THE OBELISK

is the only one near its original site, the Spina of Nero's Circus, which was near the Sacristy, on the left of S. Peter's. An inscription in the pavement marks the place. Pliny (xxxvi. 14), says: "The third obelisk at Rome is in the Vatican Circus, which was constructed by the emperors Caius [Caligula] and Nero; this being the only one of them all that has been broken in the carriage. Nuncorcus, the son of Sesoses, made it [the original, this is probably a copy], and there remains [in Egypt] another by him, 100 cubits in height, which, by order of an oracle, he consecrated to the sun, after having lost his sight and recovered it." Herodotus says: "It was dedicated by Phero, son of Sesostris, in gratitude for his recovery from blindness." It has no hieroglyphics, so if this was the original how could they know who erected it? but it bears this inscription of Caligula—

DIVO. CAES. DIVI. JULII. F. AUGUSTO.—TI. CAESARI.
DIVI. AUG. F.—AUGUSTO. SACRUM.

[To the divine Augustus, son of the divine Julius, and to the divine Tiberius, son of the divine Augustus.]

S. PETER'S AND THE VATICAN.
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The Nuncorcus of Pliny is supposed to stand for Menophtheus, the king Meneph-Pthah.

Pliny (xvi. 76) gives the following particulars of how it was brought over:—

"A fir tree of prodigious size was used in the vessel which, by the command of Caligula, brought the obelisk from Egypt, which stands in the Vatican Circus, and four blocks of the same sort of stone to support it. Nothing certainly ever appeared on the sea more astonishing than this vessel; 120,000 bushels of lentils served for its ballast; the length of it nearly equalled all the left side of the port of Ostia—for it was sent there by the Emperor Claudius. The thickness of the tree was as much as four men could embrace with their arms."

Suetonius ("Claudius," xx.) says: "He sank the vessel in which the great obelisk had been brought from Egypt, to secure the foundation of the mole at Ostia."

Pliny (xvi. 76), says: "As to the one in which, by order of the Emperor Caius, the other obelisk had been transported to Rome, it was brought to Ostia, by order of the late Emperor Claudius, and sunk for the construction of his harbour."

Marcellinus says: "Subsequent ages to Augustus brought also other obelisks, one of which is in the Vatican."

VESTIBULE.

Over the entrance outside is a relief of Christ giving the keys to Peter; inside the vestibule is Giotto's (1298) celebrated mosaic, representing our Lord sustaining Peter when he was about to sink whilst walking on the sea. Opposite are the great bronze doors, opened only on special occasions, the work of Antonio Filareto and Simone Donatello in the fifteenth century. The upper panels represent in relief our Saviour and the Virgin, below whom are SS. Peter and Paul; Peter is giving the keys to Pope Eugenius IV. Beneath are the martyrdoms of Peter and Paul: in the former is represented the pyramidal tomb which stood in the Borgo Nuovo, and which was destroyed by Alexander VI. The smaller reliefs represent scenes from the life of the Emperor Sigismund—his coronation, the council of Florence, and his entry into Rome. The framework represents satyrs, nymphs, fauns, Leda and the Swan, Ganymede, the Fox and the Stork, with reliefs of fruit and flowers, and medallions of Roman emperors. The walled-up side door, on the right, is the Porta Santa, which was formerly opened on Christmas-eve of the years of jubilee—every twenty-fifth year.

The first inscription relates the gift of olive-yards to provide oil for the lamps given by Gregory II.

The second, the Bull of Boniface VIII., of the indulgence granted at jubilee.

The third, Panegyric of Charlemagne on Pope Adrian I.

INTERIOR.

Five portals give access to the edifice, which faces east.

"Enter, its grandeur overwhelms thee not."—Byron.

"The most extensive hall ever constructed by human art expands in magnificent perspective before you. Advancing up the nave, you admire the beauty of the variegated marble under your feet, and the splendour of the golden vault overhead, the lofty Corinthian pilasters with their bold entablature, the intermediate niches with their statues, the arcades with the graceful figures that recline on the curves of their arches. But how great your astonishment when you reach the foot of the altar, and, standing in the centre of the church, contemplate the four superb vistas that open around you; and then raise your eyes to the dome, at the prodigious elevation of 440 feet, extended like a firmament over your head, and presenting, in glowing mosaic, the companies of the just and the choirs of celestial spirits....

"Around the dome rise four other cupolas, small, indeed, when compared with its stupendous magnitude, but of great boldness when considered separately; six more, three on either side, cover the different divisions of the aisles; and six more of greater dimensions canopy as many chapels. All these inferior cupolas are, like the grand dome itself, lined with mosaics. Many, indeed, of the masterpieces of painting which formerly graced this edifice have been removed [to the Church of S. Maria degli Angeli, see [page 265] ], and replaced by mosaics, which retain all the tints and beauties of the originals, impressed on a more solid and durable substance. The aisles and altars are adorned with numberless antique pillars that border the churches all around, and form a secondary order" (Eustace).

The variegated walls are in many places ornamented with festoons, wreaths, crosses, and medallions representing the effigies of different pontiffs. Various monuments rise in different parts of the church, of exquisite sculpture, and form very conspicuous features in the ornament of this grand temple.

Below the steps of the altar, and, of course, some distance from it, at the corners, on four massive pedestals, four twisted pillars, 50 feet in height, rise and support an entablature, which bears the canopy itself, topped with a cross. The whole is 95¼ feet from the pavement. This brazen edifice—for so it may be called—was constructed of bronze stripped from the dome of the Pantheon, and is so disposed as not to obstruct the view by concealing the chancel and veiling the chair of S. Peter. This ornament is also of bronze, and consists of a group of four gigantic figures, representing the four principal doctors of the Greek and Latin Churches, supporting the chair at an elevation of 70 feet. Under the high altar of S. Peter's is the tomb of that apostle, the descent to which is in front, where a large open space leaves room for a double flight of steps. The rails that surround this space above are adorned with one hundred and twelve bronze cornucopiæ, which support as many silver lamps, burning during the day in honour of the apostle. Upon the pavement of the small area enclosed by the balustrade is the kneeling statue of Pius VI., by Canova.

DIMENSIONS.

Interior.

613½ feetlong.
152½ feet,height of Nave.
87½ feet,width of Nave.
33¾ feet,width of Aisles.
197¾ feet,width of Basilica.
446½ feet,length of Transepts.
95¼ feet,height of Baldacchino complete.
139 feetCupola, interior diameter.
179 feetCupola high.
277 feetabove Floor.
440 feetfrom Pavement to Base of Lantern.

Area.

240,000 square feet.

INTERIOR OF S. PETER'S.
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A PROMENADE IN S. PETER'S.

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."

THE SACRISTY

is connected with S. Peter's by a long gallery, and is adorned with pillars, statues, paintings, and mosaics. It is entered by passing through a door under the monument to Pius VIII., in the left aisle. There is a very rich collection of church plate and vestments kept in the guardaroba, which visitors should not fail to see.

THE CRYPT.

Orders must be obtained of Cardinal Ledockowski, Palazzo Cancelleria. It must be visited before 11 A.M. The entrance is at the side of the statue of S. Veronica. It contains the tombs of the early Popes, and also some old bas-reliefs, and some very ancient statues of S. Peter. Adrian IV., the only English Pope, is buried here, and also several distinguished historical characters, including "the last of the Stuarts."

THE DOME.

Orders must be obtained of Monsignor Fiorani, in the Sacristy, for visiting the dome, which is only open without an order on Thursdays, between 8 and 10 A.M.

It is reached by a winding ascent, the entrance being opposite the Stuart monument. On the platform of the roof the cupolas, domes, and pinnacles are seen to advantage; and hence, by different staircases between the walls of the cupola, the ball is reached. During the ascent, a fine view may be obtained of the lower parts of the church, as well as of the mosaics and stuccoes which embellish the interior of the dome.

On reaching the summit, a panoramic view of Rome and the Campagna is had, quite repaying the labour of the ascent.