Before the era of railways, the traveller in approaching Rome, across
the Campagna, was generally electrified by the first glimpse of S.
Peter's dome looming in the distance. Then he had full time, in
advance of entering the gates of the city, to ponder over all the
recollections which the magical word "Roma" might suggest to him. At
present he is rapidly borne into the city, and sometimes before he is
aware of having arrived even in its neighbourhood; yet the dome is
plainly visible from afar by the railway approach of to-day. Now, as
then, the first sight of Rome is always her unequalled cathedral; now,
as then, the latter is the great object which the tourist eagerly
hastens to visit. The present Church of S. Peter is relatively modern,
having been first conceived by Pope Nicholas V. about the year 1450.
It is built upon the site of the religious edifice erected in the time
of Constantine, and consecrated as the "Basilica of S. Peter." The old
basilica stood on part of the Circus of Nero, and occupies the spot
consecrated by the blood of the martyrs slaughtered by order of that
tyrant. Tradition supposes that the basilica held possession of the
body of the apostle after his crucifixion,--a circumstance which
reflected high credit upon it, and dignified its entrance with the
appellation of the "limina apostolorum" (threshold of the apostles).
After enjoying the veneration and tributes of all Christendom during
eleven centuries, the walls of the old basilica began to give way, and
its approaching ruin becoming visible about the year above stated,
Nicholas V. conceived the project of taking down the old church, and
erecting in its stead a new and more expensive structure. The project
was begun, and resulted, after a long series of experiments made by
various architects, in the splendid fabric which is now regarded by
the world as the chief glory of modern Rome. The work made slight
progress until the epoch of Julius II., who resumed the great task,
and found in Bramante an architect capable of comprehending and
executing his grandest conceptions. The walls of the ancient basilica
were then wholly removed, and on the 18th of April 1508 the foundation
stone of one of the vast pillars supporting the dome, as we now see
it, was laid by Julius with great pomp and ceremony. From that period
the work, though carried on with ardour and perseverance, continued
during one hundred years to occupy the attention and absorb much of
the incomes of eighteen pontiffs. The most celebrated architects of
the times displayed their talents in its erection--namely, Bramante,
Raphael, San Gallo, Michael Angelo, Vignola, Carlo Maderno, and last,
though not least, Bernini, who gave it the finishing touches of
ornamentation, and who built the enclosing colonnade. It is estimated
that its cost, after completion, was no less than £12,000,000
sterling--a sum representing a far greater value than it does in our
day. Colossal statues of Peter and Paul, erected by Pius IX., guard
the approach at the foot of the steps on either side.
Eustace says: "Entering the piazza, the visitor views four rows of
lofty pillars, 70 feet high, sweeping off to the right and left in a
bold semicircle. ('A tabernacle for a shadow in the day-time from the
heat, and for a place of refuge, and for a covert from storm and from
rain,' Isa. iv. 6.) In the centre of the area formed by this immense
colonnade, an Egyptian obelisk, of one solid piece of granite, ascends
to the height of 130 feet; two perpetual fountains, one on each side,
play in the air, and fall in sheets round the basins of porphyry that
receive them. Raised on three successive flights of marble steps,
extending 379 feet in length, and towering to the elevation of 148,
you see the majestic front of the basilica itself. This front is
supported by a single row of Corinthian pillars and pilasters, and
adorned with an attic, a balustrade, and thirteen colossal statues.
Far behind and above it rises the matchless dome. Two smaller cupolas,
one on each side, add not a little to the majesty of the principal
dome."
Five lofty portals open into the vestibule; it is 468 feet in length,
66 in height, and 50 in breadth, paved with variegated marble, covered
with a gilt vault, adorned with pillars, pilasters, mosaic, and
bas-reliefs, and terminated at both ends by equestrian statues, one of
Constantine, the other of Charlemagne.