St. Peter’s Basilica, a monumental achievement of the Renaissance, stands as one of the most breathtaking structures ever created. This iconic basilica is not just a church; it’s a treasure trove of art, history, and astonishing facts. Let’s delve into some of the most remarkable aspects of St. Peter’s Basilica in Rome, including a detail that often leaves visitors in awe: the size of the lettering within its walls.
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18 Astonishing Facts About St. Peter’s Basilica
Spanning the reigns of 20 popes and the creative genius of virtually every famous Renaissance architect, St. Peter’s Basilica holds the esteemed position as the most significant of Rome’s four major basilicas. This prominence extends beyond Rome, making it the most important Catholic Church globally.
Its dome, an unmistakable feature of Rome’s skyline, acts as a constant landmark for those exploring the Eternal City. To truly appreciate this magnificent place, understanding its historical significance is key. While these facts offer a glimpse into its grandeur, nothing compares to experiencing the basilica firsthand with a knowledgeable guide. Explore our popular St. Peter’s Basilica tours, which include options for climbing the dome and discovering even more hidden stories.
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18. St. Peter’s Martyrdom Under Emperor Nero
The story of St. Peter in Rome is intertwined with a turbulent period under Emperor Nero around A.D. 64. Following the death of Christ, Peter found himself in Rome during a particularly dangerous time for Christians. Nero, seeking a scapegoat for the devastating fire that ravaged Rome, unjustly blamed the Christian community.
This marked the beginning of Nero’s brutal persecution of Christians, viewed by some as a radical sect. Church tradition holds that St. Peter, St. Paul, and countless other Christians were martyred during this era.
Facing imminent danger, Peter attempted to flee Rome. However, Christian dogma recounts that Christ appeared to him, urging him to return to the city and embrace his destiny. According to tradition, St. Peter was crucified upside down by Nero’s decree and buried in A.D. 64. Nero’s scheme to hold Christians accountable for the fire achieved a degree of success, adding a dark chapter to early Christian history.
17. Built Upon St. Peter’s Tomb
The location of St. Peter’s Basilica is far from arbitrary. The very ground upon which the Vatican City now stands was once the site of the Stadium of Nero. After St. Peter’s crucifixion, his body was laid to rest in a necropolis nearby, a burial ground shared with pagans. This humble burial site would eventually become the cornerstone of one of Christianity’s most significant landmarks.
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16. Constantine’s Vision: The First Basilica
A pivotal moment in Christian history occurred when Emperor Constantine, after his victory over Maxentius in A.D. 312, legalized Christianity. Inspired by Christ’s words to Peter, “You are the rock upon which I will build my Church” (Peter’s name at the time was Simon, later changed by Jesus to Peter, meaning “rock”), Constantine embarked on fulfilling this prophecy.
He commissioned the construction of a basilica directly over St. Peter’s tomb. Constantine’s mother, St. Helen, a devout Christian, likely played a significant role in this endeavor. For her, witnessing her son realize such a profound scriptural fulfillment must have been deeply meaningful.
15. Constantine’s Basilica: A Millennium of Faith
Constantine’s original basilica stood for an astounding 1,200 years, from the mid-fourth century A.D. (the 300s) until 1506. This remarkable longevity underscores its significance as a center of Christian worship and pilgrimage for over a millennium. While the basilica we see today is a later construction, it’s crucial to note that foundational elements from Constantine’s original structure are still incorporated. This means parts of the current basilica’s foundation are nearly 1,700 years old, a testament to enduring faith and architectural continuity.
14. 1506: Birth of the Current Basilica
In 1506, Pope Julius II initiated the ambitious project of building a new basilica, commissioning Donato Bramante to design what would become the St. Peter’s Basilica we recognize today. Bramante’s initial designs were later succeeded by Raphael (the Raphael) a few years after. This marked the beginning of a massive undertaking that would involve generations of artistic giants.
The construction of the current basilica became a collaborative masterpiece, drawing contributions from virtually every renowned name in Italian art, from Michelangelo to the Moderno family (father and son) and Gian Lorenzo Bernini. Their combined talents shaped the basilica into the artistic and architectural marvel it is today.
13. A Century and More in the Making
The sheer scale and intricacy of St. Peter’s Basilica are reflected in its construction timeline: 120 years. This lengthy period, however, only accounts for the main construction phase. Even after this milestone, work continued on various aspects. For instance, the last fountain, designed by Bernini, wasn’t completed until 1675. This ongoing development highlights the dedication and meticulousness poured into every detail of this grand structure.
12. Five Master Architects
The design and construction of St. Peter’s Basilica were guided by a succession of five principal architects, each leaving their indelible mark. Donato Bramante was the first, appointed in 1506, but Raphael took over in 1515 after Bramante’s death. Raphael’s tenure, though brief, lasting until his death in 1520, brought significant design changes, including reducing the tower sizes, which emphasized the building’s square exterior walls.
Both Bramante and Raphael envisioned a Pantheon-inspired dome, aiming for monumental scale. Michelangelo, appointed by Pope Paul III in 1547, is widely considered the basilica’s principal designer. Reluctant initially, Michelangelo was persuaded by the Pope to take on the project. His design honored Bramante’s original concepts while simplifying its geometric forms. Michelangelo is unequivocally credited with the dome’s final design and realization.
The facade, another crucial element, was the creation of Carlo and Stefano Moderno, father and son. Gian Lorenzo Bernini also attempted to design the facade but his plans were ultimately not realized. However, Bernini’s genius is prominently displayed in St. Peter’s Square, which he designed to complement the basilica.
11. The Largest Church on Earth: A Matter of Scale
Stepping inside St. Peter’s Basilica for the first time, visitors are immediately struck by its immense size. Yet, the masterful design ensures perfect proportionality, making it difficult to grasp the true scale at first glance. This optical illusion is part of the basilica’s architectural genius.
Look up at the gold coffered ceiling above the entrance: it soars 150 feet high. The statues lining the walls are ingeniously scaled; those higher up are significantly larger than those at ground level, creating an impression of uniform size. Ground-level statues are around six feet tall, while those at the top reach an astonishing 24 feet, yet they appear visually consistent.
Similarly, the inscriptions that encircle the basilica are designed to impress. Each letter measures a remarkable eight feet in height. Without a point of reference, it’s challenging to comprehend their true dimensions. However, when maintenance is underway, and workers are seen cleaning near these inscriptions, the scale becomes apparent – individuals can literally fit inside the letters! This detail perfectly illustrates just how monumental everything within St. Peter’s Basilica truly is, including the question we started with: how tall are the letters in St. Peter’s Basilica? They are an incredible 8 feet tall!
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10. The Tallest Dome: Reaching for the Heavens
St. Peter’s Basilica’s dome, a defining element of Rome’s skyline, draws inspiration from the Pantheon’s dome and Brunelleschi’s Duomo di Firenze. However, St. Peter’s dome distinguishes itself as the tallest dome in the world. Its sheer height makes it visible from almost anywhere in Rome.
To grasp its immensity, consider this: the Statue of Liberty could fit comfortably inside the dome. This feat of engineering was accomplished over 400 years ago. The dome’s precise dimensions are 448.1 feet tall (136.5m). Visitors can experience this grandeur firsthand by climbing St. Peter’s Dome and enjoying unparalleled panoramic views of the Eternal City.
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9. Recycled Roman Grandeur: Building Materials
Photo courtesy of Lynn Gail
Gian Lorenzo Bernini’s Baldacchino, a towering 95-foot-tall bronze canopy, stands as a majestic marker over St. Peter’s tomb within the basilica. This sculpted masterpiece is a highlight of the basilica’s artistic treasures. Its construction, however, involved a somewhat controversial sourcing of materials.
The vast quantity of bronze required for the Baldacchino was ingeniously (and perhaps opportunistically) obtained from the Pantheon. Pope Urban VIII authorized the removal of bronze that adorned the porch of the Pantheon, repurposing it for Bernini’s creation. Thus, material was essentially “borrowed” from one Roman landmark to enhance another.
Look closely at the Baldacchino’s upper section to find small bumblebees subtly incorporated into the bronze. These are not merely decorative; they are the emblem of the Barberini family, Pope Urban VIII’s lineage, indicating who financed this magnificent artwork.
8. Bernini’s Colonnades: Embracing the World
Approaching St. Peter’s Basilica via Via della Conciliazione offers a truly grand arrival. This wide avenue, created by Mussolini, was designed to enhance the sense of awe when approaching the heart of Christendom. While Mussolini’s legacy is complex, the Via della Conciliazione remains a striking approach to the basilica.
St. Peter’s Square (Piazza San Pietro), designed by Bernini, is meticulously planned to frame the basilica in a way that maximizes its impact. Bernini conceived two massive, curved colonnades, comprising 284 columns topped by 140 statues of saints. Contrary to common perception, the square is not perfectly circular but oval-shaped. The entrance to the square, defined by the colonnades opposite the basilica, is wider than the side closer to the basilica itself.
Bernini’s design aimed to create two outstretched arms of columns, symbolically welcoming the world. Whether visitors consciously perceive this welcoming gesture, the grandeur of the colonnades undeniably leaves a lasting impression.
7. Fountain Duet: Maderno and Bernini
St. Peter’s Square features two magnificent fountains flanking a central obelisk. Carlo Maderno, who also designed the basilica’s facade, created the first fountain on the right side in 1612. Sixty-five years later, in 1677, Bernini added a second fountain on the opposite side, mirroring Maderno’s design almost exactly.
In our modern era of dynamic, musical fountains, it’s easy to overlook the sheer ingenuity of 17th-century fountains. Consider the tools and technology of the time. Creating such elaborate fountains, with water propelled high into the air, was an incredible feat of engineering. Without readily available powerful pumps, the source of water and the mechanics of its projection would have seemed almost magical to onlookers. While the Tiber River is nearby, its lower elevation wouldn’t naturally provide the pressure needed for such fountains. These fountains were, and remain, a testament to early hydraulic engineering.
6. Bernini’s Bell Tower Setback
Carlo Maderno’s facade of St. Peter’s Basilica has undergone subtle changes over time. In the 17th century, Bernini attempted to enhance the facade by adding two bell towers, intended to frame the dome more effectively. However, this addition proved to be Bernini’s most significant professional setback.
The towers, unfortunately, suffered from structural weaknesses and began to develop cracks soon after construction. Eventually, they had to be removed, a deeply disappointing episode for Bernini, even though he later achieved further successes. This failure, however, remains a notable chapter in his otherwise illustrious career.
5. Michelangelo’s La Pietà: A Masterpiece of Emotion
Michelangelo, the iconic Renaissance artist known for David and the Sistine Chapel ceiling, sculpted La Pietà at the close of the 15th century. La Pietà, depicting the Virgin Mary cradling the body of Jesus after the crucifixion, is a sculpture of profound emotional depth and artistic brilliance.
Commissioned by French Cardinal Jean de Bilheres in 1497 for a side chapel in St. Peter’s Basilica, Michelangelo, using a single block of Carrara marble, completed this incredibly detailed sculpture within a year. Any artwork crafted by Michelangelo is revered in the art world, and La Pietà is no exception. Art historians marvel at his ability to envision and create such intricate forms from raw materials.
La Pietà is also celebrated for its pyramidal composition, with Mary’s head at the apex. While proportions are intentionally altered for artistic effect, the sculpture’s unique form contributes to its powerful and spiritual impact. Beyond its artistic merits, La Pietà gained further notoriety due to a shocking act of vandalism in 1972. Laszlo Toth attacked the sculpture with a hammer, shouting “I am Jesus Christ.” He inflicted severe damage, including severing Mary’s left arm. The attack led to a complex and painstaking restoration. Today, La Pietà is protected behind bulletproof glass, a poignant reminder of the vulnerability of even the most enduring works of art.
4. Papal Resting Place: 91 Popes Buried Within
St. Peter’s Basilica serves as the final resting place for 91 popes, including Pope John Paul II, who was interred here in 2005. As you explore the basilica, you’ll see monumental tombs of various popes along the corridors. Over time, as space above ground became limited, papal burials began to take place in the Papal tombs or crypts beneath the basilica.
The popes buried here represent a diverse spectrum of figures, from saints like Gregory I to powerful figures like Pope Alexander VII. Beneath ground level, you can find the tomb of Boniface VIII, a controversial and corrupt pope. Intriguingly, Queen Christina of Sweden, a convert to Catholicism, is also buried within the basilica, highlighting its ecumenical significance.
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3. Worn by Devotion: St. Peter’s Toes
Near Bernini’s Baldacchino, you might notice a queue forming on the right. This line is composed of visitors waiting to touch the foot of the bronze statue of St. Peter, a traditional act of seeking blessing.
According to the official St. Peter’s Basilica website, the statue’s precise date and sculptor are uncertain. While many attribute it to Arnolfo di Cambio in the 13th century, definitive proof is lacking. For centuries, tradition has dictated rubbing the statue’s right foot for blessings. Close inspection reveals the remarkable consequence of this devotion: St. Peter’s toes on his right foot have been completely worn away by centuries of touch. More recently, people have begun rubbing his left foot as well, a testament to the enduring power of this tradition.
2. Visible in Death: Pope Innocent XI
Pope Innocent XI, a significant figure of the 17th century papacy, is remembered for his strong moral character and his rejection of nepotism and corruption, qualities that were rare at the time. His role in the Austrian victory against the Ottoman Empire was crucial in halting the Ottoman advance into Western Europe.
Unusually, Pope Innocent XI is entombed within the basilica in full view. His body is fully clothed and covered with a mask over his face and hands, concealing his skeletal remains. He is located near Raphael’s mosaic of the Transfiguration.
1. Mosaic Masterpiece: The Illusion of Paintings
Here’s a fascinating secret about the “paintings” in St. Peter’s Basilica: they are not paintings at all! They are actually mosaics crafted from glass and ceramic. In the 19th century, the original paintings in the basilica began to deteriorate due to the humid interior conditions.
To preserve the artistic grandeur, these paintings were meticulously replaced with mosaics. An advantage of mosaics is their durability and resistance to humidity. This also explains why flash photography is permitted inside the basilica; you are photographing glass and ceramic, not fragile paint, so there’s no risk of damage. To truly appreciate this illusion, examine the “paintings” closely to see the subtle glint of light on the glass and ceramic tesserae, revealing their true mosaic nature. It’s a surprising detail to share with fellow visitors.
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