(Carlo Maderno, façade; a multitude of architects, artists, designers) (1607 to 26). Saint Peter’s Basilica and Piazza [cathedral complex and plaza]. Vatican, Rome.

I believe the complex of Saint Peter’s balances the rational and relatively simple accessibility of the exterior against the lush, densely decorated and overwhelming interior. Formal complexity is never less than moderate, but when compositions and expressions are considered within their respective contexts nearly-symmetrical balance applies. The well of emotion this complex taps into is based on optical, cerebral subject matter rather than chaotic formal energy or raw emotion. 

For example, the shrine installed in the crossing is basically an open post-and-lintel structure developed to near-colossal scale. Its location is a primary focal-point of the interior representing directional equilibrium regarding space. Its surface decoration is incredibly ornate, with spiraling, scalloped posts and what amounts to an unfolding drama on the steeple. There isn’t a single surface that is not formatted with decoration, but similar to the ground-breaking pediment of the Temple of Aphaia, the surfaces and images are composed in such a manner that they maintain a harmonious, seamless relationship with their surroundings. The altar of Saint Peter’s is truly a union of architecture and sculpture.

Patterned rhythm is installed in both the façade and covered stoa that define the outer edges of the piazza. Similar to the alternation of dense and narrow in the colonnades that frame the nave of the Church of Saint Cyriakus, the façade of Saint Peter’s uses square pilasters to decorate the corners while columns are installed toward the lateral center of the surface. In addition, orderly and predictable rounded against perpendicular or angular edges are installed throughout on constituent structures, such as the domes, pediments, windows and exterior colonnades.

Literal subject matter framed by geometric designs co-exist in a state of pleasing balance, formatted with generous golden and bronze color, accented by night-blue trimming. Where images are defined by architectural surfaces or spaces, such as a blind arch or coffer, they are organized into long, arching bands, registers and architrave-like surfaces. The value pattern and beautiful texturing of the interior are inseparable.

The cathedral and piazza of Saint Peter’s is consistent with Pope Paul V’s vision for constructing a building interacting with vast interior and exterior space to house the burial site of Catholicism’s first pope. Classical forms, geometric organization, and a hybrid of expressive styles are brought into perfectly-calibrated, Apollonian, tension-free balance. The complex truly represents the vision and goal of almost all creative expression, that of organic unity.