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