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title: "St. Peter's Basilica" content: St. Peter's Basilica The Papal Basilica of St. Peter in the Vatican (), or simply St. Peter's Basilica (), is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome. 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. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome, St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding

title: "St. Peter's Basilica" content: 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. Saint Peter's tomb is supposedly directly below the high altar of the Basilica. For this reason, many Popes have been interred at St. Peter's since the Early Christian period, and there has been a church on this site since the time of the Roman emperor Constantine the Great. Construction of the present basilica, which would replace Old St. Peter's Basilica

title: "St. Peter's Basilica" content: from the 4th century AD, began on 18 April 1506 and was completed on 18 November 1626. 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, drawing audiences of 15,000 to over 80,000 people, either within the Basilica or the adjoining St. Peter's Square. 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.

title: "St. Peter's Basilica" content: Peter's is one of the four churches in the world that hold the rank of Major Basilica, all four of which are in 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 in the Archbasilica of St. John Lateran. 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

title: "St. Peter's Basilica" content: St. Peter's Square, a forecourt in two sections, both surrounded by tall colonnades. The first space is oval and the second trapezoid. 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 1st-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

title: "St. Peter's Basilica" content: externally and internally by one of the largest domes in the world. 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, only opened during jubilees. The interior is of vast dimensions when compared with other churches. One author wrote: "Only gradually does it dawn upon us – as we watch people draw near to this or that monument, strangely they appear to shrink; they are, of course, dwarfed by the scale of everything in the building. This in its turn overwhelms

title: "St. Peter's Basilica" content: us." 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 Clementine Chapel with the altar of Saint Gregory, the Sacristy Entrance, the left transept with altars to the Crucifixion of Saint Peter, Saint Joseph and Saint Thomas, the altar of

title: "St. Peter's Basilica" content: the Sacred Heart, the Chapel of the Madonna of Colonna, 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 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 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. At the heart of the basilica, beneath

title: "St. Peter's Basilica" content: the high altar, is the "Confessio" or "Chapel of the Confession", 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. 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,

title: "St. Peter's Basilica" content: including Michelangelo's "Pietà". The central feature is a baldachin, or canopy over the Papal Altar, designed by Gian Lorenzo Bernini. The sanctuary culminates in a sculptural ensemble, also by Bernini, and containing the symbolic "Chair of Saint Peter". One observer wrote: "St Peter's Basilica is the reason why Rome is still the center of the civilized world. For religious, historical, and architectural reasons it by itself justifies a journey to Rome, and its interior offers a palimpsest of artistic styles at their best ..." The American philosopher Ralph Waldo Emerson described St. Peter's as "an ornament of the earth ...

title: "St. Peter's Basilica" content: the sublime of the beautiful." St. Peter's Basilica is one of the Papal Basilicas (previously styled "patriarchal basilicas") and one of the four Major Basilicas of Rome, the other Major Basilicas (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. It

title: "St. Peter's Basilica" content: is the most prominent building in the Vatican City. Its dome is a dominant feature of the skyline of Rome. Probably the largest church in Christendom, it 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

title: "St. Peter's Basilica" content: writings of the Fathers of the Church, holds that his tomb is below the baldachin and 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. St. Peter's Basilica is neither the Pope's official seat nor first in rank among the Major Basilicas of Rome. This

title: "St. Peter's Basilica" content: honour is held by the Pope's cathedral, the Archbasilica of St. John Lateran which is the mother church of all churches in communion with the Catholic Church. However, St. Peter's is certainly the Pope's principal church in terms of use because most Papal liturgies and ceremonies take place there due to its size, proximity to the Papal residence, and location within the Vatican City proper. The "Chair of Saint Peter", or cathedra, an ancient chair sometimes presumed to have been used by St. Peter himself, but which was a gift from Charles the Bald and used by many popes, symbolises

title: "St. Peter's Basilica" content: the continuing line of apostolic succession from St. Peter to the reigning Pope. It occupies an elevated position in the apse of the Basilica, supported symbolically by the Doctors of the Church and enlightened symbolically by the Holy Spirit. 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

title: "St. Peter's Basilica" content: 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. 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

title: "St. Peter's Basilica" content: 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. (, and see ) Catholic tradition holds that Peter, after a ministry of thirty-four years, traveled to Rome and met his martyrdom there along with Paul on 13 October, 64 AD during the reign of the

title: "St. Peter's Basilica" content: Roman Emperor Nero. His execution was one of the many martyrdoms of Christians following the Great Fire of Rome. According to Origen, 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. The obelisk now stands in St. Peter's Square and is revered as a "witness" to Peter's death. It is one of several ancient Obelisks of Rome. According to tradition, Peter's remains were buried just outside the Circus, on the Mons Vaticanus across

title: "St. Peter's Basilica" content: 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. The area now covered by the Vatican City had been a cemetery for some years before the Circus of Nero was built. It was a burial ground for the numerous executions in

title: "St. Peter's Basilica" content: the Circus and contained many Christian burials, because for many years after the burial of Saint Peter many Christians chose to be buried near Peter. In 1939, in the reign of Pope Pius XII, 10 years of archaeological research began, under the crypt of the basilica, an area inaccessible since the 9th century. The excavations revealed the remains of shrines of different periods at different levels, from Clement VIII (1594) to Callixtus II (1123) and Gregory I (590–604), built over an aedicula containing fragments of bones that were folded in a tissue with gold decorations, tinted with the precious murex

title: "St. Peter's Basilica" content: purple. Although it could not be determined with certainty that the bones were those of Peter, the rare vestments suggested a burial of great importance. On 23 December 1950, in his pre-Christmas radio broadcast to the world, Pope Pius XII announced the discovery of Saint Peter's tomb. Old St. Peter's Basilica was the 4th-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

title: "St. Peter's Basilica" content: 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. 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.

title: "St. Peter's Basilica" content: Peter's Basilica" has been used for its predecessor to distinguish the two buildings. 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 (1447–55). 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

title: "St. Peter's Basilica" content: died, little had been achieved. He had, however, ordered the demolition of the Colosseum and by the time of his death, 2,522 cartloads of stone had been transported for use in the new building. 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

title: "St. Peter's Basilica" content: 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". A competition was held, and a number of the designs have survived at the Uffizi Gallery. A succession of popes and architects followed in the next 120 years, their combined efforts resulting in the present building. The scheme begun by Julius II continued through the reigns of Leo X (1513–1521), Hadrian VI (1522–1523). Clement VII (1523–1534), Paul III

title: "St. Peter's Basilica" content: (1534–1549), Julius III (1550–1555), Marcellus II (1555), Paul IV (1555–1559), Pius IV (1559–1565), Pius V (saint) (1565–1572), Gregory XIII (1572–1585), Sixtus V (1585–1590), Urban VII (1590), Gregory XIV (1590–1591), Innocent IX (1591), Clement VIII (1592–1605), Leo XI (1605), Paul V (1605–1621), Gregory XV (1621–1623), Urban VIII (1623–1644) and Innocent X (1644–1655). One method employed to finance the building of St. Peter's Basilica was the granting of indulgences in return for contributions. A major promoter of this method of fund-raising was Albrecht, Archbishop of Mainz and Magdeburg, who had to clear debts owed to the Roman Curia by contributing to the

title: "St. Peter's Basilica" content: rebuilding program. To facilitate this, he appointed the German Dominican preacher Johann Tetzel, whose salesmanship provoked a scandal. A German Augustinian priest, Martin Luther, wrote to Archbishop Albrecht arguing against this "selling of indulgences". He also included his "Disputation of Martin Luther on the Power and Efficacy of Indulgences", which came to be known as "The 95 Theses". This became a factor in starting the Reformation, the birth of Protestantism. Pope Julius' 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

title: "St. Peter's Basilica" content: 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. The main difference between Bramante's design and that of the Pantheon is that where the dome of the Pantheon is supported by a continuous wall, that of the new basilica was to be supported only on four large piers. This feature was maintained in the ultimate design. Bramante's dome was to be surmounted by a lantern with

title: "St. Peter's Basilica" content: its own small dome but otherwise very similar in form to the Early Renaissance lantern of Florence Cathedral designed for Brunelleschi's dome by Michelozzo. Bramante had envisioned that the central dome would be surrounded by four lower domes at the diagonal axes. The equal chancel, nave and transept arms were each to be of two bays ending in an apse. At each corner of the building was to stand a tower, so that the overall plan was square, with the apses projecting at the cardinal points. Each apse had two large radial buttresses, which squared off its semi-circular shape. When

title: "St. Peter's Basilica" content: Pope Julius died in 1513, Bramante was replaced with Giuliano da Sangallo, Fra Giocondo and Raphael. Sangallo and Fra Giocondo both died in 1515, Bramante himself having died the previous year. The main change in Raphael's 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

title: "St. Peter's Basilica" content: 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. At this point Antonio da Sangallo the Younger submitted a plan which combines features of Peruzzi, Raphael and Bramante in its design and extends the building into a short nave with a wide

title: "St. Peter's Basilica" content: façade and portico of dynamic projection. His proposal for the dome was much more elaborate of both structure and decoration than that of Bramante and included ribs on the exterior. Like Bramante, Sangallo proposed that the dome be surmounted by a lantern which he redesigned to a larger and much more elaborate form. Sangallo's main practical contribution was to strengthen Bramante's piers which had begun to crack. On 1 January 1547 in the reign of Pope Paul III, Michelangelo, then in his seventies, succeeded Sangallo the Younger as "Capomaestro", the superintendent of the building program at St Peter's. He is

title: "St. Peter's Basilica" content: to be regarded as the principal designer of a large part of the building as it stands today, and as bringing 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

title: "St. Peter's Basilica" content: by whatever means he saw fit. 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

title: "St. Peter's Basilica" content: 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

title: "St. Peter's Basilica" content: 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

title: "St. Peter's Basilica" content: 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,

title: "St. Peter's Basilica" content: 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. 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 , 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

title: "St. Peter's Basilica" content: 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. 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

title: "St. Peter's Basilica" content: 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. Bramante's plan for the dome of St. Peter's (1506) follows that of the Pantheon very closely, and like that of the Pantheon, was designed to be constructed in Tufa Concrete for which he had rediscovered a formula. With the exception of the lantern that surmounts it, the profile is very similar, except that

title: "St. Peter's Basilica" content: in this case the supporting wall becomes a drum raised high above ground level on four massive piers. The solid wall, as used at the Pantheon, is lightened at St. Peter's by Bramante piercing it with windows and encircling it with a peristyle. In the case of Florence Cathedral, the desired visual appearance of the pointed dome existed for many years before Brunelleschi made its construction feasible. Its double-shell construction of bricks locked together in herringbone pattern (re-introduced from Byzantine architecture), and the gentle upward slope of its eight stone ribs made it possible for the construction to take place

title: "St. Peter's Basilica" content: without the massive wooden formwork necessary to construct hemispherical arches. While its appearance, with the exception of the details of the lantern, is entirely Gothic, its engineering was highly innovative, and the product of a mind that had studied the huge vaults and remaining dome of Ancient Rome. Sangallo's plan (1513), of which a large wooden model still exists, looks to both these predecessors. He realised 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

title: "St. Peter's Basilica" content: 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. According to James Lees-Milne the design was "too eclectic, too pernickety and too tasteless to have been a success". Michelangelo redesigned the dome in 1547, taking into account all that had gone before. His dome, like that of Florence, is constructed of two shells of brick, the outer one having

title: "St. Peter's Basilica" content: 16 stone ribs, twice the number at Florence but far fewer than in Sangallo's design. As with the designs of Bramante and Sangallo, the dome is raised from the piers on a drum. The encircling peristyle of Bramante and the arcade of Sangallo are reduced to 16 pairs of Corinthian columns, each of high which stand proud of the building, connected by an arch. Visually they appear to buttress each of the ribs, but structurally they are probably quite redundant. The reason for this is that the dome is ovoid in shape, rising steeply as does the dome of Florence

title: "St. Peter's Basilica" content: Cathedral, and therefore exerting less outward thrust than does a hemispherical dome, such as that of the Pantheon, which, although it is not buttressed, is countered by the downward thrust of heavy masonry which extends above the circling wall. The ovoid profile of the dome has been the subject of much speculation and scholarship over the past century. Michelangelo died in 1564, leaving the drum of the dome complete, and Bramante's piers much bulkier than originally designed, each across. Following his death, the work continued under his assistant Jacopo Barozzi da Vignola with Giorgio Vasari appointed by Pope Pius V

title: "St. Peter's Basilica" content: as a watchdog to make sure that Michelangelo's plans were carried out exactly. Despite Vignola's knowledge of Michelangelo's intentions, little happened in this period. In 1585 the energetic Pope Sixtus appointed Giacomo della Porta who was to be assisted by Domenico Fontana. The five-year reign of Sixtus was to see the building advance at a great rate. Michelangelo left a few drawings, including an early drawing of the dome, and some drawings of details. There were also detailed engravings published in 1569 by Stefan du Pérac who claimed that they were the master's final solution. Michelangelo, like Sangallo before him,

title: "St. Peter's Basilica" content: also left a large wooden model. Giacomo della Porta subsequently altered this model in several ways, in keeping with changes that he made to the design. Most of these 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. The major change that was made to the model, either by della Porta, or Michelangelo himself before his death, was to raise the outer dome higher above the

title: "St. Peter's Basilica" content: inner one. A drawing by Michelangelo indicates that his early intentions were towards an ovoid dome, rather than a hemispherical one. In an engraving in Galasso Alghisi' treatise (1563), the dome may be represented as ovoid, but the perspective is ambiguous. 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

title: "St. Peter's Basilica" content: 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. Helen Gardner suggests that Michelangelo made the change to the hemispherical dome of lower profile in order to establish a balance between the dynamic vertical elements of the encircling giant order of pilasters and a more static and reposeful dome. Gardner also comments "The sculpturing of architecture [by Michelangelo] ... here extends itself up from the ground through the attic stories and moves on into the drum and dome, the whole

title: "St. Peter's Basilica" content: building being pulled together into a unity from base to summit." It is this sense of the building being sculptured, unified and "pulled together" by the encircling band of the deep cornice that led Eneide Mignacca to conclude that the ovoid profile, seen now in the end product, was an essential part of Michelangelo's first (and last) concept. The sculptor/architect has, figuratively speaking, taken all the previous designs in hand and compressed their contours as if the building were a lump of clay. The dome "must" appear to thrust upwards because of the apparent pressure created by flattening the building's

title: "St. Peter's Basilica" content: angles and restraining its projections. If this explanation is the correct one, then the profile of the dome is not merely a structural solution, as perceived by Giacomo della Porta; it is part of the integrated design solution that is about visual tension and compression. In one sense, Michelangelo's dome may appear to look backward to the Gothic profile of Florence Cathedral and ignore the Classicism of the Renaissance, but on the other hand, perhaps more than any other building of the 16th century, it prefigures the architecture of the Baroque. Giacomo della Porta and Domenico Fontana brought the dome

title: "St. Peter's Basilica" content: to completion in 1590, the last year of the reign of Sixtus V. His successor, Gregory XIV, saw Fontana complete the lantern and had an inscription to the honour of Sixtus V placed around its inner opening. The next pope, Clement VIII, had the cross raised into place, an event which took all day, and was accompanied by the ringing of the bells of all the city's churches. In the arms of the cross are set two lead caskets, one containing a fragment of the True Cross and a relic of St. Andrew and the other containing medallions of the

title: "St. Peter's Basilica" content: Holy Lamb. In the mid 18th century, cracks appeared in the dome, so four iron chains were installed between the two shells to bind it, like the rings that keep a barrel from bursting. As many as ten chains have been installed at various times, the earliest possibly planned by Michelangelo himself as a precaution, as Brunelleschi did at Florence Cathedral. Around the inside of the dome is written, in letters high: Beneath the lantern is the inscription: On 7 December 2007, a fragment of a red chalk drawing of a section of the dome of the basilica, almost certainly

title: "St. Peter's Basilica" content: by the hand of Michelangelo, was discovered in the Vatican archives. The drawing shows a small precisely drafted section of the plan of the entablature above two of the radial columns of the cupola drum. Michelangelo is known to have destroyed thousands of his drawings before his death. 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. On 18 February 1606, under Pope Paul V, the dismantling of the remaining parts of the Constantinian basilica began. The marble cross that

title: "St. Peter's Basilica" content: had been set at the top of the pediment by Pope Sylvester and Constantine the Great was lowered to the ground. The timbers were salvaged for the roof of the Borghese Palace and two rare black marble columns, the largest of their kind, were carefully stored and later used in the narthex. The tombs of various popes were opened, treasures removed and plans made for re-interment in the new basilica. The Pope had appointed Carlo Maderno in 1602. He was a nephew of Domenico Fontana and had demonstrated himself as a dynamic architect. Maderno's idea was to ring Michelangelo's building

title: "St. Peter's Basilica" content: with chapels, but the Pope was hesitant about deviating from the master's plan, even though he had been dead for forty years. The "Fabbrica" or building committee, a group drawn from various nationalities and generally despised by the Curia who viewed the basilica as belonging to Rome rather than Christendom, were in a quandary as to how the building should proceed. One of the matters that influenced their thinking was the Counter-Reformation which increasingly associated a Greek Cross plan with paganism and saw the Latin Cross as truly symbolic of Christianity. Another influence on the thinking of both the Fabbrica

title: "St. Peter's Basilica" content: 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 began on 7 May 1607, and proceeded at a great rate, with an army of 700 labourers being

title: "St. Peter's Basilica" content: 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. 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,

title: "St. Peter's Basilica" content: whose statue is left of the stairs) and John the Baptist. The inscription below the cornice on the tall frieze reads: 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

title: "St. Peter's Basilica" content: 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. Behind the façade of St. Peter's stretches a long portico or "narthex"

title: "St. Peter's Basilica" content: such as was occasionally found in Italian churches. This is the part of Maderno's design with which he was most satisfied. Its long barrel vault is decorated with ornate stucco and gilt, and successfully illuminated by small windows between pendentives, while the ornate marble floor is beamed with light reflected in from the piazza. At each end of the narthex is a theatrical space framed by ionic columns and within each is set a statue, an equestrian figure of Charlemagne by Cornacchini (18th century) in the south end and Constantine the Great by Bernini (1670) in the north end. Five

title: "St. Peter's Basilica" content: portals, of which three are framed by huge salvaged antique columns, lead into the basilica. The central portal has a bronze door created by Antonio Averulino in 1455 for the old basilica and somewhat enlarged to fit the new space. 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

title: "St. Peter's Basilica" content: 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. The nave has huge paired pilasters, in keeping with Michelangelo's work. The size of the interior is so "stupendously large" that it is hard to get a sense of scale within the building. The four cherubs who flutter against the first piers of the nave, carrying between them two holy water basins, appear of quite normal cherubic size, until approached. Then it becomes apparent that each one is over 2 metres high and that real

title: "St. Peter's Basilica" content: children cannot reach the basins unless they scramble up the marble draperies. The aisles each have two smaller chapels and a larger rectangular chapel, the Chapel of the Sacrament and the Choir Chapel. These are lavishly decorated with marble, stucco, gilt, sculpture and mosaic. Remarkably, there are very few paintings, although some, such as Raphael's "Sistine Madonna" have been reproduced in mosaic. The most precious painting is a small icon of the Madonna, removed from the old basilica. Maderno's last work at St. Peter's was to design a crypt-like space or "Confessio" under the dome, where the cardinals and other

title: "St. Peter's Basilica" content: privileged persons could descend in order to be nearer to the burial place of the apostle. Its marble steps are remnants of the old basilica and around its balustrade are 95 bronze lamps. The design of St. Peter's Basilica, and in particular its dome, has greatly influenced church architecture in Western Christendom. Within Rome, the huge domed church of Sant'Andrea della Valle was designed by Giacomo della Porta before the completion of St Peter's Basilica, and subsequently worked on by Carlo Maderno. This was followed by the domes of San Carlo ai Catinari, Sant'Agnese in Agone, and many others. Christopher

title: "St. Peter's Basilica" content: Wren's dome at St Paul's Cathedral (London, England), the domes of Karlskirche (Vienna, Austria), St. Nicholas Church (Prague, Czech Republic), and the Pantheon (Paris, France) all pay homage to St Peter's Basilica. The 19th and early-20th-century architectural revivals brought about the building of a great number of churches that imitate elements of St Peter's to a greater or lesser degree, including St. Mary of the Angels in Chicago, St. Josaphat's Basilica in Milwaukee, Immaculate Heart of Mary in Pittsburgh and Mary, Queen of the World Cathedral in Montreal, which replicates many aspects of St Peter's on a smaller scale. Post-Modernism

title: "St. Peter's Basilica" content: has seen free adaptations of St Peter's in the Basilica of Our Lady of Licheń, and the Basilica of Our Lady of Peace of Yamoussoukro. As a young boy Gian Lorenzo Bernini (1598–1680) visited St. Peter's with the painter Annibale Carracci and stated his wish to build "a mighty throne for the apostle". His wish came true. As a young man, in 1626, he received the patronage of Pope Urban VIII and worked on the embellishment of the Basilica for 50 years. Appointed as Maderno's successor in 1629, he was to become regarded as the greatest architect and sculptor of

title: "St. Peter's Basilica" content: the Baroque period. Bernini's works at St. Peter's include the baldachin (baldaquin, from Italian: baldacchino), the Chapel of the Sacrament, the plan for the niches and loggias in the piers of the dome and the chair of St. Peter. Bernini's first work at St. Peter's was to design the baldacchino, a pavilion-like structure tall and claimed to be the largest piece of bronze in the world, which stands beneath the dome and above the altar. Its design is based on the "ciborium", of which there are many in the churches of Rome, serving to create a sort of holy space

title: "St. Peter's Basilica" content: above and around the table on which the Sacrament is laid for the Eucharist and emphasizing the significance of this ritual. These "ciboria" are generally of white marble, with inlaid coloured stone. Bernini's concept was for something very different. He took his inspiration in part from the baldachin or canopy carried above the head of the pope in processions, and in part from eight ancient columns that had formed part of a screen in the old basilica. Their twisted barley-sugar shape had a special significance as they were modeled on those of the Temple of Jerusalem and donated by the

title: "St. Peter's Basilica" content: Emperor Constantine. Based on these columns, Bernini created four huge columns of bronze, twisted and decorated with laurel leaves and bees, which were the emblem of Pope Urban. The baldacchino is surmounted not with an architectural pediment, like most baldacchini, but with curved Baroque brackets supporting a draped canopy, like the brocade canopies carried in processions above precious iconic images. In this case, the draped canopy is of bronze, and all the details, including the olive leaves, bees, and the portrait heads of Urban's niece in childbirth and her newborn son, are picked out in gold leaf. The baldacchino stands

title: "St. Peter's Basilica" content: as a vast free-standing sculptural object, central to and framed by the largest space within the building. It is so large that the visual effect is to create a link between the enormous dome which appears to float above it, and the congregation at floor level of the basilica. It is penetrated visually from every direction, and is visually linked to the "Cathedra Petri" in the apse behind it and to the four piers containing large statues that are at each diagonal. As part of the scheme for the central space of the church, Bernini had the huge piers, begun

title: "St. Peter's Basilica" content: by Bramante and completed by Michelangelo, hollowed out into niches, and had staircases made inside them, leading to four balconies. There was much dismay from those who thought that the dome might fall, but it did not. On the balconies Bernini created showcases, framed by the eight ancient twisted columns, to display the four most precious relics of the basilica: the spear of Longinus, said to have pierced the side of Christ, the veil of Veronica, with the miraculous image of the face of Christ, a fragment of the True Cross discovered in Jerusalem by Constantine's mother, Helena, and a

title: "St. Peter's Basilica" content: relic of Saint Andrew, the brother of Saint Peter. In each of the niches that surround the central space of the basilica was placed a huge statue of the saint associated with the relic above. Only "Saint Longinus" is the work of Bernini. (See below) Urban had long been a critic of Bernini's predecessor, Carlo Maderno. His disapproval of the architect's work stemmed largely from the Maderno's design for the longitudinal nave of St. Peters, which was widely condemned for obscuring Michelangelo's dome. When the Pope gave the commission to Bernini he therefore requested that a new design for the

title: "St. Peter's Basilica" content: facade's bell towers to be submitted for consideration. Baldinucci describes Bernini's tower as consisting of "two orders of columns and pilasters, the first order being Corinthian" and "a third or attic story formed of pilasters and two columns on either side of the open archway in the center". Urban desired the towers to be completed by a very specific date: 29 June 1641, the feast day dedicated to Saints Peter and Paul. To this end an order was issued which stated that "all work should take a second seat to that of the campanile." The south tower was completed on

title: "St. Peter's Basilica" content: time even in spite of these issues, but records show that in the wake of the unveiling the Pope was not content with what he saw and he ordered the top level of Bernini's tower removed so that the structure could be made even grander. The tower continued to grow, and as the construction began to settle the first cracks started to appear followed by Urban's infamous public admonishment of his architect. In 1642 all work on both towers came to a halt. Bernini had to pay the cost for the demolition; eventually the idea of completing the bell towers

title: "St. Peter's Basilica" content: was abandoned. Bernini then turned his attention to another precious relic, the so-called "Cathedra Petri" or "throne of St. Peter" a chair which was often claimed to have been used by the apostle, but appears to date from the 12th century. As the chair itself was fast deteriorating and was no longer serviceable, Pope Alexander VII determined to enshrine it in suitable splendor as the object upon which the line of successors to Peter was based. Bernini created a large bronze throne in which it was housed, raised high on four looping supports held effortlessly by massive bronze statues of

title: "St. Peter's Basilica" content: four Doctors of the Church, Saints Ambrose and Augustine representing the Latin Church and Athanasius and John Chrysostom, the Greek Church. The four figures are dynamic with sweeping robes and expressions of adoration and ecstasy. Behind and above the Cathedra, a blaze of light comes in through a window of yellow alabaster, illuminating, at its center, the Dove of the Holy Spirit. The elderly painter, Andrea Sacchi, had urged Bernini to make the figures large, so that they would be seen well from the central portal of the nave. The chair was enshrined in its new home with great celebration

title: "St. Peter's Basilica" content: of 16 January 1666. Bernini's final work for St. Peter's, undertaken in 1676, was the decoration of the Chapel of the Sacrament. 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. To the east of the basilica is the "Piazza di San Pietro", (St. Peter's Square). The present arrangement, constructed between 1656

title: "St. Peter's Basilica" content: and 1667, is the Baroque inspiration of Bernini who inherited a location already occupied by an Egyptian obelisk which was centrally placed, (with some contrivance) to Maderno's facade. The obelisk, known as "The Witness", at and a total height, including base and the cross on top, of , is the second largest standing obelisk, and the only one to remain standing since its removal from Egypt and re-erection at the Circus of Nero in 37 AD, where it is thought to have stood witness to the crucifixion of Saint Peter. Its removal to its present location by order of Pope

title: "St. Peter's Basilica" content: Sixtus V and engineered by Domenico Fontana on 28 September 1586, was an operation fraught with difficulties and nearly ending 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 other object in the old square with which Bernini had to contend was a large fountain designed by Maderno in 1613 and set to one side of the obelisk,

title: "St. Peter's Basilica" content: making a line parallel with the facade. Bernini's plan uses this horizontal axis as a major feature of his unique, spatially dynamic and highly symbolic design. The most obvious solutions were either a rectangular piazza of vast proportions so that the obelisk stood centrally and the fountain (and a matching companion) could be included, or a trapezoid piazza which fanned out from the facade of the basilica like that in front of the Palazzo Pubblico in Siena. The problems of the square plan are that the necessary width to include the fountain would entail the demolition of numerous buildings, including

title: "St. Peter's Basilica" content: some of the Vatican, and would minimize the effect of the facade. The trapezoid plan, on the other hand, would maximize the apparent width of the facade, which was already perceived as a fault of the design. Bernini's ingenious solution was to create a piazza in two sections. That part which is nearest the basilica is trapezoid, but rather than fanning out from the facade, it narrows. This gives the effect of countering the visual perspective. It means that from the second part of the piazza, the building looks nearer than it is, the breadth of the facade is minimized

title: "St. Peter's Basilica" content: and its height appears greater in proportion to its width. The second section of the piazza is a huge elliptical circus which gently slopes downwards to the obelisk at its center. The two distinct areas are framed by a colonnade formed by doubled pairs of columns supporting an entablature of the simple Tuscan Order. The part of the colonnade that is around the ellipse does not entirely encircle it, but reaches out in two arcs, symbolic of the arms of "the Catholic Church reaching out to welcome its communicants". The obelisk and Maderno's fountain mark the widest axis of the

title: "St. Peter's Basilica" content: ellipse. Bernini balanced the scheme with another fountain in 1675. The approach to the square used to be through a jumble of old buildings, which added an element of surprise to the vista that opened up upon passing through the colonnade. Nowadays a long wide street, the Via della Conciliazione, built by Mussolini after the conclusion of the Lateran Treaties, leads from the River Tiber to the piazza and gives distant views of St. Peter's as the visitor approaches, with the basilica acting as a terminating vista. Bernini's transformation of the site is entirely Baroque in concept. Where Bramante and

title: "St. Peter's Basilica" content: Michelangelo conceived a building that stood in "self-sufficient isolation", Bernini made the whole complex "expansively relate to its environment". Banister Fletcher says "No other city has afforded such a wide-swept approach to its cathedral church, no other architect could have conceived a design of greater nobility ... (it is) the greatest of all atriums before the greatest of all churches of Christendom." 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.

title: "St. Peter's Basilica" content: Exiled Catholic British royalty James Francis Edward Stuart and his two sons, Charles Edward Stuart and Henry Benedict Stuart, Cardinal Bishop of Frascati, are buried here, having been granted asylum by Pope Clement XI. Also buried here are Maria Clementina Sobieska, wife of James Francis Edward Stuart, 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. The most recent interment was Pope John Paul II, on 8 April 2005. Beneath, near the crypt, is the recently discovered vaulted 4th-century "Tomb of the

title: "St. Peter's Basilica" content: Julii". (See below for some descriptions of tombs). Recently installed commemorative plaques read as follows: List of archpriests of the Vatican Basilica: St. Peter's Basilica The Papal Basilica of St. Peter in the Vatican (), or simply St. Peter's Basilica (), is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome. 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. While it is neither the mother church of the Catholic Church nor the cathedral

Answer: Peter

Answer: Simon Peter

Answer: Saint Peter the Apostle

Answer: Simon

Answer: Pope Peter

Answer: Peter

Answer: Saint Peter

Answer: Shimon

Answer: Petrus

Answer: Peter the Apostle

Answer: Simeon


Question: What is the location of this facility?

Instruction: With the provided image, gather documents that offer a solution to the question:

title: "Library of Celsus" content: Library of Celsus The Library of Celsus is an ancient Roman building in Ephesus, Anatolia, now part of Selçuk, Turkey. It was built in honour of the Roman Senator Tiberius Julius Celsus Polemaeanus, completed between circa 114–117 A.D. by Celsus' son, Gaius Julius Aquila (consul, 110 AD). The library was "one of the most impressive buildings in the Roman Empire" and built to store 12,000 scrolls and to serve as a mausoleum for Celsus, who is buried in a crypt beneath the library in a decorated marble sarcophagus. The Library of Celsus was the "third-largest library in the ancient world"

title: "Library of Celsus" content: behind both Alexandria and Pergamum. The interior of the library was destroyed, supposedly by an earthquake in 262 A.D., (though other evidence points to a fire during a Gothic invasion in that same year) and the façade by another earthquake in the tenth or eleventh century A.D. It lay in ruins for centuries, until the façade was re-erected (anastylosis) by archaeologists between 1970 and 1978. Celsus, in the honour of whom the library was originally built, had been consul in 92 AD where he was in charge of all public buildings, the Roman proconsul of Ephesus, the capital of the

title: "Library of Celsus" content: Asian province of Rome from 105–107 AD, and a wealthy and popular local citizen. He was a native of nearby Sardis and amongst the earliest men of purely Greek origin to become a consul in the Roman Empire and is honoured both as a Greek and a Roman on the library itself. Celsus paid for the construction of the library with his own personal wealth. After commissioned by his son in 114 AD, construction of the library was completed in circa 117 AD in Ephesus, a territory that was traditionally Greek. The building is important as one of the few

title: "Library of Celsus" content: mortared rubble, signify the new materials that came into use in the Roman Empire around the 2nd century AD. The building's façade was depicted on the reverse of the Turkish 20 million lira banknote of 2001-2005 and of the 20 new lira banknote of 2005-2009. Library of Celsus The Library of Celsus is an ancient Roman building in Ephesus, Anatolia, now part of Selçuk, Turkey. It was built in honour of the Roman Senator Tiberius Julius Celsus Polemaeanus, completed between circa 114–117 A.D. by Celsus' son, Gaius Julius Aquila (consul, 110 AD). The library was "one of the most impressive

Answer: Ephesus

Answer: Ephesos

Answer: Efes

Answer: Ephesus


Question: Who occupies this building?

Instruction: Using the provided image, obtain documents that address the subsequent question:

title: "Huis Bergh" content: Huis Bergh Huis Bergh is a castle in 's-Heerenberg and is one of the largest castles in the Netherlands. It gives its name to the Land van den Bergh and was previously owned by the counts van Bergh. The building history dates back to the 13th century. The main parts of the castle are from the 14th, 15th and 17th century. In the beginning of the Dutch Revolt the house got damaged by war. In 1735 the castle burned down. In 1912 Huis Bergh and all belongings became the property of Jan Herman van Heek, an industrialist from Enschede. He

title: "Huis Bergh" content: restored the buildings. In 1939 there was another major fire. Thanks to the help of locals most of the furniture was rescued. Renovation began the same year and was completed in 1941. Huis Bergh contains a collection of early Italian paintings, one famous example of which is a panel from the Maestà of Duccio, which was added to the castle's collection in the 19th century. In addition to a portrait of Erasmus by Holbein Huis Bergh has an extraordinary collection of medieval handwritings. Huis Bergh Huis Bergh is a castle in 's-Heerenberg and is one of the largest castles in

Answer: Huis Bergh

Answer: Kasteel Huis Bergh

Answer: Huis Bergh


Question: What is the length in mile is the park in the image?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

title: "National Mall" content: west and east to the United States Capitol grounds, with the Washington Monument dividing the area slightly west of its midpoint. A smaller designation sometimes referred to as the "National Mall (proper)" excludes both the Capitol grounds and the Washington Monument grounds, applying only to an area between them. The National Mall contains and borders a number of museums of the Smithsonian Institution, art galleries, cultural institutions, and various memorials, sculptures, and statues. The park receives approximately 24 million visitors each year. In his 1791 plan for the future city of Washington, D.C., Pierre (Peter) Charles L'Enfant envisioned a garden-lined

title: "National Mall" content: "grand avenue" approximately 1 mile (1.6 km) in length and wide, in an area that would lie between the Congress House (now the Capitol Building) and an equestrian statue of George Washington. The statue would be placed directly south of the President's House (now the White House) (see L'Enfant Plan). The National Mall (proper) occupies the site of this planned "grand avenue", which was never constructed. Mathew Carey's 1802 map is reported to be the first to name the area west of the United States Capitol as the "Mall". The Washington City Canal, completed in 1815 in accordance with the

title: "National Mall" content: During the early 1850s, architect and horticulturist Andrew Jackson Downing designed a landscape plan for the Mall. Over the next half century, federal agencies developed several naturalistic parks within the Mall in accordance with Downing's plan. Two such areas were Henry Park and Seaton Park. During that period, the Mall was subdivided into several areas along B Street NW: In 1856, the Armory (No. 27 on the map above) was built at the intersection of B Street SW and 6th Street SW on the Armory Grounds. In 1862, during the American Civil War, the building was converted to a military

title: "National Mall" content: hospital known as Armory Square Hospital to house Union Army casualties. After the war ended, the Armory building became the home of the United States Fish Commission. The United States Congress established the United States Department of Agriculture in 1862 during the Civil War. Designed by Adolf Cluss and Joseph von Kammerhueber, the United States Department of Agriculture Building (No. 25 on the map), was constructed in 1867–1868 on a 35-acre site on the Mall. After the war ended, the Department started growing experimental crops and demonstration gardens on the Mall. These gardens extended from the Department's building on the

title: "National Mall" content: south side of the Mall to B Street NW (the northern boundary of the Mall). The building was razed in 1930. In addition, greenhouses belonging to the U.S. Botanical Garden (No. 16 on the map) appeared near the east end of the Mall between the Washington City Canal and the Capitol (later between 1st and 3rd Streets). Originating during the early 1800s as a collection of market stalls immediately north of the Washington City Canal and the Mall, the Center Market (No. 19 on the map), which Adolf Cluss also designed, opened in 1872 soon after the canal closed. Located

title: "National Mall" content: designed in 1885, opened on the Mall at northwest corner of B Street SW (now Independence Avenue SW) and 7th Street SW. The Smithsonian Institution's Hirshhorn Museum now occupies the site of the building, which was demolished in 1968. Meanwhile, in order to clean up the Potomac Flats and to make the Potomac River more navigable, in 1882 Congress authorized the Army Corps of Engineers to dredge the river. The Corps used the sediment removed from the shipping channel to fill in the flats. The work started in 1882 and continued until 1911, creating 628 new acres of land. Part

title: "National Mall" content: of the new land, which become West Potomac Park, expanded the Mall southward and westward (see 1893 map above). In 1902, the McMillan Commission's plan, which was partially inspired by the City Beautiful Movement and which purportedly extended L'Enfant's plan, called for a radical redesign of the Mall that would replace its greenhouses, gardens, trees, and commercial/industrial facilities with an open space. The plan differed from L'Enfant's by replacing the wide "grand avenue" with a wide vista containing a long and broad expanse of grass. Four rows of American elm (Ulmus americana) trees planted fifty feet apart between two paths

title: "National Mall" content: two outermost boulevards (Jefferson Drive Southwest (SW) and Madison Drive Northwest (NW)) remain paved and open to vehicular traffic. In 1918 contractors for the United States Navy's Bureau of Yards and Docks constructed the "Main Navy" and "Munitions" Buildings along nearly a third of a mile of the south side of Constitution Avenue (then known as B Street), from 17th Street NW to 21st Street NW. Although the Navy intended the buildings to provide temporary quarters for the United States military during World War I, the reinforced concrete structures remained in place until 1970. Much of the buildings' area then

title: "National Mall" content: televised movie adaptation in which the statue appeared. In 2003, the 108th United States Congress enacted the Commemorative Works Clarification and Revision Act. This Act prohibits the siting of new commemorative works and visitor centers in a designated reserve area within the cross-axis of the Mall. In October 2013, a two-week federal government shutdown closed the National Mall and its museums and monuments. However, when a group of elderly veterans tried to enter the National World War II Memorial during the shutdown's first day, the memorial's barricades were removed. The NPS subsequently announced that the veterans had a legal right

title: "National Mall" content: to be in the memorial and would not be barred in the future. During the shutdown's second week, the NPS permitted a controversial immigration rally and concert to take place on the Mall. On October 15, 1966, the NPS listed the National Mall on the National Register of Historic Places. In 1981, the NPS prepared a National Register nomination form that documented the Mall's boundaries, features and historical significance. On December 8, 2016, the NPS listed on the National Register of Historic Places an increase in the National Mall Historic District's boundary to encompass an area bounded by 3rd Street,

title: "National Mall" content: NW/SW, Independence Avenue, SW, Raoul Wallenberg Place, SW, the CSX Railroad, the Potomac River, Constitution Ave., NW, 17th Street, NW, the White House Grounds and 15th Street, NW. The listing's registration form, which contained 232 pages, described and illustrated the history and features of the historic district's proposed expanded area. In its 1981 National Register of Historic Places nomination form, the NPS defined the boundaries of the National Mall (proper) as Constitution and Pennsylvania Avenues on the north, 1st Street NW on the east, Independence and Maryland Avenues on the south, and 14th Street NW on the west, with the

title: "National Mall" content: exception of the section of land bordered by Jefferson Drive on the north, Independence Avenue on the south, and by 12th and 14th Streets respectively on the east and west, which the U.S. Department of Agriculture administers and which contains the Jamie L. Whitten Building (U.S. Department of Agriculture Administration Building). A 2012-2016 NPS National Parks index describes the National Mall as being a landscaped park that extends from the Capitol to the Washington Monument, defined as a principal axis in the L'Enfant Plan for the city of Washington. However, a 2010 NPS plan for the Mall contains maps that

title: "National Mall" content: the United States Capitol. In 2011, the 112th United States Congress enacted the Legislative Branch Appropriations Act, 2012, which transferred to the Architect of the Capitol the NPS "property which is bounded on the north by Pennsylvania Avenue Northwest, on the east by First Street Northwest and First Street Southwest, on the south by Maryland Avenue Southwest, and on the west by Third Street Southwest and Third Street Northwest". This act removed Union Square (the area containing the Ulysses S. Grant Memorial and the Capitol Reflecting Pool) from NPS jurisdiction. The National Park Service states that the purposes of the

title: "National Mall" content: with which an organizer of the event, Nation of Islam leader Louis Farrakhan, disagreed. The next year, a committee of the 104th United States Congress provided no funds for NPS crowd-counting activities in Washington, D.C. when it prepared legislation making 1997 appropriations for the U.S. Department of the Interior. As a result, the NPS has not provided any official crowd size estimates for Mall events since 1995. The absence of such an official estimate fueled a political controversy following the presidential inauguration of Donald Trump in 2017 (see: Inauguration of Donald Trump crowd size). On April 25, 2004, the March

title: "National Mall" content: for Women's Lives filled the Mall. On January 27, 2007, tens of thousands of protesters opposed to the Iraq War converged on the Mall (see: January 27, 2007 anti-war protest), drawing comparisons by participants to the Vietnam War protest. On June 12, 2018, the National Hockey League's Washington Capitals staged a rally on the Mall after parading through the city to celebrate the franchise's first Stanley Cup championship victory. Tens of thousands of fans reportedly joined the beer-soaked event. During presidential inaugurations, people without official tickets gather at the National Mall. Normally, the Mall between 7th and 14th Streets NW

title: "National Mall" content: is used as a staging ground for the parade. On December 4, 2008, the Presidential Inaugural Committee (see: United States presidential inauguration organizers) announced, "for the first time, the entire length of the National Mall will be opened to the public so that more people than ever before will be able to witness the swearing-in of the President from a vantage point in sight of the Capitol." The Committee made this arrangement because of the massive attendance – projected to be as many as 2 million people – that it expected for the first inauguration of Barack Obama on January

title: "National Mall" content: 20, 2009. Despite the arrangement, a throng of people seeking access to the event climbed and then removed temporary protective fences around the Smithsonian's Mary Livingston Ripley Garden, six blocks from the site at which Obama took his inaugural oath. Hordes then trampled the garden's vegetation and elevated plant beds when entering and leaving the event. Others could not find a way to enter the Mall in time to view the ceremony. More than a thousand people with tickets missed the event while being stranded in the I-395 Third Street Tunnel beneath the Mall after police directed them there (see

title: "National Mall" content: near Baltimore, Maryland, in 1947. It was moved to the Mall in 1981. A number of large free events recur annually on the Mall. A kite festival, formerly named the "Smithsonian Kite Festival" and now named the "Blossom Kite Festival", usually takes place each year on the Washington Monument grounds during the last weekend of March as part of the National Cherry Blossom Festival. The 2018 kite festival took place on the Washington Monument grounds on Saturday, March 31. An Earth Day celebration often takes place on the Mall around April 22. A week-long series of rallies, exhibits, observances and

title: "National Mall" content: performances occurred on the Mall from April 17 to April 25, 2010 to commemorate Earth Day's 40th anniversary. The final day's events featured performances by Sting, Mavis Staples, The Roots, John Legend and others. The 2012 Earth Day rally, which featured music, entertainment, celebrity speakers and environmental activities, took place on the Mall during a rainy day on Sunday, April 22. Cheap Trick, Dave Mason, Kicking Daisies, Sting, John Legend, Joss Stone, The Roots, Mavis Staples, Jimmy Cliff, Bob Weir and The Explorers Club performed and Congressmen John Dingell and Edward Markey spoke. In 2013, an "Earth Month" at Washington's

title: "National Mall" content: Union Station replaced the Mall's Earth Day event. On April 19, 2015, a "Global Citizen" Earth Day concert featured performances on the Washington Monument grounds by Usher, My Morning Jacket, Mary J. Blige, Train and No Doubt. The National Symphony Orchestra presents each year its "National Memorial Day Concert" on the west lawn of the United States Capitol during the evening of the Sunday before Memorial Day (the last Monday of May). The National Gallery of Art hosts a "Jazz in the Garden" series each year in the museum's Sculpture Garden on Friday evenings from late May through August. Components

title: "National Mall" content: 21, 1976, Constitution Gardens was dedicated. On July 1, the Smithsonian National Air and Space Museum opened. On July 4, the Bicentennial fireworks display on the Mall attracted one million viewers, making it second only to the 1965 presidential inauguration of Lyndon B. Johnson as the largest event in the Mall's history up to that time. On Sunday, October 9, 1979, Pope John Paul II celebrated Mass on the National Mall during a visit to Washington. The celebration took place after an appellate court denied a motion for an injunction that atheists Madalyn Murray O'Hair and Jon Garth Murray had

title: "National Mall" content: filed to prevent the event from occurring. From 1980 through 1982, The Beach Boys and The Grass Roots performed Independence Day concerts on the Mall, attracting large crowds. However, in April 1983, James G. Watt, President Ronald Reagan's Secretary of the Interior, banned Independence Day concerts on the Mall by such groups. Watt said that "rock bands" that had performed on the Mall on Independence Day in 1981 and 1982 had encouraged drug use and alcoholism and had attracted "the wrong element", who would mug individuals and families attending any similar events in the future. Watt then announced that Las

title: "National Mall" content: I like their music". On July 3, 1983, thousands attended a heavily policed "Rock Against Reagan" concert that the hardcore punk rock band, Dead Kennedys, performed on the Mall in response to Watt's action. When Newton entered an Independence Day stage on the Mall on July 4, members of his audience booed. Watt apologized to The Beach Boys, First Lady Nancy Reagan apologized for Watt, and in 1984 The Beach Boys gave an Independence Day concert on the Mall to an audience of 750,000 people. On September 4, 2003, Britney Spears, Mary J. Blige, Aretha Franklin, Aerosmith and others performed

title: "National Mall" content: in a nationally televised "NFL Kickoff Live from the National Mall Presented by Pepsi Vanilla" (see: Pre-game concerts for National Football League kickoff game). Preceded by a three-day National Football League "interactive Super Bowl theme park", the event had primarily commercial purposes, unlike earlier major activities on the Mall. Three weeks later, the United States Senate overwhelmingly passed legislation that, when enacted into law, limited displays of commercial sponsorship on the Mall. On July 7, 2007, one leg of Live Earth was held outdoors at the National Museum of the American Indian on the Mall. Former Vice President Al Gore

title: "National Mall" content: presented, and artists such as Garth Brooks and Trisha Yearwood performed. Occurring once every two to three years on the Mall in the early fall from 2002 to 2009, the U.S. Department of Energy Solar Decathlon displayed solar-powered houses that competitive collegiate teams designed, constructed and operated. Igniting a controversy, the Department of Energy (DOE) decided to move the 2011 Decathlon off the Mall, claiming that this would support an effort to protect, improve and restore the park. Federal officials stated that heavy equipment that had placed two-story houses on the Mall during earlier Decathlons had cracked walkways and killed

title: "National Mall" content: grass to a greater extent than had most other Mall events. On February 4, 2011, a Washington Post editorial criticized attempts to have President Obama restore the event to the Mall. Nevertheless, by February 12, 2011, at least thirteen U.S. Senators had signed a letter asking the DOE to reconsider its decision. On February 23, 2011, the DOE and the Department of the Interior announced that the 2011 Solar Decathlon would take place along Ohio Drive southeast of the Franklin Delano Roosevelt Memorial in West Potomac Park. The event took place in the Park from September 23 through October 2,

title: "National Mall" content: 2011. The 2013 Solar Decathlon took place in California instead of Washington. From 2003 to 2013, the National Book Festival took place on the Mall each year in late September or early October. However, the event moved to the Walter E. Washington Convention Center in 2014 because the NPS became concerned about the damage that pedestrians had inflicted on the Mall's lawn during previous Festivals. A four-day exhibition took place each year on the Mall during Public Service Recognition Week (the first full week of May) until 2010. Government agencies participating in the event sponsored exhibits that displayed the works

title: "National Mall" content: of public employees and that enabled visitors to learn about government programs and initiatives, discuss employee benefits, and interact with agency representatives. However, the 2011 United States federal budget (), which was belatedly enacted on April 15, 2011, contained no funding for that year's event, forcing the event's cancellation. The event did not take place in 2012. On June 12, 2010, Tareq and Michaele Salahi, a couple under investigation for allegedly crashing a White House state dinner for the Prime Minister of India in November 2009 (see: 2009 U.S. state dinner security breaches), hosted an America's Polo Cup match between

title: "National Mall" content: company, stated, "We are not sponsoring this event and have informed the people managing this event of that, ... We have sent legal notices to this effect, and he keeps on advertising us as a sponsor. I don't know what world he's living in." The inaugural USA Science and Engineering Festival Expo took place on the National Mall and surrounding areas on October 23 and 24, 2010. More than 1,500 free interactive exhibits reportedly drew about 500,000 people to the event, which had over 75 performances. The second Expo took place on April 28–29, 2012, in the Walter E. Washington

title: "National Mall" content: Convention Center. On Veterans Day, November 11, 2014, Bruce Springsteen, Eminem, Rihanna, Metallica, Carrie Underwood, Dave Grohl, the Zac Brown Band and other pop entertainers performed on the Mall during a free evening Concert for Valor honoring veterans and their families. Attendance was in the hundreds of thousands, making it one of the biggest events on the Mall for the year. The annual Screen on the Green movie festival took place on the Mall on Monday nights during July and August for 17 years until 2015. Free classic movies were projected on large portable screens and typically drew crowds of

title: "National Mall" content: thousands of people. Organizers cancelled the event in 2016 when the event's sponsors (HBO and Comcast) terminated their support, stating that they needed their resources for other projects. From 2006 through 2010, the NPS conducted a public process that created a plan for the future of the National Mall. On July 13, 2010, the NPS issued in the Federal Register a notice of availability of a final environmental impact statement (EIS) for the National Mall Plan. The two-volume final EIS responded to comments and incorporated changes to a draft EIS for the Plan. On November 9, 2010, the NPS and

title: "National Mall" content: end of the Mall a wide expanse of paved surface in Union Square to accommodate demonstrations and other events by reducing the size of the Capitol Reflecting Pool or by replacing the pool with a fountain or other small water feature. Additional proposed changes included the replacement of the Sylvan Theater on the Washington Monument grounds with a facility containing offices, restaurants and restrooms, as well as the replacement of an open space near the east end of Constitution Gardens with a multipurpose visitor facility containing food service, retail, and restrooms. On December 2, 2010, the National Capital Planning Commission

title: "National Mall" content: (NCPC) unanimously approved the final National Mall Plan at a public hearing. The NCPC's approval allowed the NPS to move forward with implementation of the Plan's recommendations. On March 1, 2012, the NCPC discussed a proposal that would decrease the Mall's existing green space by widening and paving most of the north-south walkways that cross the Mall between Seventh and Fourteenth Streets and by replacing with gravel large areas of grass that are located near the Smithsonian Metro Station and the National Gallery of Art's Sculpture Garden. On September 8, 2011, the Trust for the National Mall and the NPS

title: "National Mall" content: announced an open competition for a redesign of the spaces on the National Mall that Union Square, the Sylvan Theater grounds and the Constitution Gardens lake now occupy. Former First Lady of the United States Laura Bush agreed to be the honorary co-chair of a drive to raise funds for the three projects. On April 9, 2012, the Trust for the National Mall announced the ideas for the redesign of Union Square, the Sylvan Theater grounds and Constitution Gardens lake area that finalists in the competition had submitted. The Trust asked the public to submit online comments that the competition

title: "National Mall" content: jury would consider when evaluating each design. The Trust announced the winners of the competition on May 2, 2012. Groundbreaking for the first project was expected to take place by 2014, with the first ribbon-cutting ceremony by 2016. On October 1, 2015, the NCPC approved preliminary and final site and building plans that the NPS had submitted for the first phase rehabilitation of Constitution Gardens. Plans included the relocation and rehabilitation of the Lockkeeper's House, C & O Canal Extension, a new entry plaza at the corner of Constitution Avenue and 17th Street, NW, landscaping, a meadow and pollinator habitat

title: "National Mall" content: and a new perimeter garden wall. A temporary path will connect to an existing plaza located at the eastern end of Constitution Garden's lake. The NPS began to implement the first phase rehabilitation of Constitution Gardens in 2017. The Park Service moved the Lockkeeper's House, C & O Canal Extension, southward and westward away from Constitution Avenue, NW and 17th Street, NW while retaining the structure's east-west orientation. The NPS restored the building's exterior to its pre-1915 modifications and replaced the structure's brick chimneys, thus restoring the building to its original 1800s appearance. The building reopened temporarily in late August

title: "National Mall" content: 2018 and permanently on September 13 of that year. The house now serves in its new location as an NPS education center. From 2010 to 2012, NPS contractors rebuilt the aging Lincoln Memorial Reflecting Pool, which had first been constructed in the early 1920s and whose water had come from the pipes that supply Washington, D.C., with its drinking water. As a result of the project, the pool now receives filtered water from the Tidal Basin through a high-density polyethylene (HDPE) pipeline. The NPS then began a four-year restoration of the portion of the central axis of the Mall that

title: "National Mall" content: lies between 3rd Street and 14th Street. By 2016, the restoration project had completely replaced the deteriorated and weedy turf that had previously covered much of that part of the Mall with a new cover containing soil, fescue ("Festuca") and Kentucky bluegrass ("Poa pratensis"). The National Mall is accessible via the Washington Metro, with the Smithsonian station located on the south side of the Mall, near the Smithsonian Institution Building between the Washington Monument and the United States Capitol. The Federal Triangle, Archives, and Union Station Metro stations are also located near the Mall, to the north. The L'Enfant Plaza,

title: "National Mall" content: Mall on March 16, 2012, shortly before the start of the 2012 National Cherry Blossom Festival. The National Mall is the official midpoint of the East Coast Greenway, a 2,900 mile–long system of shared-use bicycle trails linking Calais, Maine, with Key West, Florida. The NPS licenses pedicab drivers to provide transportation and tours of the National Mall through its Commercial Use Authorization program. General visitor parking is available along Ohio Drive SW, between the Lincoln and Thomas Jefferson Memorials. Bus parking is available primarily along Ohio Drive, SW, near the Lincoln and Thomas Jefferson Memorials and along Ohio Drive SW,

title: "National Mall" content: in East Potomac Park. There is limited handicapped parking at the Franklin Delano Roosevelt and World War II Memorials and near the Washington Monument and the Thomas Jefferson, Lincoln, Korean War Veterans, and Vietnam Veterans Memorials; otherwise, parking is extremely scarce in and near the Mall. In April 2017, the NPS awarded a contract for the installation of parking meters on streets and in parking areas on the Mall. On June 12, 2017, the NPS and the District of Columbia Department of Public Works began to enforce metered parking on approximately 1,100 parking spaces in which motorists could previously park

Answer: 2