Bombing of the Vatican

The popularly named "Tomb of the Julii" (Mausoleum "M") survives in the Vatican Necropolis beneath St. Peter's Basilica. The serendipitous discovery near the crypt has a vaulted ceiling bearing a mosaic depicting Helios (Roman Sol Invictus) with an aureole riding in his chariot, within a framing of rinceaux of vine leaves. The mosaic is dated to the late 3rd century to early 4th century. Other mosaics in this tomb depicting Jonah and the whale, the good shepherd carrying a lamb (the kriophoros motif), and fishermen have encouraged its interpretation as a Christian tomb. This tomb was first discovered in 1574 AD when workmen accidentally broke through the ceiling while conducting some floor alterations in the basilica. The inside was briefly explored and documented before the opening was sealed over once more.

The Papal Basilica of Saint Peter in the Vatican (Italian: Basilica Papale di San Pietro in Vaticano), or simply Saint Peter's Basilica (Latin: Basilica Sancti Petri), is a church built in the Renaissance style located in Vatican City, the papal enclave that is within the city of Rome, Italy. It was initially planned by Pope Nicholas V and then Pope Julius II to replace the aging 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, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world by interior measure. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome (these equivalent titles being held by the Archbasilica of Saint John Lateran in Rome), St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding a unique position in the Christian world", 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 supposedly directly below the high altar of the basilica, also known as the Altar of the Confession. For this reason, many popes 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. St. Peter's is one of the four churches in the world that hold the rank of Major papal basilica, all four of which are in Rome, and is also one of the Seven Pilgrim Churches of Rome. Contrary to popular misconception, it is not a cathedral because it is not the seat of a bishop; the cathedra of the pope as bishop of Rome is at Saint John Lateran.

The Tomb of Pope Alexander VII is a sculptural monument designed and partially executed by the Italian artist Gian Lorenzo Bernini. It is located in the south transept of St. Peter's Basilica in the Vatican City. The piece was commissioned by Pope Alexander VII himself. However, construction of the monument didn't start until 1671 and was completed in 1678, eleven years after the Pope's death. At the age of 81, this would be Bernini's last major sculptural commission before his death in 1680.

Old St. Peter's Basilica was the building that stood, from the 4th to 16th centuries, where the new St. Peter's Basilica stands today in Vatican City. Construction of the basilica, built over the historical site of the Circus of Nero, began during the reign of Emperor Constantine I. The name "old St. Peter's Basilica" has been used since the construction of the current basilica to distinguish the two buildings.

St. Peter's Baldachin (Italian: Baldacchino di San Pietro, L'Altare di Bernini) is a large Baroque sculpted bronze canopy, technically called a ciborium or baldachin, over the high altar of St. Peter's Basilica in Vatican City, the city-state and papal enclave surrounded by Rome, Italy. The baldachin is at the center of the crossing, and directly under the dome of the basilica. Designed by the Italian artist Gian Lorenzo Bernini, it was intended to mark, in a monumental way, the place of Saint Peter's tomb underneath. Under its canopy is the high altar of the basilica. Commissioned by Pope Urban VIII, the work began in 1623 and ended in 1634. The baldachin acts as a visual focus within the basilica; it is itself a very large structure and forms a visual mediation between the enormous scale of the building and the human scale of the people officiating at the religious ceremonies at the papal altar beneath its canopy.

The Madonna della Pietà (Italian: [pjeˈta]; 1498–1499) informally known as La Pietà is a Roman Catholic dolorous image of Jesus and Mary at Mount Golgotha representing the "Sixth Sorrow" of the Blessed Virgin Mary and a key work of Italian Renaissance sculpture carved by Michelangelo Buonarroti, now enshrined within Saint Peter's Basilica, Vatican City. It is the first of a number of works of the same subject by the Florentine artist. The statue was originally commissioned for a Cardinal of France, Jean Bilhères de Lagraulas, a serving French ambassador in Rome. The Carrara marble sculpture was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the north side after the entrance of the basilica, in the 18th century. It is the only piece Michelangelo ever signed. The sculpture captures the moment when Jesus, taken down from the cross, is given to his mother Mary. Mary looks younger than Jesus; art historians believe Michelangelo was inspired by a passage in Dante Alighieri's Divine Comedy: "O virgin mother, daughter of your Son...your merit so ennobled human nature that its divine Creator did not hesitate to become your creature" (Paradiso, Canto XXXIII). Michelangelo's aesthetic interpretation of the Pietà is unprecedented in Italian sculpture because it balances the Renaissance ideals of classical beauty with naturalism. Pope Urban VIII granted the venerated Marian image a Pontifical decree of canonical coronation via his Papal bull "Domina Coronatum Est" signed and notarized on 14 August 1637 and granted to its patronal donor, Lord Ascanio Sforza y Pallavicini and Canon priest of the Vatican Chapter, Monsignor Ugo Ubaldini. The levitating diadem was manufactured by the Italian artisan, Fantino Taglietti, who charged 564 Italian scudo coins at the time. The official rite of coronation was executed on 31 August 1637. The cherubic angels were added in 1713 by his descendant, later relocated to the "Chapel of the Holy Choir" within the basilica in 1749.The image was vandalized on Pentecost Sunday of 1972 by a mentally disturbed man who infiltrated the unsecured altar at the time.

The Chair of Saint Peter (Latin: Cathedra Petri), also known as the Throne of Saint Peter, is a relic conserved in St. Peter's Basilica in Vatican City, the sovereign enclave of the Pope inside Rome, Italy. The relic is a wooden throne that tradition claims belonged to the Apostle Saint Peter, the leader of the Early Christians in Rome and first Pope, and which he used as Bishop of Rome. The relic is enclosed in a sculpted gilt bronze casing designed by Gian Lorenzo Bernini and constructed between 1647 and 1653. In 2012, Pope Benedict XVI described the chair as "a symbol of the special mission of Peter and his Successors to tend Christ's flock, keeping it united in faith and in charity."The wooden throne was a gift from Emperor of the Romans Charles the Bald to Pope John VIII in 875. It has been studied many times over the years, most recently between 1968 and 1974, when it was last removed from the Bernini altar. The study concluded that it was not a double, but a single chair, with a covering, and that no part of the chair dated earlier than the sixth century. The Chair of Saint Peter is the second altar within the church with the first one being the one under the baldacchino. It stands to remind visitors of the Catholic Church's authority.

The Last Judgment (Italian: Il Giudizio Universale) is a fresco by the Italian Renaissance painter Michelangelo covering the whole altar wall of the Sistine Chapel in Vatican City. It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity. The dead rise and descend to their fates, as judged by Christ who is surrounded by prominent saints. Altogether there are over 300 figures, with nearly all the males and angels originally shown as nudes; many were later partly covered up by painted draperies, of which some remain after recent cleaning and restoration. The work took over four years to complete between 1536 and 1541 (preparation of the altar wall began in 1535). Michelangelo began working on it 25 years after having finished the Sistine Chapel ceiling, and was nearly 67 at its completion. He had originally accepted the commission from Pope Clement VII, but it was completed under Pope Paul III whose stronger reforming views probably affected the final treatment.In the lower part of the fresco, Michelangelo followed tradition in showing the saved ascending at the left and the damned descending at the right. In the upper part, the inhabitants of Heaven are joined by the newly saved. The fresco is more monochromatic than the ceiling frescoes and is dominated by the tones of flesh and sky. The cleaning and restoration of the fresco, however, revealed a greater chromatic range than previously apparent. Orange, green, yellow, and blue are scattered throughout, animating and unifying the complex scene. The reception of the painting was mixed from the start, with much praise but also criticism on both religious and artistic grounds. Both the amount of nudity and the muscular style of the bodies has been one area of contention, and the overall composition another.

The Vatican Necropolis lies under the Vatican City, at depths varying between 5–12 metres below Saint Peter's Basilica. The Vatican sponsored archaeological excavations (also known by their Italian name scavi) under Saint Peter's in the years 1940–1949 which revealed parts of a necropolis dating to Imperial times. The work was undertaken at the request of Pope Pius XI who wished to be buried as close as possible to Peter the Apostle. It is also home to the Tomb of the Julii, which has been dated to the third or fourth century. The necropolis was not originally one of the Catacombs of Rome, but an open-air cemetery with tombs and mausolea. The Vatican Necropolis is not to be confused with the Vatican grottoes, the latter of which resulted from the construction of St. Peter's Church and is located on the ground level of the old Constantinian basilica.

Saint Peter's tomb is a site under St. Peter's Basilica that includes several graves and a structure said by Vatican authorities to have been built to memorialize the location of Saint Peter's grave. St. Peter's tomb is alleged near the west end of a complex of mausoleums, the Vatican Necropolis, that date between about AD 130 and AD 300. The complex was partially torn down and filled with earth to provide a foundation for the building of the first St. Peter's Basilica during the reign of Constantine I in about AD 330. Though many bones have been found at the site of the 2nd-century shrine, as the result of two campaigns of archaeological excavation, Pope Pius XII stated in December 1950 that none could be confirmed to be Saint Peter's with absolute certainty. Following the discovery of bones that had been transferred from a second tomb under the monument, on June 26, 1968, Pope Paul VI said that the relics of Saint Peter had been identified in a manner considered convincing. Only circumstantial evidence was provided to support the claim.The grave allegedly lies at the foot of the aedicula beneath the floor. The remains of four individuals and several farm animals were found in this grave. In 1953, after the initial archeological efforts had been completed, another set of bones were found that were said to have been removed without the archeologists' knowledge from a niche (loculus) in the north side of a graffiti wall that abuts the red wall on the right of the aedicula. Subsequent testing indicated that these were the bones of a 60- to 70-year-old man. Margherita Guarducci argued that these were the remains of Saint Peter and that they had been moved into a niche in the graffiti wall from the grave under the aedicula "at the time of Constantine, after the peace of the church" (313). Antonio Ferrua, the archaeologist who headed the excavation that uncovered what the Catholic Church says is Saint Peter's Tomb, said that he was not convinced that the bones that were found were those of Saint Peter.

The papal tombs in old St. Peter's Basilica were the final resting places of the popes, most of which dated from the fifth to sixteenth centuries. The majority of these tombs were destroyed during the sixteenth through seventeenth century demolition of old St. Peter's Basilica, except for one which was destroyed during the Saracen Sack of the church in 846. The remainder were transferred in part to new St. Peter's Basilica, which stands on the site of the original basilica, and a handful of other churches of Rome.

The Cappella Paolina (the Pauline Chapel) is a chapel in the Apostolic Palace, Vatican City. It is separated from the Sistine Chapel by the Sala Regia. It is not on any of the regular tourist itineraries. Michelangelo's two frescoes in the Cappella Paolina, The Conversion of Saul and The Crucifixion of St Peter were painted from 1542 to 1549, the height of his fame, but were widely viewed as disappointments and even failures by their contemporary audience. They did not conform to the compositional conventions of the time and the subject-matter is depicted in an unorthodox manner. Despite the importance of the chapel and the significance of their subjects, the frescoes were generally neglected and overlooked in favor of Michelangelo's nearby masterpieces in the Sistine Chapel.An Italian scholar has recognised Michelangelo's face both in the Saint Paul and Saint Peter paintings by facial superimposition.