Archbasilica of Saint John Lateran is the Catholic cathedral of the Diocese of Rome in the city of Rome, and serves as the seat of the bishop of Rome, the pope. The only "archbasilica" in the world, it lies outside of Vatican City proper, which is located approximately four kilometres northwest. Nevertheless, as properties of the Holy See, the archbasilica and its adjoining edifices enjoy an extraterritorial status from Italy, pursuant to the terms of the Lateran Treaty of 1929. Dedicated to the Christ, in honor of John the Baptist and John the Evangelist, the place name, Laterano (Lateran) comes from an ancient Roman family (gens), whose palace (domus) grounds occupied the site; the adjacent Lateran Palace was the primary residence of the pope until the Middle Ages.
The Papal Basilica of Saint Paul Outside the Walls is one of Rome's four major papal basilicas, along with the basilicas of Saint John in the Lateran, Saint Peter's, and Saint Mary Major, as well as one of the city’s Seven Pilgrim Churches. The basilica is the conventual church of the adjacent Benedictine abbey. It lies within Italian territory, but the Holy See owns the basilica and it is part of the Vatican's extraterritoriality.
The Basilica of Saint Mary Major, or church of Santa Maria Maggiore, is one of the four major papal basilicas as well as one of the Seven Pilgrim Churches of Rome and the largest Marian church in Rome, Italy.
The Basilica Papale di San Lorenzo fuori le mura is a Roman Catholic papal minor basilica and parish church, located in Rome, Italy. The Basilica is one of the Seven Pilgrim Churches of Rome and one of the five papal basilicas, each of which was assigned to the care of a Latin Church patriarchate. The basilica was assigned to the Patriarchate of Jerusalem. The basilica is the shrine of the tomb of its namesake, Lawrence, one of the first seven deacons of Rome who was martyred in 258. Many other saints and Pope Pius IX are also buried at the Basilica, which is the centre of a large and ancient burial complex.
Saint Peter's tomb is a site under St. Peter's Basilica that includes several graves and a structure said by Vatican authorities to have been built to memorialize the location of Saint Peter's grave. St. Peter's tomb is alleged near the west end of a complex of mausoleums, the Vatican Necropolis, that date between about AD 130 and AD 300. The complex was partially torn down and filled with earth to provide a foundation for the building of the first St. Peter's Basilica during the reign of Constantine I in about AD 330. Though many bones have been found at the site of the 2nd-century shrine, as the result of two campaigns of archaeological excavation, Pope Pius XII stated in December 1950 that none could be confirmed to be Saint Peter's with absolute certainty. Following the discovery of bones that had been transferred from a second tomb under the monument, on June 26, 1968, Pope Paul VI said that the relics of Saint Peter had been identified in a manner considered convincing. Only circumstantial evidence was provided to support the claim.
The Lateran Palace, formally the Apostolic Palace of the Lateran, is an ancient palace of the Roman Empire and later the main papal residence in Rome.
The Basilica of Saint Francis of Assisi is the mother church of the Roman Catholic Order of Friars Minor Conventual in Assisi, a town in the Umbria region in central Italy, where Saint Francis was born and died. It is a papal minor basilica and one of the most important places of Christian pilgrimage in Italy. With its accompanying friary, Sacro Convento, the basilica is a distinctive landmark to those approaching Assisi. It has been a UNESCO World Heritage Site since 2000.
The Basilica of Saint Mary in Cosmedin is a minor basilican church in Rome, Italy, dedicated to the Virgin Mary. It is located in the rione (neighborhood) of Ripa. Constructed first in the sixth century as a diaconia (deaconry) in an area of the city populated by Greek immigrants, it celebrated Eastern rites and currently serves the Melkite Greek Catholic community of Rome. The church was expanded in the eighth century and renovated in the twelfth century, when a campanile was added. A Baroque facade and interior refurbishment of 1718 were removed in 1894–1899; the exterior was restored to twelfth-century form, while the architecture of the interior recalls the eighth century with twelfth-century furnishings. The narthex of the church contains the famous Bocca della Verità sculpture.
The Basilica of Saint Mary of the Altar in Heaven is a titular basilica and conventual church of the Franciscan Convent of Aracoeli located the highest summit of the Capitoline Hill in Rome, Italy. From 1250-1798 it was the headquarters of the General Curia of the Order of Friars Minor as well as being once of the cities principal civic churches. It is still the designated church of the city council of Rome, which uses the ancient title of Senatus Populusque Romanus. The present cardinal priest of the Titulus Sanctae Mariae de Aracoeli is Salvatore De Giorgi.
Santa Pudenziana is a church of Rome, a basilica built in the 4th century and dedicated to Saint Pudentiana, sister of Praxedes and daughter of Pudens. It is one of the national churches in Rome, associated with Filipinos.
The Solomonic column, also called barley-sugar column, is a helical column, characterized by a spiraling twisting shaft like a corkscrew. It is not associated with a specific classical order, although most examples have Corinthian or Composite capitals. But it may be crowned with any design, for example, making a Roman Doric solomonic or Ionic solomonic column.
The Basilica of St. Stephen in the Round on the Caelian Hill is an ancient basilica and titular church in Rome, Italy. Commonly named Santo Stefano Rotondo, the church is Hungary's "national church" in Rome, dedicated to both Saint Stephen, the first Christian martyr, and Stephen I, the canonized first king of Hungary. The minor basilica is also the rectory church of the Pontifical Collegium Germanicum et Hungaricum.
Santa Costanza is a 4th-century church in Rome, Italy, on the Via Nomentana, which runs north-east out of the city. It is a round building with well preserved original layout and mosaics. It has been built adjacent to a horseshoe-shaped church, now in ruins, which has been identified as the initial 4th-century cemeterial basilica of Saint Agnes. Santa Costanza and the old Saint Agnes were both constructed over the earlier catacombs in which Saint Agnes is believed to be buried.
St. Peter's Baldachin is a large Baroque sculpted bronze canopy, technically called a ciborium or baldachin, over the high altar of St. Peter's Basilica in Vatican City, the city-state and papal enclave surrounded by Rome, Italy. The baldachin is at the center of the crossing, and directly under the dome of the basilica. Designed by the Italian artist Gian Lorenzo Bernini, it was intended to mark, in a monumental way, the place of Saint Peter's tomb underneath. Under its canopy is the high altar of the basilica. Commissioned by Pope Urban VIII, the work began in 1623 and ended in 1634. The baldachin acts as a visual focus within the basilica; it is itself a very large structure and forms a visual mediation between the enormous scale of the building and the human scale of the people officiating at the religious ceremonies at the papal altar beneath its canopy.
In Old St. Peter's Basilica, the papal tombs were the final resting places of the popes, most of which dated from the 5th to 16th centuries. The majority of these tombs were destroyed during the 16th through 17th century demolition of the basilica, except for one which was destroyed during the Saracen Sack of the church in 846 CE. The remainder were transferred in part to new St. Peter's Basilica, which stands on the site of the original basilica.
The Stefaneschi Altarpiece is a triptych by the Italian painter Giotto, from c. 1320. It was commissioned by Cardinal Giacomo Gaetani Stefaneschi to serve as an altarpiece for one of the altars of Old St. Peter's Basilica in Rome. It is now at the Pinacoteca Vaticana, in Rome.
Giotto di Bondone, known mononymously as Giotto, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period. Giotto's contemporary, the banker and chronicler Giovanni Villani, wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature" and of his publicly recognized "talent and excellence". Giorgio Vasari described Giotto as making a decisive break from the prevalent Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years".
The Navicella or Bark of St. Peter, of Old Saint Peter's Basilica in Rome, was a large and famous mosaic by Giotto di Bondone that occupied a large part of the wall above the entrance arcade, facing the main facade of the basilica across the courtyard. It depicted the version from the Gospel of Matthew of Christ walking on the water, the only one of the three gospel accounts where Saint Peter is summoned to join him. It was almost entirely destroyed during the construction of the new Saint Peter's Basilica in the 17th century, but fragments were preserved from the sides of the composition, and what is effectively a new work, incorporating some original fragments, was restored to a position at the centre of the portico of the new building in 1675.
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