On entering, the size of objects may be judged by noticing the cherubs
that support the holy water basins; they present no extraordinary
appearance, but stand by them and their immense size will be
appreciated. The first chapel, on the right, contains Michael Angelo's
Mary with the Dead Christ; hence it is called the Chapel of La Pietà.
It was executed by the great master when only twenty-four, and bears
his name across Mary's girdle. This work of art is unfortunately very
badly placed for proper observation. Opening out of this chapel are
two side chapels, kept closed: in that of the left are kept the relics
belonging to the basilica; and in the right, a column, ornamented with
flutings and reliefs, and said to be the column against which Jesus
leaned when disputing with the doctors.
Proceeding up the aisle, on the right, is Fabris's statue of Leo XII.;
and opposite, Carlo Fontana's monument to Christina, Queen of Sweden,
who died in Rome in 1689, after her abjuration of Protestantism. The
chapel beyond contains a beautiful mosaic copy of the Martyrdom of S.
Sebastian; the original was by Domenichino. Next is the monument to
Innocent XII., supported by Charity and Justice, by Filippo Valle; and
opposite is one to the Countess Matilda, by Bernini; the relief is
Gregory VII. giving absolution to Henry IV.
The Chapel of the Sacrament contains, above the altar, a fresco by
Cortona; over the side-altar is a mosaic copy of Caravaggio's
Entombment. The principal altar is formed with a model in lapis lazuli
and gilt bronze of Bramante's chapel; the original is erected over the
spot pointed out as the scene of Peter's martyrdom. Before the
side-altar is the bronze tomb of Sixtus IV., with reliefs by Antonio
del Pollajuolo; near by is interred Julius II., whose monument, now in
S. Pietro in Vincoli, was to have been the grand masterpiece of
Michael Angelo.
Beyond, on the right, is the monument to Gregory XIII., supported by
Religion and Power, with a relief representing the correction of the
calendar, the work of Rusconi. Opposite is Gregory the Fourteenth's
simple marble urn.
The next chapel is named Madonna del Soccorso, containing the monument
to Gregory XVI., erected by the cardinals he had made. On the left is
a mosaic copy of Domenichino's Last Communion of S. Jerome. In the
aisle, proceeding on the right, is the monument to Benedict XIV.
(with figures of Science and Charity), by Pietro Bracci. Opposite is a
mosaic copy of S. Basil Celebrating Mass before the Emperor Valens,
after Subleyra's picture.
In the transept are mosaic copies of S. Wenceslaus, king of Bohemia,
by Caroselli; Martyrdom of SS. Processus and Martinianus, after
Valentin; and that of Erasmus, after Poussin. In the aisle, leading
out, is Canova's celebrated tomb of Clement XIII. It took eight years
to execute. The pope is represented praying: on one side is the genius
of Death with inverted torch (the finest piece of sculpture in S.
Peter's), and on the other Religion with the cross; at the angles are
a wakeful and a sleeping lion. Opposite is a mosaic of S. Peter
Walking on the Sea, after Lanfranco. In the next chapel is a mosaic of
Guido's S. Michael and Guercino's S. Petronilla. On the left, coming
towards the apse, S. Peter Resuscitating Tabitha, from Costanzi's
painting; and opposite is the tomb of Clement X., by Ferrata.
In the centre of the apse is S. Peter's chair. January 18th is the
feast of the chair of S. Peter in Rome. Some remarks on the chair
which does duty for S. Peter's may be of interest to our readers. A
photograph of this famous object was taken in 1867, when it was last
exposed to view, and can be had at any of the shops in Rome. Visitors
must be content with looking at the photograph, for the chair itself
is not to be seen. At present it is enclosed in the bronze covering
which is supported by the four colossal figures of the doctors of the
Church--SS. Gregory, Jerome, Ambrose, and Augustin.
It is encased in a framework, in which are the rings through which the
poles were inserted in order to carry the person seated. This casing,
consisting of four posts and sides, is made of oak, and is very much
decayed. The straight vertical joints are easily distinguished where
the frame is attached to the chair itself, which is composed of dark
acacia wood. The front panel is ornamented with three rows of square
plates of ivory, six in a row, eighteen in all, upon twelve of which
are engraved the labours of Hercules, and on the other six,
constellations, with thin _laminæ_ of gold let into the engraved
lines. Some of the ivories are put on upside down, and had evidently
nothing to do with the original chair: they are Byzantine in style, of
the eleventh century. The ivory band decorations of the back and sides
evidently belonged to the chair, and correspond with its architecture
and fit into the woodwork. They are sculptured in relief,
representing combats of men, wild beasts, and centaurs. The centre
point of the horizontal bars has a portrait of Charlemagne crowned as
emperor. In his right hand is a sceptre (broken), and in his left a
globe; two angels on either side offer him crowns and palms, they
having combatants on each side. The chair is 4 feet 8¾ inches high at
back, 2 feet 10½ inches wide, 2 feet 2⅓ inches deep, and 2 feet 1½
inch high in front. Fancy Peter using such a chair as this!
It is asserted by the Roman Church that this chair was used by S.
Peter as his episcopal throne during his rule over the Church at Rome.
Even if we grant, for argument's sake, that he was bishop in Rome,
there is no evidence to prove that this was his chair; in fact, every
evidence to the contrary. All the primitive episcopal chairs are of
marble, and as unlike this one in construction as possible; for it is
not an episcopal throne, but a _sella gestatoria_ or cathedra, similar
to the chairs introduced into Rome in the time of the Emperor
Claudius, mentioned by Suetonius ("Nero," xxvi.), and Juvenal (i. 64,
vi. 90). It is not unlike in shape the one used to carry the Pope in
grand ceremonies in S. Peter's. Some early authors speak of a _sella
gestatoria_ which was placed in the baptistery of old S. Peter's by
Damasus, and which, formerly on the 22nd of February, was carried
hence to the high altar, where the Pope, with much ceremony, was
enthroned upon it.
The chair which was originally assigned as that of S. Peter was
eventually passed on from one chapel to another, till, it is said,
that, when Rome was sacked by the imperialists in 1527, they stripped
it of its ornaments and covering, for the sake of their value; and
that beneath they found an old carved wooden chair, with the
inscription, "_There is only one God, and Mohammed is his
prophet_"--which same formula is engraved upon the back of the marble
episcopal chair in the Church of S. Pietro in Castello at Venice. In
1558, the feast of the chair of S. Peter was fixed in Rome for the
18th of January, and in Antioch for February 22nd; and in 1655 Pope
Alexander VII. placed this chair where it now stands. The present
chair is medieval, ninth century, and is unlike early representations
in art of the chair used by the Apostle Paul, which we may look upon
as episcopal.
The ivory diptych of St. Paul (A.D. 400), the property of Mr. Carrand
of Lyons, engraved by the Arundel Society, represents Paul seated on a
chair, holding in his left hand a roll, the symbol of apostleship,
whilst the right hand is raised in the act of blessing Linus, who
carries a book in his hand. At the back of the chair is S. Mark,
holding a roll in his left hand. The chair is light, and not unlike a
modern library one in shape. Later art agrees with the present chair.
A fresco at S. Clement's, Rome (1050), represents Peter installing
Clement into the Papal chair--a chair, so far as can be seen, not
unlike the present one of S. Peter, which was made after the
coronation of Charlemagne as Emperor of the Holy Roman Empire (A.D.
800).
Upon our right is the tomb of Urban VIII. His bronze statue is by
Bernini, with Justice and Charity in marble. On our left is Della
Porta's monument to Paul III.; likewise a bronze figure, with Prudence
(the Pope's mother, Giovanna Gaetani) and Justice (his sister, Giulia
Farnese). Justice is a beautiful figure, but the tin drapery put on to
cover its nakedness by Bernini destroys its beauty. It is necessary to
re-paint the tin every now and then. There is a deal of this mock
modesty in S. Peter's.
Turning into the south aisle, on our right, is the tomb of Alexander
VIII. The bronze statue is by Arrigo, and the figures of Religion and
Prudence by Rossi. The relief represents the Pope canonizing five
saints. Opposite is the mosaic of S. Peter at the Gate of the Temple.
It is said that this scene, here represented, gave to President
Lincoln the idea for his proposed motto for the greenbacks. When the
commission applied to him for a motto to put upon the notes, he said,
"I can think of nothing better than what Peter said to the sick man at
the gate of the temple--'Silver and gold have I none, but what I have
that give I unto thee.'"
Beyond, upon the right, is a splendid alto-relief by Algardi,
representing Leo threatening Attila with the vengeance of Peter and
Paul if he should attack the holy city of Rome. It is the largest
relief ever executed. A circular marble slab below it marks the tomb
of Leo XII. Upon the right, coming down the aisle, is the tomb of
Alexander VII., by Bernini. Justice, Prudence, Charity, and Truth
surround the kneeling pontiff. A bronze gilt figure of Death supports
the marble canopy. The naked Truth was clothed in tin by Innocent XI.
Opposite is Vanni's oil-painting, the Fall of Simon Magus. The south
transept contains mosaics of S. Thomas by Camuccini, the Crucifixion
by Guido, and S. Francis by Domenichino. On the left is the chair of
the Grand Penitentiary, where great princes have to make their public
confession as pilgrims. Returning to the aisle, on the right is the
tomb of Pius VIII., by Tenerani. Our Saviour is blessing the Pope;
Peter and Paul are on either side; Justice and Mercy are represented
in relief below. Opposite is a mosaic of Ananias and Sapphira after
Roncalli. Beyond is the Miracle of Gregory the Great, by Sacchi.
Facing us is the tomb of Pius VII., by Thorwaldsen. History and Time
support him on either side, with Power and Wisdom below. On the left,
nearly opposite, is a mosaic copy of Raphael's Transfiguration.
Proceeding down the aisle, on our right, is the tomb of Leo XI., with
a relief, by Algardi, representing the abjuration of Henry IV. of
France. Opposite is the tomb of Innocent XI., with relief of the
raising of the siege of Vienna by John Sobieski, with figures of
Religion and Justice, by Monot.
On our right is the Chapel of the Choir, decorated by Giacomo della
Porta. The mosaic altar-piece of the Conception is after Pietro
Bianchi. Over the door, in the pier on the left of the chapel, is a
niche closed with a wooden sarcophagus; here the body of the Pope is
placed till his tomb is prepared. Opposite is the bronze memorial to
Innocent VIII. by the brothers Pollaiolo. The spear-head held in the
hand of the Pope refers to the spear which pierced our Saviour's side,
it being presented to this Pope by the Emperor Bajazet II. On our
right is a fine mosaic by Romanelli, the Presentation of the Virgin in
the Temple. Beyond, on the left, is Canova's memorial to the "last of
the Stuarts," who died in Rome, and are buried in the crypt below. It
takes the form of an entrance to a tomb, which is guarded by beautiful
genii. Over the door are the words--"BLESSED ARE THE DEAD THAT DIE IN
THE LORD." Above are medallions of the Chevalier S. George, Prince
Charlie, and the Cardinal York, the whole being surmounted by the
British coat-of-arms, in which is quartered that of France. This
monument was erected by George IV. Opposite, over the door leading to
the dome, is the monument to Maria Clementina, wife of the Chevalier
S. George, whose portrait in mosaic is by Barigioni. Beyond is the
baptistery. The font is of red porphyry, which was once the top of the
tomb of Otho II., and originally, it is said, of Hadrian. In front is
Carlo Maratta's Baptism of Christ in mosaic; upon the left Peter
baptizing the jailers in the Mamertine prison, a fiction from Passeri;
and opposite is Procaccini's Baptism of the Centurion. This baptistery
is said to be on the site of a temple to Apollo, upon what authority
we cannot say.
The nave has marked in the centre of its pavement the measurement of
all the principal churches in the world, whereby it can be seen that
S. Peter's is 93 feet longer than S. Paul's, London. The large
porphyry circular slab is that upon which the holy Roman emperors were
crowned, and where the priest who is made judge of ecclesiastical
matters in the Roman Church is ordained. In a niche in each of the
piers supporting the vault are colossal statues, 16 feet high, of the
founders of the various religious orders; and in the piers of the dome
are S. Longinus, the soldier who pierced our Saviour's side, S.
Helena, who found the cross, S. Veronica, who wiped his face, and S.
Andrew. Above are kept the relics of these saints, which are only
shown to those who hold the title of a canon of the church. On the
spandrels of the arches of the dome are four large mosaics,
representing Matthew, Mark, Luke, and John, with their emblems. S.
Luke's pen is 7 feet long, and the letters on the frieze are 6 feet
high.
The great piers are 253 feet in circumference; which space is exactly
occupied by the church and house of S. Carlo, in the Via Quattro
Fontane. Near the first pier of the right side is the celebrated
bronze seated statue of S. Peter, with the keys in one hand, the other
raised in the act of blessing, under a canopy erected by Pius IX.,
whose portrait in mosaic surmounts it. It is asserted by some that
this was a statue of Jupiter, supremely good and great, that stood in
the Capitoline temple, and that it was altered into S. Peter; others
say they recast Jupiter into the "Jew Peter."