Since the pope first came to worldwide prominence in the late Middle Ages, he has been recognized as both a political and spiritual leader. His religious clout alone demands that the Vatican, the papal state fully under his control, would be filled with breathtaking structures and artwork. As visitors to the Vatican progress through St Peter’s Square, into the famed basilica, and perhaps to the Sistine Chapel, they are surrounded with art and architecture created to play very specific roles, ranging from the practical to the symbolic.
St Peter’s Square is actually a circle, a softer shape without any inconvenient, out-of-the-way corners. This inclusive shape, along with its large size, allows multitudes of worshippers to participate in the important events of Catholicism, even if they cannot actually fit in the basilica. The area’s most noticeable architectural features are the two curving porticoes which embrace the people in the square with classical serenity. The pillars forming the porticoes are simple, just the bare essentials needed to hold up the saints who stand on top. They provide both physical shade from the grilling Italian heat and a calming spiritual effect as they block out the rest of Rome. St Peter’s Square is built directly in front of Catholicism’s heart, which allows it to act as an entryway, a spacious vestibule in which to transition from the secular to the religious. It is more than a resting place: it is also an area of preparation, and the art in the square reinforces that role.
Mounted high on the portico roofs, statues of saints gaze down on worshippers below to remind them of the square’s spiritual nature. The obelisk in the center of the square originally came from Egypt, stood on the spine of the Circus Maximus in pagan Rome, and now stands in the heart of Christendom as a symbol of the transforming power of the Church. Besides this representative function, the slim column in the otherwise nearly-empty square is a visible guidepost pointing straight to heaven. The fountain placed to one side of the obelisk is a thoughtful addition made for the comfort of weary travelers. It is also a tangible reminder of Christianity’s refreshing, renewing qualities and an allusion to Jesus as the ultimate Fountain of Life.
Once a visitor has passed through the square, he encounters the magnificent architecture of the basilica itself. In building this church, techniques and materials were carefully selected to continue the regal introduction given by St Peter’s Square. Marble and gold make for an impressive appearance on the outside, while the basilica’s dome serves as an unmistakable landmark and also recalls the glory of similar ancient structures. Once inside, the marble used throughout the enormous interior enhances the acoustics both for practical reasons (any ceremony is easier to hear) and to set a reverent tone. Vaulted ceilings also amplify and beautify any sound, throwing it up to heaven, represented by the dome; this is reminiscent of the Pantheon’s arched ceiling in its single, heavenly light source and allusion to the celestial dome of Paradise. While everything in the basilica is beautiful and worthy of close attention, the architecture – raised alcoves, pillars, and complex structural work along the ceiling – constantly leads the eye upward. The various archways, chapels, and corridors dividing the interior allow a visitor to literally and figuratively explore the complexities of the Catholic faith.
St Peter’s Basilica is also filled with art, each piece created to play a certain role. Corinthian columns and other structural intricacies showcase the Church’s wealth and majesty, and these elaborate finials encourage the gaze to remain upward and to rest on the dome’s interior. Religious statuary towers over the worshippers, mirroring the upward pull of the entire basilica. The statues’ pale purity and high position inspire worshippers to emulate these saints and martyrs. Besides the gigantic portrayals of religious models placed throughout the church, didactic paintings and papal tombs enforce the spiritual atmosphere, display Catholicism’s rich history, and provide a solid foundation of tradition. As a visitor walks further into the building, the baldicchino or altar cover becomes a focal point. Its spiraling pillars lead up to golden leaves and putti, perhaps symbolizing the Garden of Eden, paradise on earth. Directly above the baldicchino are the mosaics which line the dome’s interior, clearly representing the inhabitants of heaven. The basilica’s extraordinary and many-faceted beauty is a reflection of Christianity’s universality. Mosaics, statues, and paintings combine to glorify God and His earthly representatives in the Vatican.
The Sistine Chapel is much smaller than St Peter’s, but its art and architecture are no less significant. As usual, form and material produce excellent acoustics. This ease of listening allows the shape to be an elongated march to the altar, which emphasizes that sacred area and correlates with the storylines portrayed in Michelangelo’s ceiling artwork. Besides aiding sound, the vaulted roof opens up the dark corridor of a chapel instead of pressing it down further with a flat roof. The arch on top also permits the worshippers below to view all portions of the ceiling decorations fairly easily, as there are no dark corners in which some detail can be obscured.
Of course, the art of the Sistine is more well-known than its architecture. Everything is undergirded by older paintings, so that traditional stories and artwork are the foundation for the celebrated ceiling frescoes. Not only do Michelangelo’s paintings some of the most important stories of the Bible, but they form nearly all of the structural details above, including angels and demons in the architecture to create endless thematic possibilities. Having a scene from the Last Judgment plastered all over the wall sets the tone for services held in the Sistine Chapel and provides the basis for any emotion and feeling. The crucifix is in stark contrast to the Judgment in regards to color, tone, and level of complexity; this makes it all the more prominent, and it very appropriately becomes a bridge from the congregation to Christ. From the audience, one’s natural gaze goes straight to Jesus in the Last Judgment. Not only does this highlight His supremacy and inspire awe among the worshippers, but it leads directly down to the priest standing before the altar. Thus, the resident ecclesiastical figure is crowned with the power of God.
When constructing such an important city as the Vatican, many factors besides mere appearance and practicality must be contemplated. It is vital that objects’ spiritual and emotional significance are considered if visitors are to experience the highest level of impact. As is evident upon examining St Peter’s Square, Basilica, and the Sistine Chapel, these buildings’ art and architecture were designed to fill a variety of roles, and they do so in an admirable style.
