Discuss the work of Bernini at San Pietro in Vatican
The architectural and sculptural work of Lorenzo Bernini is widely-spread across Italy. As a Roman Baroque genius, his inspiring statutes and design of famous fountains protrude his legacy. The purpose of this essay is to discuss Bernini’s work at San Pietro in the Vatican.
San Pietro, which is found at the front of St. Peter’s holy Basilica signifies one of the greatest achievements of Bernini. According to Delbeke, the Basilica is the largest church in the world and highly regarded by the Catholics[1]. The architectural work in Basilica was a collaboration between Bernini and his rivalry, Borromini, alongside other architectures. Nonetheless, with his ambitious and social personality, Bernini’s efforts, who was twenty-six years of age by then, were highly regarded in designing the structure. Bernini used the theatricality approach, which enriched dramatic presentations in the design. His regard for colors contributed to the scenic beauty associated with the construction.
In designing San Pietro, Bernini focused on informing people of the significant meaning of the Basilica as well as offer a protective place for the faithful. Such was due to his strong faith in Christianity and the regard of religious beliefs. As such, upon request by Alexandra who was the presiding pope of the time, he worked on the buildings surrounding to establish an opening with a grand welcoming approach[2]. The motherly arms of the church were part of Bernini’s skillful artwork to provide a welcome approach to the visitors. The arms represent those of Jesus calling people to His service and holiness in search for eternal life. The integration of theatricality and geometric approaches led to the scenic beauty seen in the San Pietro. As such, Pietro embraced the use of shapes, as well as exciting features, to establish his work. For instance, the piazza is oval with a bright central axis leading straight to the Basilica. The oval shape symbolized the structure’s ability to accommodate the believers as they gather to worship, while the axis represented uninterrupted access to the church alter. In his work, he ensured that besides the sculpture of the martyred Peter, all the prominent religious figures like Jesus, disciples, and the popes, were represented. Such is seen through the various coat of arms and symbols.
The view of San Pietro
The chapel of the Blessed Sacrament is among Bernini’s work, whereby only those who pray have the access. The alter design has a bronze angel on both sides and a film base upon which the tabernacle rests[3]. While the angel on the left side has her eyes closed to signify involvement in the depicted scene, on the right is the angel with open eyes
which invites the viewer to participate in the action at hand. In embracing the biblical concepts, Bernini’s bronze canopy has incorporated marble columns that were believed to originate from Solomon’s temple. In this piece of work, a lot of effort was involved in gathering enough bronze for the columns. Further, to support the columns firmly, enormous shafts was an overwhelming task. In this regard, Bernini finally claimed that the work was successful, and a slight mistake would have been disastrous. The unveiling of the baldachin occurred on June 29th, 1633, to serve as a canopy, sanctuary, and a symbolic mediation between heaven and earth, which is religiously the function of the church[4]. The choice of Solomon columns was a significant representation of Jerusalem, where Jesus was crucified. In this case, the baldachin represents Jerusalem, and the alter below it signified the crucifixion. In his work, he also represented the holy trinity whereby a great dove represents the Holy Spirit, the cross means Jesus, and the dome represented God the father.
St. Peter’s chair, a container for holding holy relics, is also part of Bernini at San Pietro. With the saints holding the edges of the container, Bernini signified the strength and unity of the Christians under the papal leadership. Ironically, while popes ruled a minute part of Rome, the container signified that the power of pope surpassed that of other spiritual beings. Also, at the center of the San Pietro is an Egyptian obelisk, which is 25.5 meters. The obelisk is believed to stand at the location where St. Peter was crucified. Importantly to note, a massive door at the center limited the space intended for the construction of the grave. Nonetheless, with his skillful architecture, Bernini included the door as part of the cemetery. The door was symbolic as it depicted the entrance to life after. At this, Alexander’s statue represents him while kneeling in prayers to gain victory over death. Also, the San Pietro has a capacity to hold 15,000- 80,000 people where they gather during religious festivals such as the Easter celebrations to receive the pope’s blessings.
In conclusion, Bernini’s work at San Pietro represented a single theme that the pope had powers evidenced both in heaven and in the world. The paper discussed some of the crucial features depicted in San Pietro. Each component of the structure has a significant religious value.
View some of Bernini’s outstanding works 0n Pinterest.
Bibliography
Tornel, Pablo González. “Rethinking St. Peter’s: Papirio Bartoli and the Ship of the Church.” Sixteenth Century Journal 48, no. 3, (2017).
Tornel, Pablo González. “Rethinking St. Peter’s: Papirio Bartoli and the Ship of the Church.” Sixteenth Century Journal 48, no. 3 (2017), 570.