Gardners Art through the Ages A Global History

totally new concept for Saint Peter’s. Moreover, the two outer bays
with bell towers were not part of his original concept. Hence, had the
facade been constructed according to the architect’s initial design, the
result would have been greater verticality and visual coherence.
Maderno’s plan for Saint Peter’s (MAP24-1) also departed from
the central plans designed for it during the Renaissance by Bramante
(FIG. 22-23) and, later, by Michelangelo (FIG. 22-25). Paul V commis-
sioned Maderno to add three nave bays to the earlier nucleus because
Church officials had decided the central plan was too closely associated
with pagan buildings, such as the Pantheon (FIG. 10-51). Moreover, the

longitudinal basilican plan used for

the original fourth-century church

(FIG. 11-9) reinforced the symbolic

distinction between clergy and laity

and provided a space for the proces-

sions of ever-growing assemblies.

Lengthening the nave, unfortunately,

pushed the dome farther back from

the facade and all but destroyed the

effect Michelangelo had planned—a

structure pulled together and domi-

nated by its dome. When viewed at

close range, the dome barely emerges

above the facade’s soaring frontal

plane. Seen from farther back (FIG.

24-3), it appears to have no drum.

Visitors must move back quite a dis-

tance from the front (or fly over the

church,FIG. 24-4) to see the dome

and drum together. Today, viewers

can appreciate the effect Michelan-

gelo intended only by observing the

church from the back (FIG. 22-26).

BERNINI AND SAINT PETER’SOld Saint Peter’s had a

large forecourt, or atrium(FIG. 11-9,no. 6), in front of the church

proper, and in the mid-17th century, Gianlorenzo Bernini

(1598–1680) received the prestigious commission to construct a

monumental colonnade-framed piazza(plaza;FIG. 24-4) in front

of Maderno’s facade. Architect, painter, and sculptor, Bernini was

one of the most important and imaginative artists of the Italian

Baroque era and its most characteristic, sustaining spirit. Bernini’s

design had to accommodate two preexisting structures on the

site—an ancient obelisk the Romans brought from Egypt (which

Pope Sixtus V had moved to its present

location in 1585 as part of his vision of

Christian triumph in Rome) and a

fountain Maderno designed. Bernini

co-opted these features to define the

long axis of a vast oval embraced by two

colonnades joined to Maderno’s facade.

Four rows of huge Tuscan columns

make up the two colonnades, which

terminate in classical temple fronts. The

colonnades extend a dramatic gesture of

embrace to all who enter the piazza,

symbolizing the welcome the Roman

Catholic Church gave its members

MAP24-1Vatican City.

CITY WALLS

WALLS

CITY CITY WALLS

St. Peter’s

Basilica

St. Peter’s

Piazza Obelisk

Apostolic

Palace

Scalia Regia

Sistine

Chapel

Vatican

Museums

Vatican Gardens

VATICAN

CITY

0 1000 feet

0 125 250 meters

500

24-4Aerial view of Saint Peter’s,

Vatican City, Rome, Italy. Piazza designed

by Gianlorenzo Bernini,1656–1667.

The dramatic gesture of embrace that

Bernini’s colonnade makes as worship-

ers enter Saint Peter’s piazza symbolizes

the welcome the Roman Catholic Church

extended its members during the

Counter-Reformation.

Italy 651

24-4ABERNINI,

Four Rivers

Fountain,

1648–1651.