The Papal Basilica of Saint Peter in the Vatican (), or simply St. Peter's Basilica (; ), is a church of the Italian Renaissance located in Vatican City, an independent microstate enclaved within the city of Rome, Italy. It was initially planned in the 15th century by Pope Nicholas V and then Pope Julius II to replace the ageing Old St. Peter's Basilica, which was built in the fourth century by Roman emperor Constantine the Great. Construction of the present basilica began on 18 April 1506 and was completed on 18 November 1626.
Designed principally by Donato Bramante, Michelangelo, and Carlo Maderno, with piazza and fittings by Gian Lorenzo Bernini, Saint Peter's is one of the most renowned works of Italian Renaissance architecture and as "the greatest of all churches of Christendom".
Catholic tradition holds that the basilica is the burial site of Saint Peter, chief among Jesus's apostles and also the first Bishop of Rome (Pope). Saint Peter's tomb is directly below the high altar of the basilica, also known as the Altar of the Confession. For this reason, many popes, cardinals and bishops have been interred at St. Peter's since the Early Christian period.
St. Peter's is famous as a place of pilgrimage and for its liturgical functions. The pope presides at a number of liturgies throughout the year both within the basilica or the adjoining St. Peter's Square; these liturgies draw audiences numbering from 15,000 to over 80,000 people. St. Peter's has many historical associations, with the early Christian Church, the Papacy, the Protestant Reformation and Catholic Counter-Reformation and numerous artists, especially Michelangelo. As a work of architecture, it is regarded as the greatest building of its age.
Overview
thumb|View from the [[Tiber on Ponte Sant'Angelo and the Basilica. The iconic dome dominates the skyline of Rome.|alt=A view of Rome on a sunny afternoon looking along the river. A bridge crosses the river and beyond it is a hill on which the grey dome of St. Peter's rises above ancient buildings and dark pine trees.]]
St. Peter's is a church built in the Renaissance style located in the Vatican City west of the River Tiber and near the Janiculum Hill and Hadrian's Mausoleum. Its central dome dominates the skyline of Rome. The basilica is approached via St. Peter's Square, a forecourt in two sections, both surrounded by tall colonnades. The first space is oval and the second trapezoidal. The façade of the basilica, with a giant order of columns, stretches across the end of the square and is approached by steps on which stand two statues of the first-century apostles to Rome, Saints Peter and Paul.
The basilica is cruciform in shape, with an elongated nave in the Latin cross form but the early designs were for a centrally planned structure and this is still in evidence in the architecture. The central space is dominated both externally and internally by one of the largest domes in the world. Set into the niches of the dome's four gargantuan support piers are colossal statues representing the four major holy relics believed to be held in the basilica: St. Longinus with his spear, St. Helena with the True Cross, St. Veronica with her veil, and St. Andrew, whose skull was possessed by the Vatican until the 20th century. The entrance is through a narthex, or entrance hall, which stretches across the building. One of the decorated bronze doors leading from the narthex is the Holy Door, opened only during jubilees.
The nave which leads to the central dome is in three bays, with piers supporting a barrel vault, the highest of any church. The nave is framed by wide aisles which have a number of chapels off them. There are also chapels surrounding the dome. Moving around the basilica in a clockwise direction they are: The Baptistery, the Chapel of the Presentation of the Virgin, the larger Choir Chapel, the altar of the Transfiguration, the Clementine Chapel with the altar of Saint Gregory, the Sacristy Entrance, the Altar of the Lie, the left transept with altars to the Crucifixion of Saint Peter, Saint Joseph and Saint Thomas, the altar of the Sacred Heart, the Chapel of the Madonna of Column, the altar of Saint Peter and the Paralytic, the apse with the Chair of Saint Peter, the altar of Saint Peter raising Tabitha, the altar of St. Petronilla, the altar of the Archangel Michael, the altar of the Navicella, the right transept with altars of Saint Erasmus, Saints Processo and Martiniano, and Saint Wenceslas, the altar of St. Jerome, the altar of Saint Basil, the Gregorian Chapel with the altar of the Madonna of Succour, the larger Chapel of the Holy Sacrament, the Chapel of Saint Sebastian and the Chapel of the Pietà. The Monuments, in a clockwise direction, are to: Maria Clementina Sobieska, The Stuarts, Benedict XV, John XXIII, St. Pius X, Innocent VIII, Leo XI, Innocent XI, Pius VII, Pius VIII, Alexander VII, Alexander VIII, Paul III, Urban VIII, Clement X, Clement XIII, Benedict XIV, St Peter (Bronze Statue), Gregory XVI, Gregory XIV, Gregory XIII, Matilda of Canossa, Innocent XII, Pius XII, Pius XI, Christina of Sweden, and Leo XII.
At the heart of the basilica, beneath the high altar, is the Confessio or Chapel of the Confession, named in reference to the confession of faith by St. Peter, which led to his martyrdom. Two curving marble staircases lead to this underground chapel at the level of the Constantinian church and immediately above the purported burial place of Saint Peter. Pope Gregory XVI granted a "perpetual privilege" in 1836 authorizing any Catholic priest to celebrate Mass at the altar in the chapel.
The entire interior of St. Peter's is lavishly decorated with marble, reliefs, architectural sculpture and gilding. The basilica contains a large number of tombs of popes and other notable people, many of which are considered outstanding artworks. There are also a number of sculptures in niches and chapels, including Michelangelo's Pietà. The central feature is a baldachin, or canopy over the Papal Altar, designed by Gian Lorenzo Bernini. The apse culminates in a sculptural ensemble, also by Bernini, and containing the symbolic Chair of Saint Peter.
The American philosopher Ralph Waldo Emerson described St. Peter's as "an ornament of the earth ... the sublime of the beautiful."
Status
St. Peter's Basilica is one of the papal basilicas (previously styled "patriarchal basilicas") and one of the four Major Basilicas of Rome the others (all of which are also Papal Basilicas) being the Basilicas of St. John Lateran, St. Mary Major, and St. Paul outside the Walls. The rank of major basilica confers on St. Peter's Basilica precedence before all minor basilicas worldwide. However, unlike all the other Papal Major Basilicas, it is wholly within the territory, and thus the sovereign jurisdiction, of the Vatican City State, and not that of Italy.
thumb|left|alt= Bishops vested in white are standing in the sunshine in St. Peter's Square. Most wear white mitres on their heads, except for an Eastern Catholic bishop who wears a distinctive embroidered velvet hat.|Bishops at the [[Second Vatican Council in 1962]]
It is the most prominent building in the Vatican City. Its dome is a feature of the skyline of Rome and covers an area of . One of the holiest sites of Christianity and Catholic Tradition, it is traditionally the burial site of its titular, St. Peter, who was the head of the twelve Apostles of Jesus and, according to tradition, the first Bishop of Antioch and later the first Bishop of Rome, rendering him the first Pope. Although the New Testament does not mention St. Peter's martyrdom in Rome, tradition, based on the writings of the Fathers of the Church, holds that his tomb is below the baldachin and the altar of the Basilica in the "Confession". For this reason, many Popes have, from the early years of the Church, been buried near Pope St. Peter in the necropolis beneath the Basilica. Construction of the current basilica, over the old Constantinian basilica, began on 18 April 1506 and finished in 1615. At length, on 18 November 1626 Pope Urban VIII solemnly dedicated the Basilica.
As one of the constituent structures of the historically and architecturally significant Vatican City, St. Peter's Basilica was inscribed as a UNESCO World Heritage Site in 1984 under criteria (i), (ii), (iv), and (vi). With an exterior area of , an interior area of , St. Peter's Basilica is the largest Christian church building in the world by the two latter metrics and the second largest by the first . The top of its dome, at , also places it as the second tallest building in Rome . The dome's soaring height placed it among the tallest buildings of the Old World, and it continues to hold the title of tallest dome in the world. Though the largest dome in the world by diameter at the time of its completion, it no longer holds this distinction.
History
Saint Peter's burial site
thumb|A modern conjectural reconstruction of the relative locations of the circus, and the [[Old Saint Peter's Basilica|medieval and current Basilicas of St. Peter]]
After the crucifixion of Jesus, it is recorded in the Biblical book of the Acts of the Apostles that one of his twelve disciples, Simon known as Saint Peter, a fisherman from Galilee, took a leadership position among Jesus' followers and was of great importance in the founding of the Christian Church. The name Peter is "Petrus" in Latin and "Petros" in Greek, deriving from petra which means "stone" or "rock" in Greek, and is the literal translation of the Aramaic "Kepa", the name given to Simon by Jesus. (John 1:42, and see Matthew 16:18)
Catholic tradition holds that Peter, after a ministry of thirty-four years, travelled to Rome and met his martyrdom there along with Paul on 13 October 64 AD during the reign of the Roman Emperor Nero. His execution was one of the many martyrdoms of Christians following the Great Fire of Rome. According to Jerome, Peter was crucified head downwards, by his own request because he considered himself unworthy to die in the same manner as Jesus. The crucifixion took place near an ancient Egyptian obelisk in the Circus of Nero.
According to tradition, Peter's remains were buried just outside the Circus, on the Mons Vaticanus across the Via Cornelia from the Circus, less than from his place of death. The Via Cornelia was a road which ran east-to-west along the north wall of the Circus on land now covered by the southern portions of the Basilica and St. Peter's Square. A shrine was built on this site some years later. Almost three hundred years later, Old St. Peter's Basilica was constructed over this site.
Old St. Peter's Basilica
thumb|right|Maarten van Heemskerck – Santa Maria della Febbre, Vatican Obelisk, Saint Peter's Basilica in construction (1532)
thumb|right|A conjectural view of the [[Old St. Peter's Basilica by H. W. Brewer, 1891|alt=A black and white engraving of a bird's-eye view of a very large cruciform church. There is a large enclosed forecourt which is fronted by buildings of different dates and styles. There is a tall bell tower and many surrounding structures. A label to the bottom left of the image gives the artist's name and original caption.]]
Old St. Peter's Basilica was the fourth-century church begun by the Emperor Constantine the Great between 319 and 333 AD. It was of typical basilical form, a wide nave and two aisles on each side and an apsidal end, with the addition of a transept or bema, giving the building the shape of a tau cross. It was over long, and the entrance was preceded by a large colonnaded atrium. This church had been built over the small shrine believed to mark the burial place of St. Peter, though the tomb was "smashed" in 846 AD. It contained a very large number of burials and memorials, including those of most of the popes from St. Peter to the 15th century. Like all of the earliest churches in Rome, both this church and its successor had the entrance to the east and the apse at the west end of the building. Since the construction of the current basilica, the name Old St. Peter's Basilica has been used for its predecessor to distinguish the two buildings.
Plan to rebuild
thumb | right | One of the earliest photographs of the Basilica, taken in 1842 during Easter by [[Joseph-Philibert Girault de Prangey]]
By the end of the 15th century, having been neglected during the period of the Avignon Papacy, the old basilica had fallen into disrepair. It appears that the first pope to consider rebuilding or at least making radical changes was Pope Nicholas V (1447–1455). He commissioned work on the old building from Leone Battista Alberti and Bernardo Rossellino and also had Rossellino design a plan for an entirely new basilica, or an extreme modification of the old. His reign was frustrated by political problems and when he died, little had been achieved. The foundations were completed for a new transept and choir to form a domed Latin cross with the preserved nave and side aisles of the old basilica. Some walls for the choir had also been built.
Pope Julius II planned far more for St Peter's than Nicholas V's program of repair or modification. Julius was at that time planning his own tomb, which was to be designed and adorned with sculpture by Michelangelo and placed within St Peter's. In 1505 Julius made a decision to demolish the ancient basilica and replace it with a monumental structure to house his enormous tomb and "aggrandize himself in the popular imagination".
Digital copies
In the 2020s, the Vatican began seeking to use digital recreations of the Basilica in order to enhance education and allow people to experience it without needing to visit in person. In 2024, the Vatican partnered with Microsoft to create an interactive 3D model of the Basilica. The model was generated with artificial intelligence using over 400,000 high-resolution photographs taken by drones. Microsoft president Brad Smith described the project as "one of the most technologically advanced and sophisticated projects of its kind that has ever been pursued". The Vatican further collaborated with Microsoft in 2025 through the creation of another interactive version of the Basilica, this time recreated in the video game Minecraft. The Minecraft map, titled "Peter is Here", was developed as part of the 2025 Jubilee with the goal of engaging young audiences.
Architecture
Successive plans
Pope Julius's scheme for the grandest building in Christendom was the subject of a competition for which a number of entries remain intact in the Uffizi Gallery, Florence. It was the design of Donato Bramante that was selected, and for which the foundation stone was laid in 1506. This plan was in the form of an enormous Greek cross with a dome inspired by that of the huge circular Roman temple, the Pantheon.
When Pope Julius died in 1513, Bramante was replaced with Giuliano da Sangallo and Fra Giocondo, who both died in 1515 (Bramante himself having died the previous year). Raphael was confirmed as the architect of St. Peter's on 1 August 1514. The main change in his plan is the nave of five bays, with a row of complex apsidal chapels off the aisles on either side. Raphael's plan for the chancel and transepts made the squareness of the exterior walls more definite by reducing the size of the towers, and the semi-circular apses more clearly defined by encircling each with an ambulatory.
In 1520 Raphael also died, aged 37, and his successor Baldassare Peruzzi maintained changes that Raphael had proposed to the internal arrangement of the three main apses, but otherwise reverted to the Greek cross plan and other features of Bramante. This plan did not go ahead because of various difficulties of both Church and state. In 1527 Rome was sacked and plundered by Emperor Charles V. Peruzzi died in 1536 without his plan being realized. Sangallo's main practical contribution was to strengthen Bramante's piers, which had begun to crack. He is to be regarded as the principal designer of a large part of the building as it stands today, and as having brought the construction to a point where it could be carried through. He did not take on the job with pleasure; it was forced upon him by Pope Paul, frustrated at the death of his chosen candidate, Giulio Romano and the refusal of Jacopo Sansovino to leave Venice. Michelangelo wrote, "I undertake this only for the love of God and in honour of the Apostle". He insisted that he should be given a free hand to achieve the ultimate aim by whatever means he saw fit.
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File:SaintPierre.svg|Bramante's plan|alt=This is plan 1 of 3. The plan is based on a square, superimposed on a cross with arms of equal length. The cross makes the main sections of the church building: nave and chancel crossed by the transepts, with a circular dome over the crossing. There are four smaller domes, one in each corner of the square. The arms of the cross project beyond the square.
File:L’Architecture de la Renaissance - Fig. 8.PNG|Raphael's plan|alt= Plan 2. This plan has an extended nave with two aisles on either side of it. The main spaces of the church form a Latin cross.
File:L’Architecture de la Renaissance - Fig. 13.PNG|Michelangelo's plan|alt= Plan 3. This plan shows a return to the form of plan 1 but with all the various parts made bolder.
File:
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Michelangelo's contribution
Michelangelo took over a building site at which four piers, enormous beyond any constructed since ancient Roman times, were rising behind the remaining nave of the old basilica. He also inherited the numerous schemes designed and redesigned by some of the greatest architectural and engineering minds of the 16th century. There were certain common elements in these schemes. They all called for a dome to equal that engineered by Brunelleschi a century earlier and which has since dominated the skyline of Renaissance Florence, and they all called for a strongly symmetrical plan of either Greek Cross form, like the iconic St. Mark's Basilica in Venice, or of a Latin Cross with the transepts of identical form to the chancel, as at Florence Cathedral.
Even though the work had progressed only a little in 40 years, Michelangelo did not simply dismiss the ideas of the previous architects. He drew on them in developing a grand vision. Above all, Michelangelo recognized the essential quality of Bramante's original design. He reverted to the Greek Cross and, as Helen Gardner expresses it: "Without destroying the centralising features of Bramante's plan, Michelangelo, with a few strokes of the pen converted its snowflake complexity into massive, cohesive unity."
As it stands today, St. Peter's has been extended with a nave by Carlo Maderno. It is the chancel end (the ecclesiastical "Eastern end") with its huge centrally placed dome that is the work of Michelangelo. Because of its location within the Vatican State and because the projection of the nave screens the dome from sight when the building is approached from the square in front of it, the work of Michelangelo is best appreciated from a distance. What becomes apparent is that the architect has greatly reduced the clearly defined geometric forms of Bramante's plan of a square with square projections, and also of Raphael's plan of a square with semi-circular projections. Michelangelo has blurred the definition of the geometry by making the external masonry of massive proportions and filling in every corner with a small vestry or stairwell. The effect created is of a continuous wall surface that is folded or fractured at different angles, but lacks the right angles which usually define change of direction at the corners of a building. This exterior is surrounded by a giant order of Corinthian pilasters all set at slightly different angles to each other, in keeping with the ever-changing angles of the wall's surface. Above them, the huge cornice ripples in a continuous band, giving the appearance of keeping the whole building in a state of compression.
Dome: successive and final designs
The dome of St. Peter's rises to a total height of from the floor of the basilica to the top of the external cross. It is the tallest dome in the world. Its internal diameter is ,<!---NOTE: This is diameter, NOT HEIGHT. Leave it at 41.47.---> slightly smaller than two of the three other huge domes that preceded it, those of the Pantheon of Ancient Rome, , and Florence Cathedral of the Early Renaissance, . It has a greater diameter by approximately than Constantinople's Hagia Sophia church, completed in 537. It was to the domes of the Pantheon and Florence duomo that the architects of St. Peter's looked for solutions as to how to go about building what was conceived, from the outset, as the greatest dome of Christendom.
Bramante and Sangallo, 1506 and 1513
thumb|upright|1506 medal by [[Cristoforo Foppa depicting Bramante's design, including two of the four flanking smaller domes]]
The dome of the Pantheon stands on a circular wall with no entrances or windows except a single door. The whole building is as high as it is wide. Its dome is constructed in a single shell of concrete, made light by the inclusion of a large amount of the volcanic stones tuff and pumice. The inner surface of the dome is deeply coffered which has the effect of creating both vertical and horizontal ribs while lightening the overall load. At the summit is an ocular opening across which provides light to the interior.
Sangallo's plan (1513), of which a large wooden model still exists, looks to both these predecessors. He realized the value of both the coffering at the Pantheon and the outer stone ribs at Florence Cathedral. He strengthened and extended the peristyle of Bramante into a series of arched and ordered openings around the base, with a second such arcade set back in a tier above the first. In his hands, the rather delicate form of the lantern, based closely on that in Florence, became a massive structure, surrounded by a projecting base, a peristyle and surmounted by a spire of conic form. Most of the other changes were of a cosmetic nature, such as the adding of lion's masks over the swags on the drum in honour of Pope Sixtus and adding a circlet of finials around the spire at the top of the lantern, as proposed by Sangallo. Stefan du Pérac's engraving (1569) shows a hemispherical dome, but this was perhaps an inaccuracy of the engraver. The profile of the wooden model is more ovoid than that of the engravings, but less so than the finished product. It has been suggested that Michelangelo on his death bed reverted to the more pointed shape. However, Lees-Milne cites Giacomo della Porta as taking full responsibility for the change and as indicating to Pope Sixtus that Michelangelo was lacking in the scientific understanding of which he himself was capable. The rare survival of this example is probably due to its fragmentary state and the fact that detailed mathematical calculations had been made over the top of the drawing.
Addition of nave and facade
right|thumb|upright=1.25|Michelangelo's plan extended with Maderno's nave and narthex
On 18 February 1606, under Pope Paul V, the dismantling of the remaining parts of the Constantinian basilica began.
Another influence on the thinking of both the Fabbrica and the Curia was a certain guilt at the demolition of the ancient building. The ground on which it and its various associated chapels, vestries and sacristies had stood for so long was hallowed. The only solution was to build a nave that encompassed the whole space. In 1607 a committee of ten architects was called together, and a decision was made to extend Michelangelo's building into a nave. Maderno's plans for both the nave and the facade were accepted.
The building of the nave began on 7 May 1607, and proceeded at a great rate, with an army of 700 labourers being employed. The following year, the façade was begun, in December 1614 the final touches were added to the stucco decoration of the vault and early in 1615 the partition wall between the two sections was pulled down. All the rubble was carted away, and the nave was ready for use by Palm Sunday.
Maderno's facade
thumb|Maderno's façade, with the statues of Saint Peter (left) and Saint Paul (right) flanking the entrance stairs|alt=Ornate building in the early morning with a giant order of columns beneath a Latin inscription, fourteen statues on the roofline, and large dome on top.
The facade designed by Maderno, is wide and high and is built of travertine stone, with a giant order of Corinthian columns and a central pediment rising in front of a tall attic surmounted by thirteen statues: Christ flanked by eleven of the Apostles (except Saint Peter, whose statue is left of the stairs) and John the Baptist. The inscription below the cornice on the tall frieze reads:
(Paul V (Camillo Borghese), born in Rome but of a Sienese family, liked to emphasize his "Romanness".)
The facade is often cited as the least satisfactory part of the design of St. Peter's. The reasons for this, according to James Lees-Milne, are that it was not given enough consideration by the Pope and committee because of the desire to get the building completed quickly, coupled with the fact that Maderno was hesitant to deviate from the pattern set by Michelangelo at the other end of the building. Lees-Milne describes the problems of the façade as being too broad for its height, too cramped in its details and too heavy in the attic story. The breadth is caused by modifying the plan to have towers on either side. These towers were never executed above the line of the facade because it was discovered that the ground was not sufficiently stable to bear the weight. One effect of the facade and lengthened nave is to screen the view of the dome, so that the building, from the front, has no vertical feature, except from a distance. and somewhat enlarged to fit the new space.
Maderno's nave
thumb|Maderno's nave, looking towards the chancel, as painted by [[Giovanni Paolo Pannini, 1731|alt=A painting of the interior of the vast building with arcades, and a coffered ceiling]]
To the single bay of Michelangelo's Greek Cross, Maderno added a further three bays. He made the dimensions slightly different from Michelangelo's bay, thus defining where the two architectural works meet. Maderno also tilted the axis of the nave slightly. This was not by accident, as suggested by his critics. An ancient Egyptian obelisk had been erected in the square outside, but had not been quite aligned with Michelangelo's building, so Maderno compensated, in order that it should, at least, align with the Basilica's façade. To hold the sacramental Host, he designed a miniature version in gilt bronze of Bramante's Tempietto, the little chapel that marks the place of the death of St. Peter. On either side is an angel, one gazing in rapt adoration and the other looking towards the viewer in welcome. Bernini died in 1680 in his 82nd year. Its removal to its present location by order of Pope Sixtus V and engineered by Domenico Fontana on 28 September 1586, was an operation fraught with difficulties and nearly ended in disaster when the ropes holding the obelisk began to smoke from the friction. Fortunately this problem was noticed by Benedetto Bresca, a sailor of Sanremo, and for his swift intervention, his town was granted the privilege of providing the palms that are used at the basilica each Palm Sunday.]]
The top of the facade of St. Peter's Basilica has two clocks and several sculptures. The clocks were created to replace Bernini's bell towers which had to be torn down due to insufficient support. The left hand clock shows Rome time, the right hand one shows European mean time. The statues are Christ the Redeemer, St. John the Baptist and 11 Apostles. From the left: St. Thadeus, St. Matthew, St. Philip, St. Thomas, St. James the Greater, St. John the Baptist, The Redeemer, St. Andrew, St. John the Evangelist, St. James the Lesser, St. Bartholomew, St. Simeon, and St. Matthias. Above the Roman clock is the coat of arms for the city-state of Vatican City since 1931 held by two angels.
Bells
The Basilica has 6 bells, placed in the room under the Roman clock, only 3 of them are visible from ground level while the rest are hidden behind the bourdon. They range from the smallest which is 235 kg to the massive bourdon that approximately weighs 9 tonnes. From 1931, the bells are operated electrically, thus permitting even the largest bell to be tolled from a distance. The oldest bell Rota dates from 1353, and the bourdon called Campanone is rung at Christmas and Easter, on the Solemnity of Sts. Peter and Paul, and every time the Pope imparts the "Urbi et Orbi" blessing to the city and to the world. Campanone also announces the death of the pope and an election of a new pope.
{| class="wikitable sortable"
!Bell#
!Name
!Mass
!Date cast
|-
|1
|Campanella
|235 kg
|1825
|-
|2
|Ave Maria
|250 kg
|1932
|-
|3
|Predica
|830 kg
|1909
|-
|4
|Rota
|1815 kg
|1353
|-
|5
|Campanoncino (Mezzana, Benedittina)
|3640 kg
|1725
|-
|6
|Campanone
|8950 kg
|1785
|}
Treasures
Tombs and relics
thumb|[[Air vents for the crypt in St. Peter's Basilica|alt=White and orange marble rings a circular, decorated bronze vent]]
There are over 100 tombs within St. Peter's Basilica (extant to various extents), many located beneath the Basilica. These include 91 popes, Saint Ignatius of Antioch, Holy Roman Emperor Otto II, and the composer Giovanni Pierluigi da Palestrina. Also buried here are Queen Christina of Sweden, who abdicated her throne in order to convert to Catholicism, and Countess Matilda of Tuscany, supporter of the Papacy during the Investiture Controversy, as well as British royal Jacobites of the exiled House of Stuart granted asylum by Pope Clement XI, namely James Francis Edward, his wife Maria Clementina Sobieska, and their sons, Charles Edward and Henry Benedict, Cardinal-Bishop of Frascati. The most recent interment was Pope Benedict XVI, on 5 January 2023. Beneath, near the crypt, is the recently discovered vaulted fourth-century "Tomb of the Julii". (See below for some descriptions of tombs).
Artworks
Towers and narthex
- In the towers to either side of the facade are two clocks. The clock on the left has been operated electrically since 1931. Its oldest bell dates from 1288.
- One of the most important treasures of the basilica is a mosaic set above the central external door. Called the "Navicella", it is based on a design by Giotto (early 14th century) and represents a ship symbolizing the Christian Church.
File:Rome basilica st peter 011c adjusted.jpg|alt=Peter is shown as a bearded man in draped garment like a toga. He is seated on a chair made of marble, and has his right hand raised in a gesture of blessing while in his left hand he holds two large keys. Behind the statue, the wall is patterned in mosaic to resemble red and gold brocade cloth.|The bronze statue of Saint Peter holding the keys of heaven, attributed to Arnolfo di Cambio
File:Michelangelo's Pietà, St Peter's Basilica (1498–99).jpg|alt=This marble statue shows the Virgin Mary seated, mourning over the lifeless body of Jesus which is supported across her knees.|The Pietà by Michelangelo, 1498–1499, is in the north aisle.
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Archpriests since 1053
thumb|Cardinals at [[Mass (liturgy)|Mass in Saint Peter's Basilica two days before a papal conclave, 16 April 2005|alt=The cardinals, all in bright red robes, are grouped near the baldachin.]]
List of archpriests of the Vatican Basilica:
thumb|alt= The exterior of the basilica on a sunny day. In the foreground, hundreds of robed priests look towards a podium where there is an altar, and a group of white robed figures attends the Pope.|The inauguration of [[Pope Francis in 2013]]