S. PETER’S, ROME—THE CONFESSION. 95 EVER-BURNING LAMPS ARE IN FRONT OF THE ENTRANCE TO THE APOSTLE’S TOMB
The account from which we quote is virtually a semi-official procès-verbal, and was compiled by an eye-witness—Ubaldi, a canon of S. Peter’s, who was present when the discoveries were made, and who has left us his notes made on the spot and at the time. Singularly enough, the memoranda of Ubaldi lay disregarded, hidden among the Vatican archives until comparatively recently. They were found[132] by one of the keepers of these archives, and have been published lately by Professor Armellini.
Before, however, giving the extracts from Ubaldi’s memoranda of the discoveries in the Cemetery of Anacletus in the year 1626, it will be of material assistance to the reader if a short account of the probable present position and state of the great apostle’s tomb is subjoined. It will be borne in mind that the excavations in connection with Bernini’s baldachino were carried out close to the tomb in question.
The vault, in which we believe rests the sarcophagus which contains the sacred remains of the apostle, lies now deep under the high altar of the great church. It was always subterranean, and no doubt from the earliest days was visited by numbers of believers belonging not only to the Roman congregation, but by pilgrims from many other countries. Pope Anacletus, to accommodate these numerous pilgrim visitors, built directly over the tomb a little Memoria or chapel. This apparently was done by raising the walls of the vault beneath, and thus a chamber or chapel above was provided. This Memoria of Anacletus is generally known as the confession. Both these chambers now lie beneath the floor of the existing church. Originally the Memoria of Anacletus above the chamber of the tomb showed above ground; it is no doubt the “Tropæum” alluded to by the Presbyter Caius, circa A.D. 210.
Roughly, the height of the two chambers from the floor of the original vault to the ceiling of the Memoria built over it is some 32 feet. There is little difference in the height of each of these two chambers.
The probable explanation of the details given in the Liber Pontificalis of the works of Constantine the Great at the tomb is as follows: Both the chambers of the tomb—the original vault and the Memoria of Anacletus over it—were left intact, but with certain added features, simply devised with the view of strengthening and ensuring the permanence of the sacred spot and its contents. The whole of the chamber of the tomb was then filled up with solid masonry, except immediately above the sarcophagus.
The upper chamber, the Memoria, was strengthened with masses of masonry on each side, so as to bear the weight of a great altar, the high altar of the Basilica of Constantine, which was erected so as to stand immediately over the body of S. Peter. A cataract or billicum, as it is sometimes called, covered with a bronze grating, opened from above close to the altar. There are two of these little openings, one leading into the Memoria, and the other from the Memoria to the chamber of the tomb beneath. Through these openings handkerchiefs and such-like objects would be lowered so as to touch the sarcophagus. This we know was not unfrequently permitted in the fifth, sixth, seventh, and eighth centuries. Such objects after they had touched the coffin were esteemed as most precious relics.
In addition to these works in the two chambers, the Emperor Constantine enclosed the original stone coffin which contained the remains of S. Peter in bronze, and laid upon this bronze sarcophagus the great cross of gold—the gift of his mother Helena and himself. This is the cross which Pope Clement VIII and his cardinals saw dimly gleaming below, when an opening to the tomb was suddenly disclosed in the great building operations which were carried out during the last years of the sixteenth century.
There is scarcely room now for doubt that the bronze coffin and the golden cross are still in the chamber of the tomb where Constantine placed them.