Basilika Santo Petrus

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Kepausan Basilika Santo Petrus

Basilica Sancti Petri (Latin)
Basilica di San Pietro Papale di Vaticano (Italia)

Bagian dalam Basilika Santo Petrus oleh Giovanni Paolo

Pannini
Informasi dasar
Lokasi
Kota Vatikan
Koordinat geografis 41 ° 54'8 "N12 ° 27'12" EKoordinat : 41
° 54'8 "N 12 ° 27'12" E
Afiliasi Katolik Roma
Tahun ditahbiskan 1626
Gerejawi atau status Mayor basilika
organisasi
Website Situs web resmi(Italia)
Arsitektur deskripsi
Arsitek (s) Donato Bramante
Antonio da Sangallo Muda
Michelangelo
Jacopo da Barozzi Vignola
Giacomo della Porta
 Carlo Maderno
Gianlorenzo Bernini
Gaya arsitektur Renaissance danBaroque
Inovatif 1506
Selesai 1626
Spesifikasi
Kapasitas 60,000 +
Panjang 730 kaki (220 m)
Lebar 500 kaki (150 m)
Tinggi (maks) 452 kaki (138 m)
Dome dia. (Luar) 137,7 kaki (42,0 m)
Dome dia. (Dalam) 136,1 kaki (41,5 m)
Para Paus Basilika Santo Petrus ( Latin : Basilica Sancti
Petri), secara resmi dikenal di Italia sebagai Papale Basilika di San
Pietro di Vaticano dan umumnya dikenal sebagai St Peter's
Basilica, adalah Renaissance Terlambat gereja yang terletak diKota
Vatikan . Santo Petrus Basilika memiliki bagian terbesar dari setiap
gereja Kristen di dunia, memegang 60.000 orang. [1]Hal ini dianggap
sebagai salah satu situs Katolik tersuci. Ini telah digambarkan sebagai
"memegang posisi yang unik di dunia Kristen" [2] dan sebagai "yang
terbesar di antara semua gereja-gereja Kristen ". [3]
Dalam Katolik tradisi, basilika adalah situs pemakaman yang
senama Santo Petrus , yang merupakan salah satu dari dua belas
rasul dari Yesus dan, menurut tradisi, pertama Uskup Roma dan
karenanya pertama dalam garis suksesi kepausan. Tradisi dan
beberapa memegang bukti sejarah bahwa makam Santo Petrus ini
langsung di bawah altar basilika. Untuk alasan ini, banyakPaus telah
dimakamkan di St Peter's sejak periode Kristen awal. Telah ada
gereja di situs ini sejak abad ke-4. Konstruksi basilika ini, lebih dari
yang lama Konstantinus basilika, dimulai pada 18 April 1506 dan telah
selesai pada tanggal 18 November 1626. [4]
Santo Petrus terkenal sebagai tempat ziarah , untuk yang liturgi fungsi
dan untuk asosiasi sejarah. Hal ini terkait dengankepausan ,
dengan reformasi-Counter dan dengan banyak seniman, yang paling
penting Michelangelo . Sebagai sebuah karya arsitektur, itu dianggap
sebagai bangunan terbesar dari umurnya. [5] Berlawanan dengan
kesalahpahaman yang populer, Santo Petrus bukanlah katedral ,
karena ini bukan kursi dari uskup. Ini adalah benar disebut
sebagai basilika kepausan . The Basilika Santo Yohanes
Lateran adalah gereja katedral di Roma.

Isi
[hide]
• 1 Ikhtisar
• 2 Status
• 3 Sejarah
○ 3.1 Pemakaman tempat Santo Petrus
○ 3.2 Peter St Tua
○ 3.3 Rencana untuk membangun kembali
○ 3.4 Pembiayaan dengan Indulgensi
• 4 Arsitektur
○ 4.1 Berturut-turut rencana
○ 4.2 Michelangelo kontribusi
○ 4.3 Dome - desain berturut-turut dan solusi akhir
 4.3.1 Bramante dan Sangallo, 1506 dan 1513
 4.3.2 Michelangelo dan Giacomo della Porta, 1547 dan
1585
 4.3.3 Penyelesaian
 4.3.4 Penemuan Michelangelo draft
○ 4.4 Perubahan Rencana
 4.4.1 Maderno's façade
 4.4.2 Narthex dan portal
 4.4.3 Maderno's nave
 ○ 4.5 Pengaruh pada arsitektur gereja
• 5 Bernini perabotan
○ 5.1 Paus Urban VIII dan Bernini
 5.1.1 Baldacchino dan niche
 5.1.2 cathedra Petri dan Kapel Sakramen Mahakudus
• 6 St Petrus Piazza
• 7 Treasures
○ 7.1 Kuburan dan peninggalan
○ 7.2 Artworks
 7.2.1 Menara dan narthex
 7.2.2 nave The
 7.2.3 lorong Utara
 7.2.4 lorong Selatan
• 8 Archpriests Santo Petrus Basilika sejak 1053
• 9 Spesifikasi
• 10 Catatan
• 11 Referensi
• 12 Pranala luar

[ sunting ]Ikhtisar
Panorama St Peter's square
Basilika Santo Petrus adalah gereja besar [4] dalam gaya Renaisans
yang terletak di barat Roma dari Sungai Tiber dan dekat Hill
Janiculum dan Hadrian Makam . utamanya kubahmendominasi
pemandangan kota Roma. Basilika didekati melalui St Peter's Piazza ,
sebuah halaman depan dalam dua bagian, baik dikelilingi oleh tiang-
tiang tinggi. Ruang pertama adalah oval dan trapesium kedua. Fasad
basilika, dengan urutan raksasa kolom, membentang di ujung alun-
alun dan didekati dengan langkah-langkah yang berdiri dua 5,55
meter (18,2 ft) patung para rasul abad ke-1 ke Roma, Santo
Petrus dan Santo Paulus . [6] [7]
Basilika ini salib di bentuk, dengan nave memanjang di salib
Latin formulir tetapi desain awal adalah untuk struktur direncanakan
terpusat dan ini masih dalam bukti dalam arsitektur.Ruang pusat yang
didominasi baik eksternal dan internal oleh salah satu kubah terbesar
di dunia. Pintu masuk adalah melalui narthex , atau pintu masuk, yang
membentang di seluruh bangunan. Salah satu pintu perunggu dihiasi
terkemuka dari narthex adalah Pintu Suci , hanya dibuka pada Tahun
Kudus . [6]
Interior dimensi luas dibandingkan dengan gereja-gereja
lain. [4] Seorang penulis menulis: "Hanya secara bertahap
melakukannya fajar kepada kita - seperti kita melihat orang menarik
dekat ini atau monumen itu, anehnya mereka muncul untuk
mengecilkan, mereka adalah, Tentu saja, dikerdilkan oleh skala dari
segala sesuatu dalam membangun. Hal ini pada gilirannya menguasai
kita. " [8]
Basilika Santo Petrus dari Sungai Tiber . Kubah ikon mendominasi kaki
langit Roma .

Ada nave barel-kubah, tertinggi gereja apapun, yang mengarah ke

kubah pusat. Gang lebih rendah dan memiliki sejumlah kapel dari
mereka. Ada juga kapel sekitar kubah pusat. Bergerak sekitar basilika
searah jarum jam mereka adalah: Baptistery , Kapel dariPresentasi
Perawan , Choir besar Chapel, yang Clementine Kapel dengan
mezbah St Gregorius , yang Sacristi Entrance, kiri transeptdengan
altar ke Penyaliban Santo Petrus , St Joseph dan St Thomas ,
mezbah Hati Kudus , Kapel Madonna dari Colonna, mezbah Santo
Petrus dan Paralytic, yang apsis dengan St Peter's cathedra, altar
Santo Petrus menaikkan Tabitha, yang mezbah Michael malaikat ,
mezbah Navicella , transept kanan dengan altar St Erasmus , Saints
Processo dan Martiniano, dan St Wenceslas , mezbahSt Basil , Kapel
Gregorian dengan mezbah Madonna dari Succour, semakin besar
Kapel Sakramen Kudus , Kapel St Sebastian dan Kapel Pieta ini. [6]
Seluruh interior mewah dihiasi dengan marmer, relief, patung
arsitektur dan penyepuhan. Basilika berisi sejumlah besar kuburan
paus dan orang terkenal lainnya, banyak yang dianggap karya seni
yang luar biasa. Ada juga sejumlah patung di relung dan kapel,
termasukMichelangelo s ' Pieta . Fitur sentral adalah baldachin , atau
kanopi atas mezbah Kepausan, dirancang oleh Gianlorenzo
Bernini . Parakudus memuncak dalam ansambel patung, juga oleh
Bernini, dan mengandung Ketua simbolis Santo Petrus.
Seorang pengamat menulis:. "St Peter's Basilica adalah alasan
mengapa Roma masih merupakan pusat dunia beradab Untuk alasan
agama, sejarah, dan arsitektur itu dengan sendirinya membenarkan
perjalanan ke Roma, dan interior yang menawarkan palimpsest gaya
seni pada mereka terbaik ... " [9]
Filsuf Amerika Ralph Waldo Emerson St Petrus digambarkan sebagai
"hiasan berupa bumi .... yang sublim yang indah." [10]
[ sunting ]Status
Paus Benediktus XVI setelah merayakan Misa di Lapangan Santo Petrus

Basilika Santo Petrus adalah salah satu dari empat basilika

kepausan atau Mayor basilika dari Roma [11] yang lainnya
adalah Basilika Santo Yohanes Lateran , Santa Maria
Maggiore dan St Paulus di luar Walls . Ini adalah bangunan yang
paling menonjol di Kota Vatikan . kubah nyaadalah fitur dominan yang
memukau Roma. Mungkin terbesar gereja di Kristen , [1] itu mencakup
area seluas 2,3 hektar (5,7 hektar ) dan memiliki kapasitas lebih dari
60.000 orang. Salah satu situs tersuci dari Kristen dalam Tradisi
Katolik, secara tradisional tempat pemakaman tituler nya Santo
Petrus , yang merupakan salah satu dari dua belas
rasul dari Yesus dan, menurut Katolik Tradisi, juga yang
pertama Uskup Antiokhia , dan kemudian pertama Uskup Roma ,
Paus pertama. Walaupun Perjanjian Baru tidak menyebutkan's
kemartiran Petrus di Roma, tradisi Katolik berpendapat bahwa
makamnya berada di bawah baldachin dan mezbah, karena alasan
ini, banyak Paus , dimulai dengan yang pertama, telah dimakamkan di
sana. Pembangunan basilika saat ini, selama basilika Konstantinus
tua, dimulai pada tanggal 18 April 1506.Akhirnya pada tanggal 18
November 1626, Paus Urbanus VIII dengan khidmat didedikasikan
gereja. [4]
Basilika Santo Petrus bukan kursi resmi Paus atau peringkat pertama
di antara basilika Utama Roma. kehormatan ini diselenggarakan oleh
Paus katedral, Basilika Santo Yohanes Lateran . Namun, hampir pasti
gereja utama Paus, dengan upacara Kepausan yang paling
mengambil tempat di dekat Santo Petrus karena ukurannya, untuk
tempat tinggal Kepausan, dan lokasi dalam tembok Kota Vatikan. The
" Kursi Santo Petrus "atau cathedra , sebuah kursi kuno kadang-
kadang dianggap telah digunakan oleh Santo Petrus sendiri, tapi yang
merupakan hadiah dari Charles yang Gundul dan digunakan oleh
berbagai paus, melambangkan garis terus suksesi apostolik dari St
Peter paus ini. Ia menempati posisi tinggi di apsis, yang didukung
secara simbolis oleh Dokter Gereja , dan tercerahkan secara simbolis
oleh Roh Kudus . [12]
[ sunting ]Sejarah

[ sunting ]Situs Penguburan Santo Petrus

Artikel utama: makam Santo Petrus
Setelah penyaliban Yesus pada kuartal kedua abad ke-1 Masehi,
tercatat dalam kitab Bibel tentang Kisah Para Rasul bahwa salah satu
dari dua belas murid-Nya, Simon dikenal sebagai Petrus , seorang
nelayan dari Galilea , mengambil posisi kepemimpinan di antara
'pengikut Yesus dan adalah sangat penting dalam pendirian Gereja
Kristen . Nama Petrus adalah "Petrus" dalam bahasa Latin dan
"Petros" dalam bahasa Yunani, berasal dari "petra" yang berarti "batu"
atau "batu" dalam bahasa Yunani .
Hal ini diyakini oleh tradisi lama bahwa Petrus, setelah pelayanan
sekitar tiga puluh tahun, pergi ke Roma dan bertemu di syahid di sana
pada tahun 64 AD selama masa pemerintahanKaisar
Romawi Nero . eksekusi-Nya adalah salah satu dari banyak mati
syahid Kristen mengikuti Kebakaran Besar Roma . Menurut Origenes ,
Petrus disalibkan kepala ke bawah, atas permintaan sendiri karena ia
menganggap dirinya tidak layak untuk mati dengan cara yang sama
seperti Kristus. [13] penyaliban terjadi di dekat sebuah obelisk Mesir
kuno di Circus Nero . [14] The obelisk sekarang berdiri di Saint Peter's
Square dan dihormati sebagai "saksi" untuk kematian Peter. Ini
adalah salah satu dari beberapa kuno obelisk dari Roma . [15]
Menurut tradisi, Petrus tetap dikuburkan di luar Circus, di Vaticanus
Mons di Via Cornelia dari Circus, kurang dari 150 meter (490 kaki)
dari tempatnya kematian. The Cornelia Via (yang mungkin telah
dikenal dengan nama lain ke Roma kuno) adalah jalan yang berlari
timur-ke-barat sepanjang dinding utara Circus atas tanah sekarang
dilindungi oleh bagian selatan dari Basilika dan Saint Peter's
Square. makam Petrus awalnya ditandai hanya dengan batu merah,
simbolis namanya, tapi berarti untuk non-Kristen. [ rujukan? ] kuil telah
dibangun di situs ini beberapa tahun kemudian. Hampir tiga ratus
tahun kemudian, Old Basilika Santo Petrus dibangun atas situs ini. [14]
Pada tahun 1939, pada masa pemerintahan Paus Pius XII, 10 tahun
penelitian arkeologi dimulai, di bawah ruang bawah tanah basilika,
daerah tidak bisa diakses sejak abad ke-9.Memang, daerah yang
sekarang tercakup oleh Kota Vatikan telah menjadi kuburan untuk
beberapa tahun sebelum Circus Nero dibangun. Itu adalah tanah
pemakaman untuk eksekusi banyak di Circus dan berisi penguburan
Kristen banyak, mungkin karena selama bertahun-tahun setelah
pemakaman Santo Petrus banyak orang Kristen memilih untuk
dikubur di dekatnya. Penggalian mengungkapkan sisa-sisa kuil dari
periode yang berbeda pada tingkat yang berbeda, dari Klemens VIII
(1594) untuk Callixtus II (1123) dan Gregorius I (590-604), dibangun di
atas sebuah aedicula mengandung fragmen tulang yang terlipat
dalam jaringan dengan dekorasi emas, berwarna dengan Murex
berharga ungu. Meskipun tidak dapat ditentukan dengan pasti bahwa
tulang adalah mereka dari Petrus, vestimentum langka mengusulkan
penguburan yang sangat penting. Pada tanggal 23 Desember 1950,
dalam siaran radio pra-Natal kepada dunia, Paus Pius
XII mengumumkan penemuan makam Santo Petrus . [16]
Pandangan bersifat terkaan dari Old Basilika Santo Petrus oleh HW Brewer, 1891

[ edit ]Old Santo Petrus

Artikel utama: Old Basilika Santo Petrus
Old Basilika Santo Petrus adalah abad keempat gereja dimulai
oleh Kaisar Konstantin antara 326 dan 333 Masehi. Itu khas
basilicalLatin Cross formulir dengan mengakhiri apsidal di mimbar,
seorang nave lebar dan dua gang di kedua sisinya. Itu lebih dari 103.6
meter (340 kaki) panjang, dan pintu masuk didahului oleh colonnaded
besar atrium . Gereja ini telah dibangun di atas kuil kecil diyakini untuk
menandai tempat penguburan St Petrus. Isinya jumlah yang sangat
besar penguburan dan kenangan, termasuk sebagian besar paus dari
St Petrus untuk abad ke-15. Seperti semua dari gereja-gereja awal di
Roma, [17] kedua gereja ini dan penggantinya memiliki pintu masuk di
sebelah timur dan apsis di ujung barat bangunan. Sejak
pembangunan basilika saat ini, nama Old Basilika Santo Petrus telah
digunakan untuk pendahulunya untuk membedakan dua bangunan. [18]
[ sunting ]Rencana untuk membangun kembali
Pada akhir abad ke-15, yang telah diabaikan selama periode
dari Kepausan Avignon , basilika tua itu dalam perbaikan
buruk. Tampaknya paus pertama untuk mempertimbangkan kembali,
atau setidaknya membuat perubahan radikal Paus Nicholas V (1447-
1455). Dia menugaskan bekerja pada bangunan tua dari Leone
Battista Alberti dan Bernardo Rossellino dan juga mendapat
Rossellino untuk merancang sebuah rencana untuk sebuah basilika
baru seluruhnya, atau modifikasi ekstrem yang lama. pemerintahan-
Nya frustrasi oleh masalah politik dan ketika dia meninggal, sedikit
yang telah dicapai. [14] Dia telah, bagaimanapun, memerintahkan
pembongkaran Colosseum dan pada saat kematiannya, 2522
cartloads batu telah diangkut untuk digunakan dalam gedung
baru. [14] [19]
Pada tahun 1505, Paus Julius II , gagal memperhatikan peringatan
bahwa kematian Nicholas V merupakan pertanda bagi mereka yang
mungkin mengganggu dengan St Petrus, dalam rangka untuk
memuliakan Roma dan juga tak diragukan lagi untuk-nya sendiri
membesarkan diri, [5] membuat keputusan untuk menghancurkan
bangunan kuno dan menggantinya dengan sesuatu yang
megah. Sebuah kompetisi diadakan, dan sejumlah desain telah
bertahan di Galeri Uffizi . Sebuah suksesi paus dan arsitek diikuti
dalam 120 tahun ke depan, usaha gabungan mereka yang
mengakibatkan di gedung ini. Skema dimulai oleh Julius II terus
melalui reigns dari Leo X (1513-1521), Hadrian VI (1522-
1523). Klemens VII (1523-1534),Paus Paulus III (1534-1549), Julius
III (1550-1555) , Marcellus II (1555), Paulus IV (1555-1559), Pius
IV (1559-1565), Pius V (suci) (1565-1572), Gregory XIII (1572-
1585), Sixtus V (1585-1590), Urban VII (1590), Gregory XIV (1590-
1591), IX Innocent (1591), Klemens VIII (1592-1605), Leo
XI (1605), Paul V (1605-1621), Gregory XV (1621-1623), Urban
VIII (1623-1644) danInnocent X (1644-1655).
[ sunting ]Pembiayaan dengan Indulgensi
Salah satu metode yang digunakan untuk membiayai pembangunan
Basilika Santo Petrus adalah pemberian indulgensi sebagai imbalan
atas kontribusi. Sebuah promotor utama dari metode pengumpulan
dana adalah Albrecht, Uskup Agung Mainz dan Magdeburg , yang
harus melunasi hutang-hutang berutang kepada Kuria
Romawi dengan memberikan kontribusi kepada program
pembangunan kembali. Untuk memfasilitasi ini, ia menunjuk
Jerman Dominika pengkhotbah Johann Tetzel , yang keahlian menjual
memicu skandal. [20]
Seorang Jerman Augustinian imam, Martin Luther , menulis kepada
Uskup Agung Albrecht berdebat melawan ini "penjualan
indulgensi". Dia juga termasuk nya "Perdebatan dari Martin Luther
pada Kekuatan dan Keampuhan of Indulgence", yang kemudian
dikenal sebagai The 95 Tesis . [21] Hal ini menjadi faktor dalam
memulai Reformasi , kelahiran Protestantisme .
[ sunting ]Arsitektur

[ sunting ]rencana Berturutan

Bramante rencana
Raphael rencana

Michelangelo rencana, diperpanjang dengan nave Maderna dan fasad

Julius 'skema Paus untuk bangunan termegah di Kristen [5] adalah

subyek kompetisi yang beberapa entri tetap utuh di Galeri Uffizi,
Florence. Itu adalah desain Donato Bramante yang dipilih, dan untuk
yang batu fondasi diletakkan di 1506. Rencana ini dalam bentuk yang
sangat besar Cross Yunani dengan kubah terinspirasi oleh bahwa dari
Romawi candi melingkar besar, Pantheon . [5] Perbedaan utama
antara's desain Bramante dan bahwa dari Pantheon adalah bahwa
dimana kubah Pantheon adalah didukung oleh dinding yang terus
menerus, bahwa dari basilika baru harus didukung hanya pada empat
pilar besar. Fitur ini dipertahankan dalam desain akhir. Teman-kubah
Bramante itu harus diatasi oleh lentera dengan kubah yang kecil,
tetapi sebaliknya sangat mirip dalam bentuk dengan lentera
Renaissance Awal Katedral Florence dirancang untuk Teman-kubah
Brunelleschi oleh Michelozzo . [22]
Bramante telah membayangkan bahwa kubah pusat dikelilingi oleh
empat kubah yang lebih rendah pada sumbu diagonal. lengan yang
mimbar yang sama, nave dan transept masing-masing menjadi dua
teluk berakhir di sebuah apsis. Pada setiap sudut bangunan itu untuk
berdiri menara, sehingga rencana secara keseluruhan adalah persegi,
dengan apses memproyeksikan pada titik-titik kardinal. apsis Masing-
masing memiliki dua radial besar penopang, yang persegi setengah
lingkaran bentuknya. [23]
Ketika Paus Julius meninggal pada tahun 1513, Bramante diganti
dengan Giuliano da Sangallo , Fra Giocondo dan Raphael . Sangallo
dan Fra Giocondo keduanya meninggal di 1515, Bramante dirinya
harus mati tahun sebelumnya. Perubahan utama dalam rencana
Raphael adalah nave lima teluk, dengan deretan kapel apsidal
kompleks dari gang-gang di kedua sisinya. rencananya Raphael untuk
mimbar dan transept membuat kuadrat dari dinding eksterior yang
lebih pasti dengan mengurangi ukuran menara, dan semi-melingkar
apses lebih jelas didefinisikan oleh mengelilingi masing-masing
dengan rawat jalan. [24]
Pada 1520 Raphael juga meninggal, usia 37, dan
penggantinya Baldassare Peruzzi dipelihara perubahan yang Raphael
telah mengusulkan pengaturan internal dari tiga apses utama, tapi
selain dikembalikan ke rencana Cross Yunani dan fitur lain dari
Bramante. [25] Rencana ini tidak tidak pergi ke depan karena berbagai
kesulitan baik gereja dan negara. Pada 1527 Roma dipecat dan
dirampok oleh Kaisar Charles V meninggal. Peruzzi pada tahun 1536
tanpa disadari rencananya. [5]
Pada titik ini Antonio da Sangallo Muda menyampaikan rencana yang
menggabungkan fitur Peruzzi, Raphael dan Bramante dalam desain
bangunan dan meluas ke nave pendek dengan lebar façade dan
serambi proyeksi dinamis. proposal-Nya untuk kubah jauh lebih rumit
dari kedua struktur dan dekorasi daripada Bramante dan termasuk
tulang rusuk pada eksterior. Seperti Bramante, Sangallo mengusulkan
agar kubah akan diatasi oleh lentera yang didesain ulang untuk dan
jauh lebih rumit bentuk yang lebih besar. [26] praktis kontribusi utama
Sangallo adalah untuk memperkuat's dermaga Bramante yang mulai
retak. [14]
Pada tanggal 1 Januari 1547 pada masa pemerintahan Paus Paulus
III, Michelangelo, maka tujuh puluhan, berhasil Sangallo Muda
sebagai "Capomaestro", pengawas dari program pembangunan di St
Peter's. [27] Ia dianggap sebagai pokok desainer sebagian besar
bangunan seperti berdiri hari ini, dan sebagai membawa
pembangunan ke titik di mana itu dapat dilakukan melalui. Dia tidak
mengambil pekerjaan dengan kesenangan, melainkan dipaksakan
kepadanya oleh Paus Paulus, frustrasi kematian dipilih
kandidat, Giulio Romano dan penolakan Jacopo Sansovino untuk
meninggalkan Venesia. Michelangelo menulis "Saya melakukan ini
hanya untuk kasih Allah dan menghormati para Rasul." He insisted
that he should be given a free hand to achieve the ultimate aim by
whatever means he saw fit. [ 14 ]
[ edit ]Michelangelo's contribution
Michelangelo took over a building site at which four piers, enormous
beyond any constructed since the days of Ancient Rome, were rising
behind the remaining nave of the old basilica. He also inherited the
numerous schemes designed and redesigned by some of the greatest
architectural and engineering minds of the 16th century. There were
certain common elements in these schemes. They all called for a
dome to equal that engineered byBrunelleschi a century earlier and
which has since dominated the skyline of Renaissance Florence, and
they all called for a strongly symmetrical plan of either Greek Cross
form, like the iconic St. Mark's Basilica in Venice, or of a Latin Cross
with the transepts of identical form to the chancel as atFlorence
Cathedral .
Even though the work had progressed only a little in 40 years,
Michelangelo did not simply dismiss the ideas of the previous
architects. He drew on them in developing a grand vision. Above all,
Michelangelo recognized the essential quality of Bramante's original
design. He reverted to the Greek Cross and, as Helen Gardner
expresses it: "Without destroying the centralising features of
Bramante's plan, Michelangelo, with a few strokes of the pen
converted its snowflake complexity into massive, cohesive unity." [ 28 ]
As it stands today, St. Peter's has been extended with a nave by Carlo
Maderno . It is the chancel end (the ecclesiastical "Eastern end") with
its huge centrally placed dome that is the work of Michelangelo.
Because of its location within the Vatican State and because the
projection of the nave screens the dome from sight when the building
is approached from the square in front of it, the work of Michelangelo
is best appreciated from a distance. What becomes apparent is that
the architect has greatly reduced the clearly defined geometric forms
of Bramante's plan of a square with square projections, and also of
Raphael's plan of a square with semi-circular
projections. [ 29 ] Michelangelo has blurred the definition of the
geometry by making the external masonry of massive proportions and
filling in every corner with a small vestry or stairwell. The effect
created is of a continuous wall-surface that is folded or fractured at
different angles, but lacks the right-angles which usually define
change of direction at the corners of a building. This exterior is
surrounded by a giant order of Corinthian pilasters all set at slightly
different angles to each other, in keeping with the ever-changing
angles of the wall's surface. Above them the huge cornice ripples in a
continuous band, giving the appearance of keeping the whole building
in a state of compression. [ 30 ]
[ edit ]Dome - successive designs and final solution

Bramante's dome

The dome of St. Peter's rises to a total height of 136.57 metres (448.1
ft) from the floor of the basilica to the top of the external cross. It is the
tallest dome in the world. [ 31 ] Its internal diameter is 41.47 metres
(136.1 ft), being just slightly smaller than two of the three other huge
domes that preceded it, those of the Pantheon of Ancient
Rome and Florence Cathedral of the Early Renaissance . It has a
greater diameter by approximately 30 feet (9.1 m) than that of the third
great dome, Constantinople's Hagia Sophia church, completed in 537.
It was to the domes of the Pantheon and Florence duomo that the
architects of St. Peter's looked for solutions as to how to go about
building what was conceived, from the outset, as the greatest dome of
Christendom.
[ edit ]Bramante and Sangallo, 1506 and 1513
The dome of the Pantheon , 43.3 metres (142 ft), (the widest dome in
the world until the 19th century), stands on a circular wall with no
entrances or windows except a single door. The whole building is as
high as it is wide. Its dome is constructed in a single shell of concrete ,
made light by the inclusion of a large amount of the volcanic stones
tufa and pumice. The inner surface of the dome is
deeply coffered which has the effect of creating both vertical and
horizontal ribs, while lightening the overall load. At the summit is an
ocular opening 8 metres (26 ft) across which provides light to the
interior. [ 5 ]
Bramante's plan for the dome of St. Peter's (1506) follows that of the
Pantheon very closely, and like that of the Pantheon, was designed to
be constructed in tufa concrete for which he had rediscovered a
formula. With the exception of the lantern that surmounts it, the profile
is very similar, except that in this case the supporting wall becomes
a drum raised high above ground level on four massive piers. The
solid wall, as used at the Pantheon, is lightened at St. Peter's by
Bramante piercing it with windows and encircling it with a peristyle .
Sangallo's design

In the case of Florence Cathedral , the desired visual appearance of

the pointed dome existed for many years before Brunelleschi made its
construction feasible. [ 32 ] Its double-shell construction of bricks locked
together in herringbone pattern (re-introduced from Byzantine
architecture), and the gentle upward slope of its eight stone ribs made
it possible for the construction to take place without the massive
wooden formwork necessary to construct hemispherical arches. While
its appearance, with the exception of the details of the lantern, is
entirely Gothic, its engineering was highly innovative, and the product
of a mind that had studied the huge vaults and remaining dome of
Ancient Rome. [ 22 ]
Sangallo's plan (1513), of which a large wooden model still exists,
looks to both these predecessors. He realised the value of both the
coffering at the Pantheon and the outer stone ribs at Florence
Cathedral. He strengthened and extended the peristyle of Bramante
into a series of arched and ordered openings around the base, with a
second such arcade set back in a tier above the first. In his hands, the
rather delicate form of the lantern, based closely on that in Florence,
became a massive structure, surrounded by a projecting base, a
peristyle and surmounted by a spire of conic form. [ 26 ] According to
James Lees-Milne the design was "too eclectic, too pernickety and too
tasteless to have been a success". [ 14 ]
[ edit ]Michelangelo and Giacomo della Porta, 1547 and
1585

St. Peter's Basilica from Castel Sant'Angeloshowing the dome rising behind
Maderna's facade.

Michelangelo redesigned the dome in 1547, taking into account all

that had gone before. His dome, like that of Florence , is constructed
of two shells of brick, the outer one having 16 stone ribs, twice the
number at Florence but far fewer than in Sangallo's design. As with
the designs of Bramante and Sangallo, the dome is raised from the
piers on a drum. The encircling peristyle of Bramante and the arcade
of Sangallo are reduced to 16 pairs of Corinthian columns, each of
15 metres (49 ft) high which stand proud of the building, connected by
an arch. Visually they appear to buttress each of the ribs, but
structurally they are probably quite redundant. The reason for this is
that the dome is ovoid in shape, rising steeply as does the dome of
Florence Cathedral, and therefore exerting less outward thrust than
does a hemispherical dome, such as that of the Pantheon, which,
although it is not buttressed, is countered by the downward thrust of
heavy masonry which extends above the circling wall. [ 5 ] [ 14 ]
The ovoid profile of the dome has been the subject of much
speculation and scholarship over the past century. Michelangelo died
in 1564, leaving the drum of the dome complete, and Bramante's piers
much bulkier than originally designed, each 18 metres (59 ft) across.
On his death the work continued under his assistant Jacopo Barozzi
da Vignola with Giorgio Vasari appointed by Pope Pius V as a
watchdog to make sure that Michelangelo's plans were carried out
exactly. Despite Vignola's knowledge of Michelangelo's intentions,
little happened in this period. In 1585 the energetic Pope Sixtus
appointed Giacomo della Porta who was to be assisted by Domenico
Fontana. The five year reign of Sixtus was to see the building advance
at a great rate. [ 14 ]

The engraving by Stefan du Pérac was published in 1569, five years after the death
of Michelangelo.

Michelangelo left a few drawings, including an early drawing of the

dome, and some drawings of details. There were also detailed
engravings published in 1569 by Stefan du Pérac who claimed that
they were the master's final solution. Michelangelo, like Sangallo
before him, also left a large wooden model. Giacomo della Porta
subsequently altered this model in several ways, in keeping with
changes that he made to the design. Most of these changes were of a
cosmetic nature, such as the adding of lion's masks over the swags
on the drum in honour of Pope Sixtus and adding a circlet of finials
around the spire at the top of the lantern, as proposed by Sangallo.
The major change that was made to the model, either by della Porta,
or Michelangelo himself before his death, was to raise the outer dome
higher above the inner one. [ 14 ]
A drawing by Michelangelo indicates that his early intentions were
towards an ovoid dome, rather than a hemispherical one. [ 28 ] Stefan
du Pérac's engraving shows a hemispherical dome, but this was
perhaps an inaccuracy of the engraver. The profile of the wooden
model is more ovoid than that of the engraving, but less so than the
finished product. It has been suggested that Michelangelo on his
death bed reverted to the more pointed shape. However Lees-Milne
cites Giacomo della Porta as taking full responsibility for the change
and as indicating to Pope Sixtus that Michelangelo was lacking in the
scientific understanding of which he himself was capable. [ 14 ]
Helen Gardner suggests that Michelangelo made the change to the
hemispherical dome of lower profile in order to establish a balance
between the dynamic vertical elements of the encircling giant order of
pilasters and a more static and reposeful dome. Gardner also
comments "The sculpturing of architecture [by Michelangelo]... here
extends itself up from the ground through the attic stories and moves
on into the drum and dome, the whole building being pulled together
into a unity from base to summit." [ 28 ]
It is this sense of the building being sculptured, unified and "pulled
together" by the encircling band of the deep cornice that led Eneide
Mignacca to conclude that the ovoid profile, seen now in the end
product, was an essential part of Michelangelo's first (and last)
concept. The sculptor/architect has, figuratively speaking, taken all the
previous designs in hand and compressed their contours as if the
building were a lump of clay. The dome must appear to thrust upwards
because of the apparent pressure created by flattening the building's
angles and restraining its projections. [ 30 ] If this explanation is the
correct one, then the profile of the dome is not merely a structural
solution, as perceived by Giacomo della Porta; it is part of the
integrated design solution that is about visual tension and
compression. In one sense, Michelangelo's dome may appear to look
backward to the Gothic profile of Florence Cathedral and ignore
the Classicism of the Renaissance, but on the other hand, perhaps
more than any other building of the 16th century, it prefigures the
architecture of the Baroque . [ 30 ]
[ sunting ]Penyelesaian
The dome was brought to completion by Giacomo della Porta and Fontana.

Giacomo della Porta and Fontana brought the dome to completion in

1590, the last year of the reign of Sixtus V . His successor, Gregory
XIV , saw Fontana complete the lantern and had an inscription to the
honour of Sixtus V placed around its inner opening. The next
pope, Clement VIII , had the cross raised into place, an event which
took all day, and was accompanied by the ringing of the bells of all the
city's churches. In the arms of the cross are set two lead caskets, one
containing a fragment of the True Cross and a relic of St. Andrew and
the other containing medallions of the Holy Lamb.[ 14 ]
In the mid-18th century, cracks appeared in the dome, so four iron
chains were installed between the two shells to bind it, like the rings
that keep a barrel from bursting. As many as ten chains have been
installed at various times, the earliest possibly planned by
Michelangelo himself as a precaution, as Brunelleschi did at Florence
Cathedral.
Around the inside of the dome is written, in letters 2 metres (6.6 ft)
high:
TV ES PETRVS ET SVPER HANC PETRAM AEDIFICABO
ECCLESIAM MEAM. TIBI DABO CLAVES REGNI CAELORVM
("...you are Peter, and on this rock I will build my church. ... I will give
you the keys of the kingdom of heaven..." Vulgate , Matthew 16:18–
19 .)
Beneath the lantern is the inscription:
S. PETRI GLORIAE SIXTVS PP. VAMD XC. PONTIF. V.
( To the glory of St Peter; Sixtus V, pope, in the year 1590 and the
fifth year of his pontificate .)
[ edit ]Discovery of Michelangelo draft
On December 7, 2007, a fragment of a red chalk drawing of a section
of the dome of Saint Peter's, almost certainly by the hand
of Michelangelo was discovered in the Vatican archives. [33 ] The
drawing shows a small precisely drafted section of the plan of the
entabulature above two of the radial columns of the cupola drum.
Michelangelo is known to have destroyed thousands of his drawings
before his death. [ 34 ] The rare survival of this example is probably due
to its fragmentary state and the fact that detailed mathematical
calculations had been made over the top of the drawing. [ 33 ]

The nave looking towards the entrance

[ edit ]The change of plan

On the first day of Lent , February 18, 1606, under Pope Paul V, the
demolition of the remaining parts of the Constantinian basilica began.
The marble cross set at the top of the pediment by Pope Sylvester
and the Emperor Constantine was lowered to the ground. The timbers
were salvaged for the roof of the Borghese Palace and two rare black
marble columns, the largest of their kind, were carefully stored and
later used in the narthex. The tombs of various popes were opened,
treasures removed and plans made for reinterment in the new
basilica. [ 14 ]
The Pope had appointed Carlo Maderno in 1602. He was a nephew
of Domenico Fontana and had demonstrated himself as a dynamic
architect. Maderno's idea was to ring Michelangelo's building with
chapels, but the Pope was hesitant about deviating from the master's
plan, even though he had been dead for forty years. The Fabbrica or
building committee, a group drawn from various nationalities and
generally despised by the Curia who viewed the basilica as belonging
to Rome rather than Christendom, were in a quandary as to how the
building should proceed. One of the matters that influenced their
thinking was the Counter-Reformation which increasingly associated a
Greek Cross plan with paganism and saw the Latin Cross as truly
symbolic of Christianity. [ 14 ]
Lain berpengaruh terhadap pemikiran baik dari Fabbrica dan Kuria
adalah rasa bersalah tertentu pada pembongkaran bangunan
kuno. Tanah di mana dan berbagai terkait kapel, vestries dan
sacristies berdiri begitu lama adalah suci. Satu-satunya solusi adalah
untuk membangun sebuah nave yang mencakup seluruh ruang. Pada
1607 sebuah komite sepuluh arsitek disebut bersama, dan keputusan
dibuat untuk memperluas bangunan Michelangelo ke dalam sebuah
nave. Maderno rencana untuk kedua nave dan ide itu
diterima. Bangunan ini mulai pada tanggal 7 Mei 1607, dan dilanjutkan
pada tingkat yang besar, dengan tentara 700 buruh
dipekerjakan. Tahun berikutnya, façade dimulai, pada Desember 1614
sentuhan akhir ditambahkan ke dekorasi plesteran dari kubah dan
awal tahun 1615 dinding partisi antara dua bagian itu ditarik ke
bawah. Semua puing telah mengangkut pergi, dan nave siap untuk
digunakan oleh Palm Minggu . [14]
[ sunting]'sfaçade Maderno
Maderno's façade

Façade dirancang oleh Maderno, adalah 114,69 meter (376,3 kaki)

lebar dan 45,55 meter (149,4 kaki) tinggi dan dibangun
dari travertinebatu, dengan perintah raksasa kolom Korintus dan
pedimen pusat meningkat di depan loteng tinggi diatasi oleh patung
Kristus, Yohanes Pembaptis , dan sebelas para rasul. Tulisan pada
fasad berbunyi:

( Paulus V Borghese, Agung Roma Paus, pada tahun 1612, yang

ketujuh-nya kepausan, didirikan untuk menghormati Pangeran Rasul)
façade sering dikutip sebagai bagian paling tidak memuaskan dari
desain St Petrus. Alasan untuk hal ini, menurut James Lees-Milne,
adalah bahwa itu tidak cukup dipertimbangkan oleh Paus dan komite
karena keinginan untuk mendapatkan bangunan tersebut telah selesai
dengan cepat, ditambah dengan kenyataan bahwa Maderno ragu-
ragu untuk menyimpang dari pola set oleh Michelangelo di ujung lain
gedung. Lees-Milne menjelaskan masalah façade sebagai terlalu luas
untuk tinggi, terlalu sempit dalam detail dan terlalu berat di lantai
loteng. luasnya ini disebabkan oleh memodifikasi rencana untuk
memiliki menara di kedua sisi. Menara ini tidak pernah dieksekusi di
atas garis fasad karena ditemukan bahwa tanah itu tidak cukup stabil
untuk menanggung berat. Salah satu efek dari façade dan nave
diperpanjang adalah layar tampilan kubah, sehingga bangunan, dari
depan, tidak memiliki fitur vertikal, kecuali dari kejauhan. [14]
narthex The

[ sunting ]Narthex dan portal

Di balik façade St Peter's membentang sebuah serambi panjang atau
"narthex" seperti kadang-kadang ditemukan di gereja Rum Italia. Ini
adalah bagian dari desain Maderno dengan yang dia paling
puas. kubah laras panjang adalah dihiasi dengan hiasan semen dan
emas, dan berhasil diterangi oleh jendela kecil antara pendentives,
sedangkan lantai marmer penuh hiasan yang berseri-seri dengan
cahaya tercermin dalam dari piazza. Pada setiap akhir narthex adalah
sebuah ruang teater dibingkai oleh kolom ionik dan dalam masing-
masing diatur patung, seorang tokoh berkuda
dariCharlemagne oleh Cornacchini (abad ke-18) di ujung selatan
dan Kaisar Konstantinus oleh Bernini (1670) di ujung utara.
Lima portal, yang dibingkai oleh tiga besar kolom antik diselamatkan,
mengarah ke basilika. Portal pusat memiliki pintu perunggu yang
diciptakan olehAntonio Averulino di 1455 untuk basilika tua dan sedikit
diperbesar agar sesuai dengan ruang baru.
[ sunting]'snave Maderno
Maderno's nave, melihat ke arah mimbar

Untuk teluk tunggal Michelangelo 's Cross Yunani, Maderno

menambahkan teluk lebih lanjut tiga. Dia membuat dimensi yang
sedikit berbeda untuk teluk Michelangelo, sehingga mendefinisikan
dimana dua karya arsitektur bertemu. Maderno juga miring sumbu
nave sedikit. Ini tidak secara kebetulan, seperti yang disarankan oleh
para pengkritiknya. Sebuah obelisk Mesir kuno telah didirikan di luar
persegi, tetapi belum cukup sejalan dengan Michelangelo's bangunan,
sehingga Maderno kompensasi, agar yang seharusnya, paling tidak,
sejajar dengan Basilica's fasad. [14]
Nave telah pilaster dipasangkan besar, sesuai dengan pekerjaan
Michelangelo. Ukuran interior begitu "stupendously besar" yang sulit
untuk mendapatkan rasa skala dalam gedung. [14] [35] Keempat
malaikat yang flutter terhadap pilar pertama nave, membawa antara
mereka dua Kudus Air cekungan, muncul dari ukuran kerubian sangat
normal, sampai mendekat. Kemudian menjadi jelas bahwa setiap
orang adalah lebih dari 2 meter dan tinggi bahwa anak-anak nyata
tidak bisa mencapai cekungan kecuali mereka berebut Facebook tirai
marmer. Gang-gang masing-masing memiliki dua kapel kecil dan
sebuah kapel persegi panjang yang lebih besar, Kapel Sakramen dan
Chapel Choir. Ini adalah mewah dihiasi dengan marmer, semen,
patung emas, dan mosaik. Hebatnya, ada lukisan sangat sedikit,
meskipun beberapa, seperti Raphael "Sistine Madonna" telah
direproduksi dalam mosaik. Yang paling berharga adalah lukisan ikon
kecil dari Madonna, dihapus dari basilika lama. [14]
karya terakhir Maderno di St Peter adalah untuk merancang ruang
crypt-suka atau "Confessio" di bawah kubah, di mana para Kardinal
dan orang-orang istimewa lainnya dapat turun untuk lebih dekat
tempat pemakaman rasul. tangga marmer nya adalah sisa-sisa
basilika tua dan sekitar pagar perusahaan lampu 95 perunggu.
[ sunting ]Pengaruh pada arsitektur gereja
Desain Basilika Santo Petrus telah sangat mempengaruhi arsitektur
gereja di Barat Kristen . Sebagai pusat spiritual dari Gereja Katolik
Roma, Basilika Santo Petrus telah menjabat sebagai model untuk
berbagai terkemuka gereja-gereja Katolik Roma dan
basilika. Beberapa contoh yang paling menonjol adalah St Mary of the
Angels di Chicago , St Yosafat's Basilica di Milwaukee , Hati Tak
Bernoda Maria di Pittsburgh , yang Basilika Our Lady of
lichen serta Basilika Our Lady of Peace dari Yamoussoukro .
[ sunting]'sperabotan Bernini

Lihat interior menunjukkan lengan transept ke kanan dan kiri, dan mimbar di luar
baldacchino tersebut.

[ sunting ]Paus Urbanus VIII dan Bernini

Sebagai seorang anak muda Gianlorenzo Bernini (1598-1680)
mengunjungi Santo Petrus dengan pelukis Annibale Carracci dan
menyatakan keinginannya untuk membangun "sebuah tahta besar
untuk rasul". Keinginannya menjadi kenyataan. Sebagai seorang
pemuda, tahun 1626, ia menerima perlindungan dari Paus Urbanus
VIII dan bekerja pada menambah-nambahi Basilika selama 50
tahun. Diangkat sebagai's penerus Maderno tahun 1629, ia menjadi
dianggap sebagai arsitek terbesar dan pematung
dari Baroque periode. karya-karya Bernini di St Peter's termasuk
baldacchino, Kapel Sakramen, rencana untuk relung dan loggia di
pilar kubah dan kursi St Petrus. [14] [28]
[ sunting ]Baldacchino dan niche
Artikel utama: St Petrus baldachin
pertama karya tersebut Bernini di St Petrus adalah
desain baldacchino , a-seperti struktur paviliun 30 meter (98 kaki)
tinggi dan diklaim sebagai bagian terbesar perunggu di dunia, yang
berdiri di bawah kubah dan di atas altar. Desain adalah
berdasarkan ciborium , yang ada banyak di gereja-gereja Roma,
melayani untuk menciptakan semacam ruang suci di atas dan di
sekitar meja yang Sakramen diletakkan untuk Ekaristi dan
menekankan pentingnya ritual ini. ciborium ini umumnya dari marmer
putih, dengan batu berwarna bertatah. Konsep Bernini adalah untuk
sesuatu yang sangat berbeda. Dia mengambil inspirasi di bagian
dari baldachin atau kanopi dilakukan di atas kepala Paus dalam
prosesi, dan sebagian dari delapan kolom kuno yang merupakan
bagian dari layar di basilika tua. twisted mereka jelai-gula
bentuk memiliki makna khusus sebagai kolom yang terikat Yesus
sebelum penyaliban-nya diyakini bentuk itu. Berdasarkan kolom ini,
Bernini menciptakan empat kolom besar dari perunggu, dipelintir dan
dihiasi dengan daun zaitun dan lebah, yang merupakan lambang
Paus Urban.
Altar dengan baldacchino Bernini

The baldacchino is surmounted not with an architectural pediment, like

most baldacchini, but with curved Baroque brackets supporting a
draped canopy, like the brocade canopies carried in processions
above precious iconic images. In this case, the draped canopy is of
bronze, and all the details, including the olive leaves, bees, and the
portrait heads of Urban's niece in childbirth and her newborn son, are
picked out in gold leaf. The baldacchino stands as a vast free-standing
sculptural object, central to and framed by the largest space within the
building. It is so large that the visual effect is to create a link between
the enormous dome which appears to float above it, and the
congregation at floor level of the basilica. It is penetrated visually from
every direction, and is visually linked to the Cathedra Petri in the apse
behind it and to the four piers containing large statues that are at each
diagonal. [ 14 ] [ 28 ]
As part of the scheme for the central space of the church, Bernini had
the huge piers, begun by Bramante and completed by Michelangelo,
hollowed out into niches, and had staircases made inside them,
leading to four balconies. There was much dismay from those who
thought that the dome might fall, but it did not. On the balconies
Bernini created showcases, framed by the eight ancient twisted
columns, to display the four most precious relics of the basilica: the
spear of Longinus, said to have pierced the side of Christ, the veil of
Veronica, with the miraculous image of the face of Christ, a fragment
of the True Cross discovered in Jerusalem by Constantine's mother,
Helena, and a relic of St. Andrew, the brother of St. Peter. In each of
the niches that surround the central space of the basilica was placed a
huge statue of the saint associated with the relic above. Only St.
Longinus is the work of Bernini. [ 14 ] (See below)
Bernini's "Cathedra Petri" and "Gloria"

[ edit ]Cathedra Petri and Chapel of the Blessed Sacrament

Bernini then turned his attention to another precious relic, the so-
called Cathedra Petri or "throne of St. Peter" a chair which was often
claimed to have been used by the apostle, but appears to date from
the 12th century. As the chair itself was fast deteriorating and was no
longer serviceable, Pope Alexander VII determined to enshrine it in
suitable splendour as the object upon which the line of successors to
Peter was based. Bernini created a large bronze throne in which it
was housed, raised high on four looping supports held effortlessly by
massive bronze statues of four Doctors of the Church , Saints
Ambrose and Augustine representing the Latin Church and
Athanasius andJohn Chrysostom , the Greek Church. The four figures
are dynamic with sweeping robes and expressions of adoration and
ecstasy. Behind and above the Cathedra, a blaze of light comes in
through a window of yellow alabaster, illuminating, at its centre, the
Dove of the Holy Spirit. The elderly painter, Andrea Sacchi , had urged
Bernini to make the figures large, so that they would be seen well from
the central portal of the nave. The chair was enshrined in its new
home with great celebration of January 16, 1666. [ 14 ] [ 28 ]
Bernini's final work for St. Peter's, undertaken in 1676, was the
decoration of the Chapel of the Sacrament. To hold the sacramental
Host, he designed a miniature version in gilt bronze of
Bramante's Tempietto , the little chapel that marks the place of the
death of St. Peter. On either side is an angel, one gazing in rapt
adoration and the other looking towards the viewer in welcome.
Bernini died in 1680 in his 82nd year. [ 14 ]

[ sunting ]St Peter's Piazza

Main article: Saint Peter's Square

Two fountains form the axis of the piazza.

To the east of the basilica is the Piazza di San Pietro , ( St. Peter's
Square ). The present arrangement, constructed between 1656 and
1667, is theBaroque inspiration of Bernini who inherited a location
already occupied by an Egyptian obelisk of the 13th century BC, which
was centrally placed, (with some contrivance) to Maderno's facade.
The obelisk, known as "The Witness", at 25.5 metres (84 ft) and a
total height, including base and the cross on top, of 40 metres (130 ft),
is the second largest standing obelisk, and the only one to remain
standing since its removal from Egypt and re-erection at the Circus of
Nero in 37 AD, where it is thought to have stood witness to the
crucifixion of St Peter. [ 36 ] Its removal to its present location by order
of Pope Sixtus V and engineered by Domenico Fontana on
September 28, 1586, was an operation fraught with difficulties and
nearly ending in disaster when the ropes holding the obelisk began to
smoke from the friction. Fortunately this problem was noticed by a
sailor, and for his swift intervention, his village was granted the
privilege of providing the palms that are used at the basilica
each Palm Sunday . [ 14 ]
The other object in the old square with which Bernini had to contend
was a large fountain designed by Maderno in 1613 and set to one side
of the obelisk, making a line parallel with the façade. Bernini's plan
uses this horizontal axis as a major feature of his unique, spatially
dynamic and highly symbolic design. The most obvious solutions were
either a rectangular piazza of vast proportions so that the obelisk
stood centrally and the fountain (and a matching companion) could be
included, or a trapezoid piazza which fanned out from the façade of
the basilica like that in front of the Palazzo Publicco in Siena. The
problems of the square plan are that the necessary width to include
the fountain would entail the demolition of numerous buildings,
including some of the Vatican, and would minimise the effect of the
facade. The trapezoid plan, on the other hand, would maximise the
apparent width of the façade, which was already perceived as a fault
of the design. [ 28 ]

View of Rome from the Dome of St. Peter's Basilica

Bernini's ingenious solution was to create a piazza in two sections.

That part which is nearest the basilica is trapezoid, but rather than
fanning out from the façade, it narrows. This gives the effect of
countering the visual perspective. It means that from the second part
of the piazza, the building looks nearer than it is, the breadth of the
façade is minimised and its height appears greater in proportion to its
width. The second section of the piazza is a huge elliptical circus
which gently slopes downwards to the obelisk at its centre. The two
distinct areas are framed by a colonnade formed by doubled pairs of
columns supporting an entabulature of the simple Tuscan Order .
The part of the colonnade that is around the ellipse does not entirely
encircle it, but reaches out in two arcs, symbolic of the arms of "the
Roman Catholic Church reaching out to welcome its
communicants". [ 28 ] The obelisk and Maderno's fountain mark the
widest axis of the ellipse. Bernini balanced the scheme with another
fountain in 1675. The approach to the square used to be through a
jumble of old buildings, which added an element of surprise to the
vista that opened up upon passing through the colonnade. Nowadays
a long wide street, the Via della Conciliazione , built by Mussolini after
the conclusion of the Lateran Treaties , leads from the River Tiber to
the piazza and gives distant views of St. Peter's as the visitor
approaches. [ 14 ]
Bernini's transformation of the site is entirely Baroque in concept.
Where Bramante and Michelangelo conceived a building that stood in
"self-sufficient isolation", Bernini made the whole complex
"expansively relate to its environment". [ 28 ] Banister Fletcher says "No
other city has afforded such a wide-swept approach to its cathedral
church, no other architect could have conceived a design of greater
nobility...(it is) the greatest of all atriums before the greatest of all
churches of Christendom." [ 5 ]
[ edit ]Treasures

[ edit ]Tombs and relics

Main article: List of papal tombs
There are over 100 tombs within St. Peter's Basilica (extant to various
extents), many located in the Vatican grotto , beneath the Basilica.
These include 91 popes, St. Ignatius of Antioch, Holy Roman
Emperor Otto II , and the composer Giovanni Pierluigi da Palestrina .
Exiled Catholic British royalty James Francis Edward Stuart and his
two sons, Charles Edward Stuartand Henry Benedict Stuart , are
buried here, having been granted asylum by Pope Clement XI . Also
buried here are Maria Clementina Sobieska , wife of James Francis
Edward Stuart, Queen Christina of Sweden , who abdicated her
throne in order to convert to Catholicism, and Countess Matilda of
Tuscany , supporter of the Papacy during the Investiture Controversy .
The most recent interment was Pope John Paul II , on April 8, 2005.
Beneath, near the crypt , is the recently discovered vaulted fourth-
century " Tomb of the Julii ". (See below for some descriptions of
tombs)
[ edit ]Artworks
[ edit ]The towers and narthex

The Holy Door is opened only for great celebrations.

The bronze statue of Saint Peter , attributed to Arnolfo di Cambio

 In the towers to either side of the facade are two
clocks. The clock on the left has been operated
electrically since 1931. Its oldest bell dates from
1288.
 One of the most important treasures of the
cathedral is a mosaic set above the central
external door. Called the "Navicella", it is based
on a design by Giotto (early 14th century) and
represents a ship symbolising the Christian
Church. [ 6 ] Unfortunately, the mosaic as we have
it is mostly a 17th century copy of Giotto's
original.
 At each end of the narthex is an equestrian
figure, to the north Emperor Constantine by
Bernini (1670) and to the
south Charlemagne by Cornacchini(18th
century). [ 6 ]
 Of the five portals from the narthex to the interior,
three contain notable doors. The central portal
has the Renaissance bronze door by Antonio
Averulino (called Filarete) (1455), enlarged to fit
the new space. The southern door, the "Door of
the Dead", was designed by 20th century
sculptorGiacomo Manzù and includes a portrait
of Pope John XXIII kneeling before the crucified
figure of St. Peter.
 The northernmost door is the "Holy Door" which,
by tradition, is walled-up with bricks, and opened
only for holy years such as the Jubilee year by
the Pope. The present door is bronze and was
designed by Vico Consorti in 1950. Above it are
inscriptions commemorating the opening of the
door:PAVLVS V PONT MAX ANNO XIII and GREGORIVS
 XIII PONT MAX . Recent commemorative plaques
read:
IOANNES PAVLVS II PM IOANNES PAVLVS II PM PAVLVS VI PONT MAX
PORTAM SANCTAM ITERVM PORTAM HVIVS PATRIARCALIS
ANNO IVBILAEI SANCTAM VATICANAE BASILICAE
MCMLXXVI APERVIT ET CLAVSIT PORTAM SANCTAM
A PAVLO PP VI ANNO MAGNI IVBILAEI APERVIT ET CLAVSIT
RESERVATAM ET AB INCARNATIONE ANNO IVBILAEI
CLAVSAM DOMINI MCMLXXV
APERVIT ET CLAVSIT MM-MMI
ANNO IVB HVMANE
REDEMP
MCMLXXXIII –
MCMLXXXIV
In the jubilee year of human
John Paul II, Pontifex Maximus, Paul VI, Pontifex Maximus,
redemption 1983-4, John Paul
again opened and closed the holy opened and closed the holy
II ,Pontifex Maximus , opened
door in the year of the great door of this patriarchal
and closed again the holy door
jubilee, from the incarnation of Vatican basilica in the jubilee
closed and set apart by Paul VI in
the Lord 2000-2001. year of 1975.
1976.
[ edit ]The nave
 On the first piers of the nave are two Holy Water
basins held by pairs of cherubs each 2 metres
high, commissioned by Pope Benedict XIII from
designer Agostino Cornacchini and sculptor
Francesco Moderati, (1720s).
 Along the floor of the nave are markers showing
the comparative lengths of other churches,
starting from the entrance.
 On the decorative pilasters of the piers of the
nave are medallions with relief depicting the first
38 popes.
 In niches between the pilasters of the nave are
statues depicting 39 founders of religious orders.
  Set against the north east pier of the dome is a
statue of St. Peter Enthroned, sometimes
attributed to late 13th century sculptor Arnolfo di
Cambio , with some scholars dating it to the 5th
century. One foot of the statue is largely worn
away by pilgrims kissing it for centuries.
 The sunken Confessio leading to the Vatican
Grottoes (see above) contains a large kneeling
statue by Canova of Pope Pius VI , who was
captured and mistreated by Napoleon's army.
 The High Altar is surmounted by Bernini's
baldachin. (See above)
 Set in niches within the four piers supporting the
dome are the statues associated with the
basilica's holy relics: St. Helena holding the True
Cross , by Andrea Bolgi ; St. Longinusholding the
spear that pierced the side of Jesus, by Bernini
(1639); St. Andrew with the St. Andrew's Cross ,
by Francois Duquesnoy and St. Veronica holding
her veil with the image of Jesus' face,
by Francesco Mochi .
Statues in the piers of the dome

Saint Helena
St Longinus

St Andrew

St Veronica
[ edit ]North aisle
The Pietà sculpted by Michelangelo

Truth, by Bernini . Her big toe is pierced by a thorn from Britain. [37 ]

 In the first chapel of the north aisle

is Michelangelo 's Pietà . [ 38 ]
 On the first pier in the right aisle is the monument
of Queen Christina of Sweden , who abdicated in
1654 in order to convert to Catholicism.
 The second chapel, dedicated to St. Sebastian ,
contains the tombs of popes Pius XI and Pius
XII .
 The large chapel on the right aisle is the Chapel
of the Blessed Sacrament which contains the
tabernacle by Bernini (1664)
resembling Bramante 'sTempietto at San Pietro
 in Montorio supported by two kneeling angels
and with behind it a painting of the Holy
Trinity by Pietro da Cortona .
 Near the altar of Our Lady of Succour are the
monuments of popes Gregory XIII by Camillo
Rusconi (1723) and Gregory XIV .
 At the end of the aisle is an altar containing the
relics of St. Petronilla and with an altarpiece "The
Burial of St Petronilla by Guercino (Giovanni
Francesco Barbieri), 1623.
[ edit ]South aisle
 The first chapel in the south aisle is the baptistry,
commissioned by Pope Innocent XII and
designed by Carlo Fontana , (great nephew of
Domenico Fontana). The font, which was
previously located in the opposite chapel, is the
red porphyry sarcophagus of Probus, the 4th
century Prefect of Rome. The lid came from a
different sarcophagus, which had once held the
remains of the Emperor Hadrian and in removing
it from the Vatican Grotto where it had been
stored, the workmen broke it into ten pieces.
Fontana restored it expertly and surmounted it
with a gilt-bronze figure of the "Lamb of God".
 Against the first pier of the aisle is the Monument
to the Royal Stuarts , James and his sons,
Charles Edward, known as "Bonnie Prince
Charlie" and Henry, Cardinal and Duke of York.
The tomb is a Neo-Classical design
by Canova unveiled in 1819. Opposite it is the
memorial of James Francis Edward Stuart's
wife, Maria Clementina Sobieska .
 The second chapel is that of the Presentation of
the Virgin' and contains the tombs of Pope
Benedict XV and Pope John XXIII.
 Against the piers are the tombs of Pope Pius X
and Pope Innocent VIII.
 The large chapel off the south aisle is the Choir
Chapel which contains the altar of
the Immaculate Conception .
 At the entrance to the Sacristy is the tomb of
Pope Pius VIII
 The south transept contains the altars of St.
Thomas , St. Joseph and the Crucifixion of St.
Peter .
 The tomb of Fabio Chigi, Pope Alexander VII ,
towards the end of the aisle, is the work of
Bernini and called by Lees-Milne "one of the
greatest tombs of the Baroque Age". It occupies
an awkward position, being set in a niche above
a doorway into a small vestry, but Bernini has
utilised the doorway in a symbolic manner. Pope
Alexander kneels upon his tomb, facing outward.
The tomb is supported on a large draped shroud
patterned red marble, and is supported by four
female figures, of whom only the two at the front
are fully visible. They represent Charity and
Truth. The foot of Truth rests upon a globe of the
world, her toe being pierced symbolically by the
thorn of Protestant England. Coming forth,
seemingly, from the doorway as if it were the
entrance to a tomb, is the skeletal winged figure
of Death, its head hidden beneath the shroud, but
its right hand carrying an hour-glass stretched
upward towards the kneeling figure of the
pope. [ 14 ]
[ edit ]Archpriests of Saint Peter's Basilica since
1053

Cardinals at Mass in Saint Peter's Basilica two days before Papal conclave , April
16, 2005.

List of archpriests of the Vatican Basilica [ 39 ]

 Giovanni (1053)  Cristoforo  Francesco Nerli
 Deusdedit (1092) Maroni (1397– (1704–1708)
1404)  Annibale
 Azzo (1103–1104)
 Angelo Albani (1712–1751)
 Rustico de' Rustici
Acciaioli (1404–  Henry Benedict
(ca. 1128–1131?)
1408) Stuart (1751–1807)
 Griffone (1138–
 Antonio Calvi  Romualdo Braschi-
1139)
(1408–1411) Onesti (1807–1817)
 Pietro (ca.1140?–
 Pedro Fernandez  Alessandro
1144)
de Frias (1412– Mattei (1817–1820)
 Bernard (1145?– 1420)
1176?)  Pietro Francesco
 Antonio Galleffi (6 May 1820
 Giovanni da Sutri Correr (1420– – 18 June 1837)
(1176/78–1180) 1434)
 Giacomo
 Hugo  Giordano Giustiniani (1 July
(ca.1191/1200– Orsini (1434– 1837 – 24 February
1206) 1438) 1843)
 Guido Pierleoni  Giuliano  Mario Mattei (11
(1206/7–1228) Cesarini (1439– March 1843 – 7
 Stefano 1444) October 1870)
Conti (1229–1254)  Pietro  Niccola Clarelli
 Riccardo Annibaldi Barbo (1445– Parracciani (8
(1254–1276) 1464) October 1870 – 7 July
 Richard Olivier 1872)
 Giovanni Gaetano
Orsini (1276–1277) (1464–1470)  Edoardo
 Giovanni Borromeo (10 July
 Matteo Orsini
Battista 1872 – 30 November
Rosso (1277 or
Zeno (1470– 1881)
1288–1305)
1501)  Edward Henry
 Napoleone Orsini
 Juan Howard (12
Frangipani(1306–
López (1501) December 1881 – 16
1342)
September 1892)
 Annibaldo di  Ippolito
d'Este (1501–  Francesco Ricci
Ceccano (1342–
1520) Paracciani (6 October
1350)
1892 – 9 March 1894)
 Guillaume de La  Marco Cornaro
(1520)  Mariano Rampolla del
Jugie (1362–1365)
Tindaro (21 March
Rinaldo  Franciotto Orsini
 1894& – 16
Orsini (1366–1374) (1520–1530)
December 1913)
 Hugues de Saint-  Francesco
 Rafael Merry del
Martial (1374– Cornaro (1530–
Val (12 January 1914
1378) 1543)
– 26 February 1930)
 Philippe d'Alençon  Alessandro
 Federico
(1378–1397) Farnese (1543–
Tedeschini (14 March
1589)
1939 – 2 November
 Giovanni 1959)
Evangelista
 Paolo Marella (14
Palotta (1589–
August 1961 – 8
1620)
February 1983)
 Scipione
 Aurelio Sabattani (8
 Caffarelli- February 1983 – 1
Borghese(1620– July 1991)
1633)  Virgilio Noè (1 July
 Francesco 1991 – 24 April 2002)
Barberini (1633–  Francesco
1667) Marchisano (24 April
 Carlo 2002 – 10 October
Barberini (1667– 2006)
1704)  Angelo Comastri (10
October 2006 –
present)
[ sunting ]Spesifikasi

 Cost of construction of the  Height from pavement to top of

basilica = cross = 452 feet (138 m)
46,800,052 ducats [ 40 ]  Façade = 167 feet (51 m) high by
 Geographic orientation = 375 feet (114 m) wide
chancel west, nave east  Vestibule = 232.9 feet (71.0 m)
 Capacity = 60,000 + feet wide, 44.2 feet (13.5 m) deep,
 Total length = 730 feet (220 and 91.8 feet (28.0 m) high [ 4 ]
m)  The internal columns and pilasters
 Total width = 500 feet (150 = 92 feet (28 m) tall
m)  The circumference of the central
 Interior length incl. vestibule piers = 240 feet (73 m)
= 693.8 feet (211.5  Outer diameter of dome =
m), [ 4 ] more than 1/8 mile. 137.7 feet (42.0 m) [ 4 ]
 Length of the transepts in  The drum of the dome = 630 feet
interior = 451 feet (137 m) [ 4 ] (190 m) in circumference and
 Width of nave = 90.2 feet 65.6 feet (20.0 m) high, rising to
(27.5 m) [ 4 ] 240 feet (73 m) from the ground
 Width at the tribune =  The lantern = 63 feet (19 m) high
78.7 feet (24.0 m) [ 4 ]  The ball and cross = 8 and 16 feet
  Internal width at transepts = (2.4 and 4.9 m), respectively
451 feet (137 m) [ 4 ]  St. Peter's Square = 1,115 feet (340
 Internal height of nave = m) long, 787.3 feet (240.0 m)
151.5 feet (46.2 m) high [ 4 ] wide [ 4 ]
 Total area = 227,070 square  Each arm of the colonnade =
feet (21,095 m 2 ), more than 306 feet (93 m) long, and 64 feet
5 acres (20,000 m 2 ). (20 m) high
 Internal area =  The colonnades have 248 columns,
163,182.2 square feet (3.75 88 pilasters, and 140 statues [ 4 ]
acres; 15,160.12 m 2 )[ 4 ]  Obelisk = 83.6 feet (25.5 m). Total
height with base and cross, 132 feet
(40 m).
 Weight of obelisk = 360.2 short
tons (326,800 kg; 720,400 lb) [ 4 ]
[ sunting ]Catatan
1. ^ a b Claims made that the Basilica of Our Lady of
Peace of Yamoussoukro in Africa is larger appear
to be spurious, as the measurements include a
rectorate, a villa and probably the forecourt. Its
capacity is 18,000 people against St. Peter's
60,000. Its dome, based on that of St. Peter's, is
lower but carries a taller cross, and thus claims to
be the tallest domed church.
2. ^ James Lees-Milne describes St Peter's Basilica
as "a church with a unique position in the Christian
world" inLees-Milne 1967 , p. 12.
3. ^ Banister Fletcher , the renowned architectural
historian calls it "...The greatest of all churches of
Christendom" inFletcher 1996 , p. 719.
4. ^ a b c d e f g h i j k l m n o p Baumgarten 1913
5. ^ a b c d e f g h Fletcher 1975
6. ^ a b c d e Pio V. Pinto, pp. 48-59
7. ^ St. Peter's Square - Statue of St. Paul
8. ^ Georgina Masson, The Companion Guide to
Rome , (2003), pp. 615-6
9. ^ Helen F. North, quoted in Secrets of Rome ,
Robert Kahn, (1999) pp. 79-80
10. ^ Ralph Waldo Emerson, April 7, 1833
11. ^ Benedict XVI 's theological act of renouncing the
title of "Patriarch of the West " had as consequence
that Roman Catholic patriarchal basilicas are today
officially known as Papal basilicas .
12. ^ "St. Peter's Basilica — Interior of the Basilica" .
Internet Portal of the Vatican City State. pp.
2 . Diperoleh 2009/01/02.
13. ^ New Advent Catholic Encyclopedia
14. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa
Lees-Milne 1967
15. ^ Frank J. Korn, Hidden Rome Paulist Press (2002)
16. ^ Hijmans, Steven. "University of Alberta Express
News" . In search of St. Peter's Tomb . Diperoleh
2006/12/25.
17. ^ Dietz, Helen (2005), "The Eschatological
Dimension of Church Architecture" , Sacred
Architecture Journal 10
18. ^ Boorsch, Suzanne (Winter 1982-1983), "The
Building of the Vatican: The Papacy and
Architecture", The Metropolitan Museum of Art
Bulletin 40 (3): 4–8
19. ^ Quarrying of stone for the Colosseum had, in
turn, been paid for with treasure looted at the Siege
of Jerusalemand destruction of the temple by the
emperor Vespasian's general (and the future
emperor) Titus in 70 AD., Claridge, Amanda
 (1998). Rome: An Oxford Archaeological
Guide (First ed.). Oxford, UK: Oxford University
Press, 1998. pp. 276–282. ISBN 0-19-288003-9 .
20. ^" Johann Tetzel ", Encyclopaedia Britannica ,
2007: "Tetzel's experiences as a preacher of
indulgences, especially between 1503 and 1510,
led to his appointment as general commissioner by
Albrecht, archbishop of Mainz, who, deeply in debt
to pay for a large accumulation of benefices, had to
contribute a considerable sum toward the rebuilding
of St. Peter's Basilica in Rome. Albrecht obtained
permission from Pope Leo X to conduct the sale of
a special plenary indulgence (ie, remission of the
temporal punishment of sin), half of the proceeds of
which Albrecht was to claim to pay the fees of his
benefices. In effect, Tetzel became a salesman
whose product was to cause a scandal in Germany
that evolved into the greatest crisis (the
Reformation) in the history of the Western church."
21. ^Hillerbrand, Hans J. "Martin Luther: Indulgences
and salvation," Encyclopaedia Britannica, 2007.
22. ^ ab
Hartt 2006
23. ^Bramante's plan, Gardner, Kleiner & Mamiya
2005 , p. 458
24. ^ Raphael's plan, Fletcher 1996 , p. 722
25. ^ Peruzzi's plan, Fletcher 1996 , p. 722
26. ^ ab
Sangallo's plan, Fletcher 1996 , p. 722
27. ^ Goldscheider 1996
28. ^ abcdefghi
Gardner, Kleiner & Mamiya 2005
29. ^Michelangelo's plan, Gardner, Kleiner & Mamiya
2005 , p. 458
30. ^ Eneide Mignacca, Michelangelo and the
abc

architecture of St. Peter's Basilica , lecture, Sydney

University, (1982)
31. ^This claim has recently been made for
Yamoussoukro Basilica, the dome of which,
modelled on St. Peter's, is lower but has a taller
cross
32. ^The dome of Florence Cathedral is depicted in a
fresco at Santa Maria Novella that pre-dates its
building by about 100 years.
33. ^ "Michelangelo 'last sketch' found" . BBC
ab

News.2007-12-07 . Diperoleh 2007/12/08.

34. ^
BBC, Rare Michelangelo sketch for sale , Friday,
October 14, 2005, [1] accessed: February 9, 2008
35. ^The word "stupendous" is used by a number of
writers trying to adequately describe the enormity of
the interior. These include James Lees-Milne and
Banister Fletcher.
36. ^ St. Peter's, the Obelisk
37. ^
St Peter's Basilica , The Seminarian GuidesNorth
American College, Rome , accessed 29-07-2009
38. ^The statue was damaged in 1972 by Lazlo Toft, a
Hungarian-Australian, who considered that the
veneration shown to the statue was idolatrous. The
damage was repaired and the statue subsequently
placed behind glass.
39. ^Source: the respective biographical entries
on Essay of a General List of Cardinals by Salvador
Miranda with corrections provided by Werner
Maleczek, Papst und Kardinalskolleg von 1191 bis
1216 , Wien 1984 for the period before 1190 until
1254
 40. ^ "(...) Since Nicholas V twenty-seven popes over a
span of 178 years had imagined this day. They had
already spent 46 800 052 ducats (...) And still the
building was not done. The basic construction was
complete, but the last genius (Bernini) to put his
signature on the Basilica was just beginning his
work." in Scotti 2007 , p. 241.
[ sunting ]Referensi

 Baumgarten, Paul Maria (1913). " Basilika

Santo Petrus ". Catholic Encyclopedia . New
York: Robert Appleton Company.
 Bannister, Turpin (1968), "The Constantinian
Basilica of Saint Peter at Rome" , Journal of the
Society of Architectural Historians (Journal of the
Society of Architectural Historians, Vol. 27, No.
1) 27 (1): 3–
32, doi : 10.2307/988425 , OCLC 19640446 .
 Boorsch, Suzanne (1982), "The Building of the
Vatican: The Papacy and Architecture", The
Metropolitan Museum of Art Bulletin (New
York) XL (3): 4–64, OCLC 39642638 .
 Hintzen-Bohlen, Brigitte; Jürgen Sorges
(2001), Rome and the Vatican City , Köln:
Könemann, ISBN 3829031092
 Finch, Margaret (1991), "The Cantharus and
Pigna at Old Saint Peter's" , Gesta (Gesta, Vol.
30, No. 1) 30 (1): 16–26, doi : 10.2307/767006 .
 Fletcher, Banister (1996), Sir Banister Fletcher's
a History of Architecture (20th ed.), London:
Architectural Press, ISBN 0750622679 First
published 1896, current edition 2001.
 Fletcher, Banister (1975), History of Architecture
on the Comparative Method for the student,
 craftsman, and amateur , New York: Macmillan
Pub Company, ISBN 9997460553 .The 1905
edition is available from the Internet Archive [2] .
 Frommel, Christoph (1986), "Papal Policy : The
Planning of Rome during the Renaissance in The
Evidence of Art : Images and Meaning in
History." , Journal of Interdisciplinary
Histor (Cambridge: MIT Press) 17 (1): 39–
65, doi : 10.2307/204124 , ISSN 0022-1953 .
 Hartt, Frederick (2006), History of Italian
Renaissance Art (6th ed.), Englewood Cliffs:
Prentice Hall, ISBN 0131882473
 Korn, Frank J. (2002), Hidden Rome , New York:
Paulist Press, ISBN 0809141094
 McClendon, Charles (1989), "The History of the
Site of St. Peter's Basilica, Rome" , Perspecta:
the Yale Architectural Journal (MIT Press) 25 :
32–65, doi : 10.2307/1567138 ,ISSN 00790958 .
 Lees-Milne, James (1967), Saint Peter's — the
story of Saint Peter's Basilica in Rome , London:
Hamish Hamilton, OCLC 1393052
 Gardner, Helen ; Kleiner, Fred S.; Mamiya,
Christin J. (2005), Gardner's Art through the
Ages: The Western Perspective , 2 (12th ed.),
Belmont: Wadsworth, pp. 499–500, 571–
575,ISBN 0495004790
 Goldscheider, Ludwig (1996), Michelangelo (6th
ed.), Oxford Oxfordshire:
Phaidon, ISBN 0714832960
 Pevsner, Nikolaus (1963), An Outline of
European Architecture (7th ed.), Baltimore:
Penguin
Books, ISBN 9780140201093 , OCLC 2208913
  Pinto, Pio (1975), The Pilgrim's Guide to Rome ,
San Francisco: Harper & Row, ISBN 0060133880
 Scotti, RA (2007), Basilica: the Splendor and the
Scandal — Building of St. Peter's , New York:
Plume, ISBN 0452288606
 "UNESCO World Heritage website on the Vatican
City" . UNESCO World Heritage Centre.
1984 . Diperoleh 2008/12/30.
 "Inside the Vatican: National Geographic Goes
Behind the Public Facade" . National
Geographic. 2004 . Diperoleh 2008/12/30.
[ sunting ]Pranala luar

St. Peter's Basilica beyond the River Tiberat dusk

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 Fullscreen Virtual Tour by Virtualsweden
  Google Maps Satellite image of the Basilica
 Circus of Nero and the old and new Basilicas
superimposed, showing the tomb of Peter
 St. Peter's Basilica Photo Gallery 249 photos
 St Peter's Basilica, Rome pictures and virtual
reality movies
 Basilica of St Peter, Rome by Activitaly
 Catholic Encyclopedia Catholic Encyclopedia
article
 Vatican City, Piazza San Pietro VR panorama
with map and compass effect by Tolomeus
 The pipe organs of St Peter's Basilica
 Vatican City, Piazza San Pietro QTVR panorama
hi-res (15 Mb) by Tolomeus
 St. Peter's Basilica Floor Plan
 Donato Bramante Information Extensive
information about Donato Bramante.
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Categories : Saint Peter's Basilica | Roman Catholic churches in
Rome | 1626 architecture | Churches in Vatican City | Patriarchal
basilicas | Domes | Visitor attractions in Vatican City| Roman
Baroque | Renaissance architecture in Rome
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