A Guide to
​St Peter's Basilica

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The Baldacchino

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The Baldacchino

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The Baldacchino (1624-33) by Gian Lorenzo Bernini

The focal point of the basilica is the Papal Altar, where only the pope may celebrate mass. It marks the spot (10 or so metres below) of what is believed to be the burial place of St Peter. The tent-like canopy above the altar is known as a baldachin (baldacchino in Italian) and was Bernini's first commission in the basilica. A baldachin (or baldaquin) is a canopy of state, which is typically placed above an altar or throne. The canopy was originally made of cloth and hung above the seat of a person of high rank, as a symbol of authority.

The Baldacchino

Towering to a height of 29 metres, Bernini's baldacchino is made up of four massive bronze twisted columns, each of which rests on a giant marble pedestal. It is surmounted, at the corners, by four angels holding garlands of laurel. In between the angels are pairs of putti, two sporting the keys and tiara of St Peter, two sporting the sword and book of St Paul. In the centre of the tester (roof of the canopy) is an image of the Dove of the Holy Spirit.

A Detail of the Baldacchino

The baldacchino was commissioned by Pope Urban VIII (r. 1623-44), a member of the Barberini family, and the bees of the family's crest can be seen swarming all over the monument. Images of a radiant sun, the personal device of Urban VIII, are also on display. 

The Coat of Arms of Pope Urban VIII Adorns the Pedestals.

The marble pedestals on which the columns stand are decorated with the coat of arms of Pope Urban VIII; they appear twice on each of the four pedestals. In addition to the crossed keys, the papal tiara and the three Barberini bees, the shields depict a small female head. Look closely at her face and you will see that her expression changes quite dramatically on each shield until she is finally replaced by the head of a baby! In other words, the sequence represents a woman in the various stages of labour. (The sequence starts at the south-east pedestal and, proceeding clockwise, ends at the north-east pedestal).  

According to a popular tradition, the series of heads describe a complicated pregnancy of a niece of Urban VIII's and the pope's vow to dedicate an altar in St. Peter's, if the delivery proved successful. This is, of course, nonsense! The woman in labour is no ordinary woman and this is no ordinary childbirth. She is, in fact, the personification of Mother Church. References to the trials, tribulations and joys of childbirth represented the labour and sufferings of Mother Church in bringing about salvation. The original sin over which the Church triumphs, and from which the repentant sinner is redeemed, is symbolised by the devilish masks which appear at the bases of the shields. ​​

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