One of Gian Lorenzo Bernini’s most ambitious architectural achievements was transforming St. Peter’s Square into a grand urban space epitomizing Baroque ideals. Commissioned by Pope Alexander VII in 1656, the project sought to unify the fragmented surroundings of St. Peter’s Basilica, creating a ceremonial forecourt that would enhance the basilica’s prominence. The square was not merely a response to the demands of urban planning but a symbolic and theological statement, reinforcing the Church’s authority in the era of the Counter-Reformation.
St. Peter’s Square Technical Information
- Architects1-5: Gian Lorenzo Bernini
- Location: Vatican City
- Commissioned by: Pope Alexander VII
- Total Area: Approx. 240 meters wide and 340 meters long
- Project Year: 1656 – 1667
- Photographs: Unsplash Users, See Caption Details
The colonnades of St. Peter’s Square represent the embracing arms of the Church.
– Gian Lorenzo Bernini 6
St. Peter’s Square Photographs
St. Peter’s Square Spatial Composition
At its conception, Rome was undergoing a significant transformation under papal patronage. The Counter-Reformation emphasized spectacle, processional movement, and dramatic spatial effects in religious architecture. St. Peter’s Square embodies these principles through its grandeur, symmetry, and dynamic visitor engagement. It was designed to frame St. Peter’s Basilica, completed earlier by Donato Bramante, Michelangelo, Carlo Maderno, and others, with a vast public space suitable for large congregations.
Bernini, as the preeminent architect-sculptor of the time, was tasked with resolving spatial discontinuities and enhancing the sense of procession and awe as visitors approached the basilica. The result is an urban space that simultaneously functions as a pilgrimage destination, a civic gathering space, and a spatial narrative leading to the heart of Christendom.
Bernini’s St. Peter’s Square design studies the controlled orchestration of movement and perception. The square consists of two primary geometric components:
The elliptical piazza, enclosed by massive colonnades, is designed to embrace visitors in a theatrical gesture.
The trapezoidal forecourt, which narrows towards the basilica, enhances the perception of its monumental facade.
This dual configuration guides the movement toward St. Peter’s Basilica, emphasizing its sacred and hierarchical importance. The elliptical shape allows for a sense of enclosure while accommodating large crowds, creating a space that is both intimate and expansive.
The Colonnades: Architectural and Symbolic Role
The defining element of St. Peter’s Square is its massive colonnades—four rows of Tuscan order columns arranged in a sweeping curve. These colonnades serve multiple architectural and symbolic purposes:
They create a processional route, guiding pilgrims and visitors towards the basilica.
Their vast scale amplifies the sense of grandeur and spatial unity, counterbalancing the horizontal expanse of the square.
Symbolically, the colonnades represent the “welcoming arms of the Church,“ embracing the faithful and extending the Church’s reach into the secular world.
140 statues of saints stand atop the colonnades, further reinforcing the space’s hierarchical and celestial dimensions. This integration of sculpture and architecture is a hallmark of Bernini’s work, blurring the boundaries between built form and spiritual narrative.
The Central Obelisk and Radial Organization
A crucial focal point of Bernini’s composition is the Egyptian obelisk, initially transported to Rome by Emperor Caligula. Positioned at the center of the square, the obelisk serves as a static counterpoint to the dynamic movement created by the colonnades.
From this central point, radial lines embedded in the paving organize the space, directing attention outward while also reinforcing the design’s symmetry and order. These radial elements create a subtle yet profound visual and spatial hierarchy, making the entire square an optical instrument of movement and convergence.
Materiality, Construction, and Structural Innovation
Bernini’s choice of materials reflects both pragmatic and aesthetic considerations. The colonnades are built of travertine, a locally available limestone known for its durability and warm tonality, which harmonizes with the facade of St. Peter’s Basilica. The scale and uniformity of the columns required precise quarrying and construction techniques, showcasing Bernini’s engineering acumen.
Beyond materiality, Bernini employed structural innovations to achieve the colonnades’ sweeping form. The subtle angling of the columns and entablatures creates an illusion of movement, reinforcing the Baroque preoccupation with spatial fluidity. Moreover, the design carefully considers the play of light and shadow, with the massive colonnades casting dramatic patterns throughout the day, enhancing the square’s dynamic character.
Legacy and Contemporary Relevance
St. Peter’s Square remains one of the most influential public spaces in Western architecture. It serves as both a place of worship and a civic arena. Its influence can be seen in numerous urban designs that seek to integrate monumentality with a human-scaled experience.
Bernini’s handling of processional movement, framed vistas, and the integration of architecture with public space has had a lasting impact on the design of plazas and urban spaces. Modern architects and urban planners continue to draw lessons from its ability to balance monumentality with accessibility, creating hierarchical and inviting spaces.
St. Peter’s Square Plans
St. Peter’s Square Image Gallery
About Gian Lorenzo Bernini
Gian Lorenzo Bernini (1598–1680) was an Italian architect, sculptor, and painter who defined the Baroque era with his dynamic, theatrical designs. Renowned for blending architecture and sculpture, he transformed St. Peter’s Square, designed the Baldachin of St. Peter’s Basilica, and crafted masterpieces like Sant’Andrea al Quirinale. His innovative use of light, space, and movement set a new standard for architectural expression, influencing generations of designers.
Credits and Additional Notes
Materials Used: Travertine limestone, granite (for the central obelisk)
Colonnades: Four rows of Tuscan order columns, totaling 284 columns and 88 pilasters
Number of Statues: 140 statues of saints atop the colonnades
Central Obelisk: Ancient Egyptian obelisk, originally erected in Heliopolis, Egypt
Engineers & Builders: Various papal engineers and craftsmen under Bernini’s direction
- by Tod A. Marder, Gian Lorenzo Bernini, Joseph Martin
