This is my second time posting this,so hopefully it works this time!
Last week, the world got to watch Pope John Paul II's funeral, a ceremony that took place in the vast Baroque splendor of St. Peters. Many people commented on the plainness of his casket, which did indeed contrast with the lavish setting of the basilica, the heart-aching hymns, and the fancy Swiss guards. Keep in mind Jesus himself was not given such a burial, so maybe the church was attempting to be modest with his casket.
This week I'd like to blog on the history of St. Peters basilica, which is supposedly the exact spot of St. Peters tomb. St. Peters is the home of not only the pope, but also great paintings and sculpture. Michelangelo famous fresco, the Last Judgment (1508) and Creation of Adam (1511) can be seen here, along with Rapheal's School of Athens (1509) in the Stanza della Signatura. And don't forget Bernini's great baldacchino (1624) which marks the exact spot of St. Peters tomb. This 100' high gilded bronze sculpture is magnificent!
Planning St. Peters began in 1505, with Bramante, who was commissioned by Julius II. Julius II's intent was to make the Rome of the popes reminiscent of the Rome of the ceasars. His plan consisted of a cross with arms of equal length, each ending with an apse. A large dome would have covered the crossing and smaller domes would have covered the diagonal axes. Unfortunately Bramante's plan was never executed before his death, so the great master Michelangelo stepped up to the plate in 1546, under Pope Paul III. With a few minor adjustments to Bramante's plan, Michelangelo executed the building with a form of organic beauty. The dome was completed by Giacomo Della Porta after Michelangelo's death, and is today probably the most impressive and beautiful in the world, influencing generations of architects in years following.
But wait, that's not all! St. Peter's also fell into the hands of yet another architect in (1606-1612), Carlo Maderno, commissioned by Pope Paul V. Maderno added a facade and three nave bays to the nucleus of the basilica. Critics claimed that Maderno's facade is too wide and the entry is too small, obstructing the view of the dome. He also lengthened the nave, pushing the dome further back from the facade and making the dome even harder to see. This longitudinal plan reinforced the symbolic distance between clergy and the city, while providing more space for processes of ever growing assemblies. When viewed at close range, the dome is barely visible due to this addition, which totally disrupts Michelangelo vision of a dominant dome.
And finally, Gianlorenzo Bernini is to thank for his contribution to St. Peters in 1656. Bernini added the courtyard, or piazza, complete with two sets of elongated colonnades that appear as welcoming arms. The artist's intent was for these two colonnades, made up of four rows of huge, Tuscan columns, was to symbolically embrace the people.
The Vatican is at the top of my list of places I want to visit. Once the center of the art world, the Vatican offers the best collections and architecture by the great masters. Although I never ventured to this small country during Pope John Paul II's leadership, I hope the Papal Palace I see will be occupied with a pope just as wonderful as his predecessor.
