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.