In 1606, the plan of this building was changed from a Greek cross to a Latin one, by pope Paul V., who also erected the portico with the grand front, after a design of Carlo Maderno.
This church surpasses all the most celebrated buildings, ancient or modern, not only in its size, which is immense, but in the excellency of its construction, within and without, and in the admirable works in marble, mosaic, metal, and gilt stucco, with which it is adorned.
At the foot of the grand ascent to the church are the statues of St. Peter and St. Paul, executed for the old basilica in the pontificate of Pius II., by M i no da Fiesole. The basso relievo on the front, under the benediction gallery, represent ing our Lord committing the keys to St. Peter's care, is by Malvicino. The portico is ornamented with statues of the first popes, who suffered martyrdom, surrounded by festoons, angels, and gilt stucco ; the performance of Algardi : the marble columns, of surprising magnitude, are from the origi nal temple. On the right is a marble equestrian statue of the founder, Constant:ne the GI eat, in the attitude of observing the celebrated cro in the heavens, with the motto, In hoc signo rinces : it is the work of Cay. Bernini. In the four niches of the vestibule of the portico are as many statues,viz., Hope, by Livoni ; Faith, by Rossi ; Charity, by Ludovisi ; and the Church, by Frascari. At the other end, on the left, is the equestrian statue of Charlemagne, as defender of the church, by Agostino Cornachini. In the vestibule, on the near side, are fimr other statues, viz., Prudence, by Livoni ; Fortitude, by Ottone ; Justice, by Rossi ; and Temperance, by RafaeIli. Over the middle door is a large basso-relievo, in marble, of Christ committing his flock to St. Peter, by Bernini : and opposite to it is the celebrated iVavicelli, or small ship, painted by Giotto, about the year 1300 : this was formerly placed in the yard of the square portico, as a symbol of the Catholic Church, agitated, but not overwhelmed, from the tempest of many persecutions.
The entrance to the basilica is by five doors : that in the middle is metal, and was executed by order of Pope Eug,enius IN'., at Constantinople, by Filareto ; its ornaments represent the tnartyrdom of St. Peter and St. Paul, and some deeds of the pope who ordered it.
The fifth door called Porte Santa, or holy door, is only opened in the jubilee year ; and under the portico, near this middle door, the first bull for the jubilee, composed by Boni fitee VIII., is inscribed upon marble. Near the Porta Santa
are two other inscriptions ; one consisting of verses made by Charlemagne, in 795, in praise of Pope Adrian 1.; the other describing the donations of Pope Gregory II. to this church, of olive grounds and other lands, for supplying the lamps at the sepulchre of the Apostles.
On first entering this vast temple, the imagination is raised with the expectation of beholding exquisite beauty and ele gance ; but the admiration it excites does not equal its fame, till the spectator begins to observe its several parts. On drawing near to one of the basins of holy water, on the first pilaster, the marble cherubim, that support it, appear at first regular and natural ; but afterwards they are found to be gigantic, and almost out of proportion; they are the work of Livoni, Moderati, Rossi, and Cornachini. The doves, of marble, with olive-branches, that seem at first as if they could be touched by the hand, prove, on a nearer approach, to be very high, and appear to be flying still higher : an effect observable in most of the other works.
The middle aisle has a magnificent marble pavement, and the ceiling is grandly ornamented with gilt stucco, worked in grotesque with fruits, by Provenzale, by order of Pope Paul V., whose arms are in the centre, in mosaic ; and every part is embellished with beautiful marble columns, and excel lent basso-relievos, among which are fifty-six large medal lions, with the portraits of as many sainted popes, sculptured by Nicolo Salo, a Frenchman, from designs of Bernini. Fixed against the pilasters are two remarkable stones, on one of which, it is said, Pope Sylvester I. divided the bodies of St. Peter and St. Paul ; and, on 'the other, many martyrs were tortured and put to death. There are also two round black stones, which the Gentiles tied to the feet of the martyrs when on the eculeo, an instrument of torture in the form of a horse. The bronze statue of St. Peter, sitting, in the act of giving his benediction, was executed by order of Leo I., from the .Jupiter Capitolinus, as an acknowledgment of the liberation of Dome from the persecution of Attila the Hun.