On the Trail of the Saints: A Spiritual Pilgrimage in St. Peter's Basilic

Spiritual itinerary designed for pilgrims

Museo: Basilica di San Pietro

Introduction

Introductio

Welcome, dear pilgrims, to this spiritual journey through the beating heart of Christianity. St. Peter's Basilica is not merely a majestic building or an architectural masterpiece; it is a place where time seems to stand still, where every stone tells a story of millennia-old faith, where saints still walk among us through their relics, their images, their miracles. Erected on the site of the martyrdom and burial of the Apostle Peter, the first bishop of Rome and the foundational stone of the Church, this basilica represents the visible center of Catholic unity in the world. In this Holy Year 2025, your pilgrimage takes on an even deeper meaning. The Jubilee, in Catholic tradition, is a time of purification, spiritual renewal, and reconciliation with God and with our brothers and sisters. By passing through the Holy Door, you are performing an act as ancient as faith itself, an act symbolizing the transition from earthly life to spiritual life, from sin to grace. As we prepare to embark on this journey "In the Footsteps of the Saints," let your souls open to wonder, beauty, and mystery. In these ninety minutes, we will travel together on an itinerary that is not only physical but above all spiritual, touching fifteen significant places that will speak to us of faith, hope, charity, and the infinite love of God manifested through His saints.

Bernini's Piazza and Colonnad

Here we are, at the center of the grandiose St. Peter's Square, embraced by the magnificent colonnade of Bernini—a stone embrace symbolizing the arms of the Church welcoming all its children. Gian Lorenzo Bernini conceived this elliptical square between 1656 and 1667, under the pontificate of Alexander VII, not only as an artistic masterpiece but as a powerful visual metaphor of the Church's universal welcome. Observe the 284 columns arranged in four rows that create this sacred space. Bernini described them as "the maternal arms of the Church" extending to welcome the faithful from all over the world. There is a particular magic in this place: stand on one of the two foci of the ellipse, marked by porphyry disks on the sides of the square, and watch how the four rows of columns align perfectly, appearing as a single row—a true miracle of perspective that many interpret as a symbol of unity in the diversity of the universal Church. Now look up at the 140 statues of saints crowning the colonnade, each nearly four meters high. These saints are not mere decorations; they are witnesses of faith, those who have preceded us on the path and now watch over the pilgrims arriving at the Basilica. Bernini wanted to represent the "communion of saints" that unites the earthly Church with the heavenly one. In the center of the square stands the Egyptian obelisk, brought to Rome by Emperor Caligula in 37 AD and placed here by the will of Pope Sixtus V in 1586. An interesting fact: during the delicate transport and erection of the obelisk, absolute silence was imposed on the entire square under penalty of death. But when the ropes lifting the enormous monolith began to give way due to friction, a Genoese sailor, Benedetto Bresca, shouted "Water to the ropes!", thus saving the operation. Instead of being punished, he was rewarded by the Pope with the privilege of supplying the palms for Palm Sunday at St. Peter's. Before entering the Basilica, let's take a moment for spiritual reflection. This vast space, which can hold up to 300,000 people, reminds us that the Church is universal, open to all, without distinction. As Pope Francis said: "The Church is not a customs office, it is the father's house where there is room for everyone with their difficult life." Now, let's walk towards the imposing façade of the Basilica, the work of Carlo Maderno completed in 1614. As we advance, remember that anyone with questions or curiosities can activate a virtual tour guide based on artificial intelligence at any time. Let's now head towards the Holy Door, our second point of interest in this jubilee pilgrimage.

The Holy Doo

Here we are in front of the Holy Door, one of the most powerful symbols of the Jubilee Year. This door, normally sealed, is opened only during Holy Years, when the Pope ceremoniously breaks the wall that seals it, allowing pilgrims to pass through as a sign of conversion and spiritual renewal. Passing through this door represents a fundamental moment of the jubilee pilgrimage: it symbolizes the transition from sin to grace, from darkness to light. The tradition of the Holy Door officially began in 1423, when Pope Martin V established the opening ceremony for the Jubilee of 1425. The door you see today, however, is modern, made of bronze by the sculptor Vico Consorti for the Jubilee of 1950, under the pontificate of Pius XII. Its panels illustrate moments of redemption and mercy drawn from the Bible: from the expulsion from the Garden of Eden to the return of the prodigal son, from the mission entrusted to Peter to the second coming of Christ. A touching detail concerns the opening ritual: the Pope knocks three times with a silver hammer, pronouncing "Aperite mihi portas iustitiae" (Open to me the gates of justice). Behind this gesture lies a moving story. During the Jubilee of 1825, Pope Leo XII was so weak and ill that he had to be supported while performing this ritual gesture. Yet, he insisted on completing the ceremony personally, testifying to the profound spiritual importance of this moment. Crossing this door means participating in a rite of spiritual purification that dates back to ancient times. In the book of Ezekiel, we read of a temple door that "remains closed" and through which "only the Lord, the God of Israel, will enter" (Ez 44:2). Christian tradition sees in this door a symbol of Christ himself, who said: "I am the door: if anyone enters through me, he will be saved" (Jn 10:9). As you cross this sacred threshold, remember the words of Saint John Paul II: "Crossing the Holy Door, everyone must feel they are entering the merciful heart of God, like the prodigal son when he returns to the Father's house." Every pilgrim is invited to leave behind the burdens of the past, resentments, wounds, and to enter with a renewed heart, ready to receive the grace of the Jubilee. Now, after crossing the Holy Door, let's turn our gaze to the right. There, a short distance away, awaits one of the most touching masterpieces of Christian art: Michelangelo's Pietà. Let us be drawn by its beauty and its profound spiritual message.

Michelangelo's Pietà

Stopping in front of this extraordinary white Carrara marble sculpture, we find ourselves facing one of the most intense and moving moments in the history of salvation: Mary holding the lifeless body of her son Jesus, just taken down from the cross. Michelangelo's Pietà, sculpted when the artist was only 24 years old, between 1498 and 1499, is the only work that bears his signature. Notice, in fact, the band across the Virgin's chest, where Michelangelo carved: "MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T]" (Michelangelo Buonarroti, Florentine, made [this work]). There is a fascinating story linked to this signature. It is said that Michelangelo, after completing the sculpture, heard some people attributing it to another Lombard artist. That very night, in a fit of indignation, he returned with a lamp and carved his name on the band across Mary's chest—a gesture he later regretted, vowing never to sign his works again. Observe the extraordinary technical mastery: the serene face of Mary, who appears young despite the sorrow; the anatomical perfection of Christ's body; the drapery of the clothes that almost seems like real fabric. But beyond the aesthetic perfection, pause to consider the profound theological significance of the work. The youthfulness of Mary's face, which has surprised many over the centuries, is a deliberate choice by the artist. When asked why he depicted the mother of Jesus so young, Michelangelo replied that "the chastity of the soul preserves the freshness of the face" and that the Virgin, being without sin, did not age like other women. Also note the pyramidal composition, culminating in Mary's face. Her gaze is lowered, contemplative, in a contained sorrow that expresses deep faith. Her hands tell two stories: the right, which firmly supports Christ's body, expresses her maternal determination; the left, open in a gesture of offering, seems to present the sacrifice of the Son to the world. In 1972, this sublime work of art was the target of a vandalistic act: a mentally disturbed geologist, Laszlo Toth, struck it with a hammer shouting "I am Jesus Christ risen!" The work was restored with recovered fragments and marble of the same type, and today it is protected by bulletproof glass. In front of this Pietà, many pilgrims stop in prayer, meditating on Mary's sorrow and Christ's sacrifice. As the poet Rilke wrote: "Beauty is nothing but the first touch of terror we can still endure." Here, beauty and pain merge into a transcendent unity that speaks directly to the believer's heart. As we leave this vision of suffering and hope, we now turn our steps towards the right nave of the Basilica, where another special encounter awaits us: the statue of Saint Peter enthroned, with the foot worn down by the kisses of the faithful through the centuries. Let us follow the flow of pilgrims and keep to the right.

The Statue of Saint Peter Enthrone

Here we arrive at one of the most personal and direct encounters with the first of the apostles: the statue of Saint Peter enthroned. This imposing bronze sculpture, dating back to the second half of the 13th century, is attributed to Arnolfo di Cambio, although some scholars argue that it might be even older, dating back to the 5th century. Notice how Peter is depicted seated on a throne, with his right hand raised in a gesture of blessing and in his left the keys to the Kingdom of Heaven, a symbol of the power to "bind and loose" entrusted to him by Christ. The most famous detail of this statue is undoubtedly the right foot, visibly worn down by the touch and kisses of millions of pilgrims over the centuries. This gesture of devotion is one of the oldest and most touching traditions of the Basilica. Kissing the foot of Saint Peter is a way to express one's connection with the first bishop of Rome, acknowledging the apostolic continuity that, through Peter's successors, reaches our present day. An interesting fact: during solemn celebrations, the statue is dressed in pontifical vestments, including the tiara (the three-tiered papal crown) and a rich cope. This tradition, which dates back hundreds of years, transforms the ancient sculpture into a living image of the first Pope, creating a visual bridge between past and present. Looking at this bronze polished by the touch of countless hands, we reflect on the significance of Peter in the life of the Church. This man, whom Jesus called "rock," was actually full of contradictions: impetuous yet fearful, the first to recognize Christ's divinity but also capable of denying him three times. His imperfect humanity reminds us that holiness does not consist in being without flaws, but in continually allowing oneself to be transformed by God's love despite our falls. Think of the words Jesus spoke to Peter on the shores of the Sea of Tiberias after the resurrection: "Do you love me more than these?" Three times—as many as his denials—Peter affirms his love, and three times Jesus entrusts him with his flock. It is a story of redemption, of second chances, of love that overcomes failure. As we touch or kiss this worn foot, we join an unbroken chain of pilgrims who, through this simple gesture, have expressed their connection with the universal Church and their desire to walk in the footsteps of the saints. As Pope Benedict XVI said: "Faith is not a theory, but an encounter with a Person." Here, through this ancient bronze, many pilgrims feel they personally meet the humble fisherman of Galilee who became the prince of the apostles. Now, let us continue our journey towards the center of the Basilica, where one of the most extraordinary wonders of this sacred place awaits us: Bernini's Baldachin, which rises majestically above the papal altar and the tomb of Saint Peter. Let us follow the central nave, guided by the twisted columns of this Baroque masterpiece that already looms ahead of us.

Bernini's Baldachin

Raise your gaze towards this imposing structure, almost 30 meters high: Bernini's Baldachin represents one of the most extraordinary masterpieces of the Baroque period and the focal point of the Basilica. Created between 1624 and 1633 under the pontificate of Urban VIII, the baldachin precisely marks the most sacred spot of the building: the tomb of the Apostle Peter, over which the papal altar stands, where only the Pope can celebrate Mass. The four twisted columns, inspired by those of the ancient Temple of Solomon, are clad in bronze and decorated with intertwining olive and laurel branches in an ascending movement. Look closely at the details: bees, the emblem of the Barberini family to which Pope Urban VIII belonged, and putti (cherubs) that seem to play among the foliage. At the top, golden angels hold a globe and a cross, symbols of Christ's universal power. A controversial story surrounds the creation of this work. To obtain the necessary bronze, Pope Urban VIII had the ancient bronze beams removed from the portico of the Pantheon, prompting the famous Roman saying: "Quod non fecerunt barbari, fecerunt Barberini" (What the barbarians did not do, the Barberini did). This anecdote reminds us how, in the history of the Church, spirituality and politics, art and power, have often intertwined in complex ways. The baldachin is not only an artistic masterpiece but also a liturgical element of profound significance. It recalls the ciboria of ancient Christian basilicas, as well as the temple veil that tore at Christ's death, symbolizing the new and direct access to God made possible by Jesus' sacrifice. This monumental baldachin creates a visual link between the Apostle's tomb underground and Michelangelo's dome that opens towards the sky, visually illustrating the connection between the earthly and heavenly Church. Observe the papal altar under the baldachin, also called the Confession of St. Peter. The balustrade surrounding it is adorned with 95 votive lamps always lit, symbolizing the unceasing prayers of the faithful. From here, a double flight of stairs leads to the actual Confession, a semi-circular niche that allows pilgrims to get as close as possible to the Apostle's tomb, located directly beneath the altar. A moment of particular spiritual intensity occurs during the feast of Saints Peter and Paul (June 29), when the Pope wears the pallium, a white woolen band with black crosses symbolizing his pastoral authority, and places it over the Confession, symbolically acknowledging that his power derives directly from Peter. Let us take a moment of silence before this sacred place. Here, where Peter gave his life for Christ, where the early Christians risked everything to come and pray at his tomb, we feel the heart of the Church beating. As St. Ambrose wrote: "Ubi Petrus, ibi Ecclesia" (Where Peter is, there is the Church). Now, let us continue our pilgrimage by descending the double flight of stairs that will bring us closer to the Apostle's tomb, our next point of interest. Let us follow this path with respect and silence, which literally leads us to the foundations of our faith.

The Tomb of Saint Peter

Here we are at the Confession, this sacred space that brings us as close as possible to the tomb of the apostle Peter. Here, beneath the papal altar and Bernini's canopy, rest the remains of the first Pope, the fisherman from Galilee to whom Jesus said, "You are Peter, and on this rock, I will build my Church" (Mt 16:18). Literally and spiritually, we are on the foundations of the Catholic Church. The history of this place is fascinating and complex. After Peter's martyrdom, which occurred around 64-67 AD during Nero's persecution—crucified upside down, according to tradition, because he did not consider himself worthy to die like his Master—the early Christians buried his body in this place, then part of a necropolis on Vatican Hill. Despite the danger of persecution, Christians began to venerate this tomb, building a modest commemorative monument, the so-called "trophy of Gaius," mentioned by the historian Eusebius of Caesarea around 200 AD. In 324 AD, Emperor Constantine, after legalizing Christianity, ordered the construction of the first basilica right above this venerated tomb, incorporating and preserving the original site. When, in the 16th century, it was decided to rebuild the now dilapidated basilica, one of the main concerns was precisely to preserve the apostle's tomb intact. Only in the 20th century, under the pontificate of Pius XII, were scientific archaeological excavations conducted, which, between 1939 and 1949, brought to light the ancient Roman necropolis and confirmed the presence of human remains compatible with those of an elderly man, wrapped in a precious fabric of purple and gold, exactly beneath the high altar. In 1968, Paul VI officially announced that the relics of Saint Peter had been identified with reasonable certainty. Observe the niche of the Confession, clad in precious marbles and dominated by the statue of Pius VI in prayer, a work by Antonio Canova. Also note the pallium, the narrow shelf in front of the niche where the pallia are kept in a gilded bronze urn, the white wool stoles with black crosses that the Pope bestows on metropolitan archbishops as a sign of their pastoral authority and communion with the See of Peter. A touching anecdote concerns Pope John Paul II: during his first visit to Peter's tomb after his election to the papal throne, he knelt here in prolonged prayer. When asked what he felt at that moment, he replied: "A sense of unheard-of responsibility and profound unworthiness." Pope Francis, too, immediately after his election, wanted to descend to pray in this place, as a testament to the spiritual bond that unites every successor of Peter to the first of the apostles. In this sacred place, let us take a moment to reflect on the meaning of martyrdom and witness. Peter, with all his human frailties and doubts, finally found the courage to give his life for Christ. His tomb reminds us that faith is not an abstract idea, but a personal encounter with Jesus that can transform even the most imperfect person into a "rock" on which to build. Now, let's head towards the back of the basilica, where another marvel awaits us: the Altar of the Chair of Saint Peter, dominated by Bernini's extraordinary Glory. Let's follow the central aisle, proceeding towards the apse of the basilica.

The Altar of the Chair of Saint Pete

We are now facing one of the most spectacular sights in the entire basilica: the Altar of the Chair of Saint Peter, a masterpiece by Bernini created between 1657 and 1666. Look up to admire the imposing composition that dominates the apse: a gigantic chair of gilded bronze, supported by four Doctors of the Church (two from the East: Athanasius and John Chrysostom, and two from the West: Ambrose and Augustine), topped by the extraordinary "Glory," an oval window surrounded by golden clouds and rays of light, with angels and cherubs swirling around the alabaster glass dove of the Holy Spirit. This monumental composition holds a profound theological significance. The chair (throne) symbolizes the magisterial authority of the Pope as the successor of Peter. It is not merely a physical seat, but the power of teaching and spiritual guidance entrusted by Christ to Peter and his successors. The four Doctors of the Church supporting it represent the tradition and theological wisdom that uphold the papal magisterium. Their depiction—two Western saints and two Eastern—also symbolizes the universality of the Church, which embraces both East and West. The extraordinary "Glory" above the chair is one of Bernini's most daring achievements: using the apse window as a source of natural light, the artist creates the illusion that the Holy Spirit, represented by the translucent dove, is the very source of the light illuminating the chair. This theatrical effect is not mere artistic virtuosity, but a powerful visual metaphor of the divine inspiration guiding the Church's magisterium. A little-known curiosity: inside the bronze chair is what tradition identifies as the actual wooden chair used by Saint Peter, an ancient seat decorated with ivories depicting the labors of Hercules. In reality, archaeological studies suggest it is likely a throne donated to Pope Charles the Bald in 875, but this does not diminish the symbolic value of the object, which represents the continuity of the Petrine ministry. In front of this altar, reflect on the meaning of the magisterium in the Catholic Church. As Pope Benedict XVI said: "The Pope is not an absolute monarch whose thoughts and will are law. On the contrary, the Pope's ministry is a guarantee of obedience to Christ and His Word." The chair is not a symbol of worldly power, but of service; not of domination, but of pastoral guidance. During solemn celebrations, particularly on the Feast of the Chair of Saint Peter (February 22), this space fills with light and color, with liturgical vestments shining under the golden rays of the Glory. It is one of the moments when the fusion of art, liturgy, and spirituality reaches its peak in the basilica. From this privileged point, we now turn our gaze to the left, where one of the most significant chapels of the basilica is located: the Chapel of the Blessed Sacrament, a place of continuous prayer and adoration. Let us walk respectfully towards this sacred space, remembering that it is an area particularly dedicated to silent prayer.

The Chapel of the Most Holy Sacramen

Now we enter one of the most intensely spiritual places in the basilica: the Chapel of the Blessed Sacrament. Here, unlike other areas, there is an atmosphere of particular contemplation. Notice the sign at the entrance inviting silence: this is indeed a place specifically dedicated to prayer and adoration. The chapel, designed by Carlo Maderno at the beginning of the 17th century, is enclosed by an exquisite gilded bronze gate. Inside, attention is immediately drawn to the imposing tabernacle shaped like a small temple, a work by Bernini, inspired by Bramante's Tempietto of San Pietro in Montorio. This tabernacle, adorned with lapis lazuli and gilded bronze, houses the Eucharist, the real presence of Christ under the species of consecrated bread. Above the altar is a pictorial masterpiece often overlooked by hurried visitors: the "Holy Trinity" by Pietro da Cortona, depicting the Trinity (Father, Son, and Holy Spirit) above and below the saints who had a particular devotion to the Blessed Sacrament, including St. Thomas Aquinas, author of Eucharistic prayers still in use, and St. Francis of Assisi, known for his deep respect for the Eucharist. On the right side of the chapel, you can admire the precious gilded bronze urn that holds the remains of St. John Chrysostom, one of the great Fathers of the Eastern Church, famous for his sermons on the Eucharist. His presence here is not accidental: his writings on the Eucharist are among the most profound in the Christian tradition. A little-known fact about this chapel: during the Second Vatican Council (1962-1965), many council fathers came here to pray before work sessions, seeking light and guidance from the Holy Spirit. Pope John XXIII himself made frequent private visits to this chapel, enveloped in silence and prayer. The red lamp that burns continuously next to the tabernacle is a visible sign of Christ's presence in the Eucharist. In Catholic tradition, the Eucharist is not simply a symbol but the real, bodily presence of Christ under the species of consecrated bread and wine. As St. John Paul II said: "The Church lives from the Eucharist," and this chapel is the Eucharistic heart of the basilica. In this sacred space, take a moment of silence for personal prayer. Eucharistic adoration is a particularly powerful form of contemplative prayer, where the faithful simply place themselves in the presence of Christ, in a silent heart-to-heart dialogue. As St. Teresa of Calcutta wrote: "The time spent in the presence of the Blessed Sacrament is the best time spent on earth." As we leave the chapel, we turn our path towards the left nave, where another masterpiece of profound spiritual significance awaits us: the Funeral Monument of Pope Alexander VII, another masterful work by Bernini. Let us walk with respect, keeping in mind that we are moving from one of the most sacred places in the basilica.

The Tomb of Pope Alexander VI

Let's pause now in front of this extraordinary funerary monument, one of the last masterpieces by Gian Lorenzo Bernini, created when the artist was already 80 years old. The monument to Alexander VII Chigi (pontificate 1655-1667) is a powerful visual meditation on death, time, and the Christian hope of resurrection. Observe the dramatic composition: above a door—a real service door that Bernini ingeniously incorporated into the structure—stands a canopy of Sicilian jasper (the red stone), from which descends a drape of yellow alabaster and black marble. Above the drape, Pope Alexander VII is kneeling in prayer, facing the altar. At his feet, four female figures represent the cardinal virtues: Charity with a child, Prudence with a mirror, Justice with scales, and a veiled figure symbolizing Truth. But the most surprising and theatrical element is the winged skeleton in gilded bronze emerging from the door below, lifting a marble drape and holding an hourglass, a symbol of time's relentless passage. This "Genius of Death"—as Bernini called it—looks upward towards the praying Pope, creating an extraordinary dramatic tension between the transience of earthly life and the hope of eternal life. A curious anecdote: the door beneath the monument was actually used by the basilica's staff, and Bernini had to fight a real battle with the officials of St. Peter's factory to incorporate it into his composition. In the end, he found a brilliant solution, transforming what could have been a disruptive element into a central part of his artistic and spiritual message. Pope Alexander VII Chigi was a man of deep spirituality and great culture. During his pontificate, he promoted important artistic works in Rome, including the colonnade of St. Peter's, also entrusted to Bernini. He was also very devoted to the Madonna and had numerous Marian churches restored. A touching detail: on his deathbed, he asked for a small image of the Virgin, which he had always carried with him, to be placed on his chest. The monument invites us to a profound reflection on the Christian meaning of death. As Saint Augustine said, "Death is nothing, I have only passed through the door to the other room." The contrast between the menacing skeleton and the serene prayer of the Pontiff visually illustrates the Christian hope that death does not have the final word. The Latin inscription on the monument reads: "Humilitatem tempora praeeunt" (Humility precedes glory), reminding us that true greatness lies in humble service, following the example of Christ. Now, let's continue our journey by heading towards the left nave, where we will encounter another important funerary monument: that of Clement XIII, the work of the great neoclassical sculptor Antonio Canova. As we walk, let's admire the perfect proportions of the basilica, where every architectural element is designed to elevate the spirit towards the divine.

The Monument to Pope Clement XIII

Here before us is the monumental tomb of Pope Clement XIII, a masterpiece by Antonio Canova created between 1783 and 1792. Unlike Bernini's theatrical baroque, here we encounter the serene and measured beauty of neoclassicism, marking a profound change in artistic taste and spiritual sensitivity. Observe the balanced and harmonious composition: at the center, the Pope is kneeling in prayer, with an expression of deep humility and devotion. On either side of him, two female figures represent the Genius of Death, with the inverted torch, a symbol of life extinguishing, and Religion, holding the cross and seemingly consoling the pontiff. At the base of the monument, two magnificent lions—one vigilant and the other sleeping—symbolize strength and vigilance, but also the peace that comes from faith. Pope Clement XIII Rezzonico (pontificate 1758-1769) lived during a difficult period for the Church, marked by the pressures of the Enlightenment and tensions with European powers, particularly regarding the fate of the Society of Jesus (the Jesuits). Despite enormous political pressures, Clement XIII staunchly defended the Jesuits, refusing to suppress the order as various European courts demanded. He was known for his deep personal piety and the long hours spent in prayer before the Blessed Sacrament. An interesting anecdote concerns the creation of this monument: when the Pope's nephew, the Venetian senator Abbondio Rezzonico, commissioned the work from the young Canova, who was not yet famous at the time, many in the Roman curia were scandalized by the choice of a little-known artist for such an important monument. But Senator Rezzonico insisted, having intuited Canova's genius, and the result was so extraordinary that it definitively launched the artist's career. The two lions at the base of the monument are considered among the most beautiful sculptural representations of these animals ever created. Canova repeatedly visited the zoo in Naples to study the lions from life, trying to capture not only their appearance but also their essence. A curiosity: these lions are so beloved that their paws have been polished by the touch of countless visitors who, over the centuries, have stroked them for good luck. The figure of the Pope in prayer reminds us that, beyond earthly power and responsibilities, every Christian is first and foremost a soul before God. As Clement XIII himself once said: "The greatest duty of a Pope is to pray for his flock." This image of humble devotion invites us to reflect on the value of prayer in our lives and the importance of placing ourselves humbly in God's hands. Let us now continue our journey by heading towards another significant area of the basilica: the Chapel of Saint Michael the Archangel, where we can admire Giotto's splendid Navicella and delve into the role of angels in Catholic spirituality. Let's walk to the right, following the side aisle.

The Chapel of Saint Michael the Archange

We have arrived at the Chapel of Saint Michael the Archangel, dedicated to the leader of the heavenly hosts, who in Christian tradition guides the angelic armies in the battle against evil. This chapel, located in the right nave of the basilica, houses works of art of great spiritual and artistic value. The altarpiece that dominates the chapel is a large mosaic created in 1756 by Pietro Paolo Cristofari, based on a painting by Guido Reni found in the Church of Santa Maria della Concezione in Rome. The image depicts Saint Michael the Archangel in the act of defeating Satan, fulfilling the words of the Apocalypse: "And there was war in heaven: Michael and his angels fought against the dragon" (Rev 12:7). Observe the imposing figure of the Archangel, with his sword raised and shield bearing the Latin inscription "Quis ut Deus?" (Who is like God?), a literal translation of the Hebrew name "Mi-ka-El." This rhetorical question is a powerful reminder of God's transcendence and uniqueness, against all forms of idolatry or self-deification of man. On the side wall of the chapel, do not miss the mosaic of the "Navicella," a copy of an original work by Giotto created around 1305-1313. The original, a large mosaic that decorated the atrium of the ancient Constantinian basilica, depicted Peter walking on water towards Jesus, while the other apostles watched from the boat tossed by the storm. Unfortunately, the original was severely damaged during the demolition of the old basilica, and what we see today is a reconstruction that only partially preserves Giotto's composition. An interesting fact: in Christian tradition, Saint Michael the Archangel has four main roles: to fight Satan, to accompany the souls of the deceased on their otherworldly journey, to be the great defender of God's people, and finally, to bring the prayers of the faithful before the throne of the Most High. For this reason, many pilgrims leave notes with prayers and intentions in this chapel, trusting in the Archangel's intercession. A very ancient prayer dedicated to Saint Michael reads: "Saint Michael the Archangel, defend us in battle, be our protection against the wickedness and snares of the devil." This invocation, composed by Pope Leo XIII after a disturbing vision during a Mass, was recited for decades at the end of every Eucharistic celebration and has recently been rediscovered in popular devotion. The figure of Saint Michael reminds us that the Christian life is also a spiritual battle against the forces of evil, both those external to us and those that operate within our hearts. As Saint Paul said: "Our struggle is not against flesh and blood, but against the rulers, against the authorities, against the powers of this dark world and against the spiritual forces of evil in the heavenly realms" (Eph 6:12). Now, let us leave this chapel and head towards another significant monument: the Funeral Monument of Pope Pius VII, a work by Thorvaldsen, which speaks to us of a difficult but important period in the history of the Church. Let us follow the side nave towards the front area of the basilica.

The Funeral Monument of Pope Pius VII

Let's pause in front of this funerary monument, the work of the Danish sculptor Bertel Thorvaldsen, created between 1823 and 1831. It is one of the few monuments in the basilica made by a non-Catholic artist—Thorvaldsen was, in fact, Lutheran. The decision to entrust this work to a Protestant artist was a sign of the Church's cultural openness after the tensions of the Napoleonic period. The monument commemorates Pope Pius VII Chiaramonti (pontificate 1800-1823), whose life was marked by the dramatic confrontation with Napoleon Bonaparte. Observe the sober and elegant composition: the Pope is seated on the papal throne, with the tiara (the papal crown), in the act of giving a blessing. On his sides, two allegorical figures represent Wisdom (on the right, with an open book) and Fortitude (on the left, with a lion), the two virtues that characterized the difficult pontificate of Pius VII. The story of this Pope is extraordinary and moving. Elected in the conclave of Venice in 1800, in a Europe shaken by the Napoleonic wars, Pius VII initially tried to establish diplomatic relations with Napoleon, signing a Concordat in 1801 that restored Catholic practice in France after the years of the Revolution. But soon the relations deteriorated: in 1809, Napoleon occupied Rome and had the Pope arrested, who remained a prisoner for five years, first in Savona and then in Fontainebleau. A touching anecdote concerns the days of his imprisonment: deprived of his advisors, books, even paper to write, the Pope spent long hours in prayer. When he was offered to yield to Napoleon's demands in exchange for freedom, he simply replied: "I cannot, I must not, I will not." This firmness, combined with an extraordinary gentleness of spirit, earned him the respect even of his jailers. After the fall of Napoleon, Pius VII returned to Rome in 1814, triumphantly welcomed by the population. With great magnanimity, he offered refuge in Rome to members of the Bonaparte family, including Napoleon's mother, when everyone else turned their backs on them. When asked why he was so generous to those who had persecuted him, he replied: "With what he has done for religion, despite the persecutions, we can forgive him everything else." This monument, in its classic composure, speaks to us of dignity in suffering, firmness in trials, forgiveness towards enemies—deeply evangelical values, embodied in a tumultuous historical period. As Cardinal Consalvi, the faithful Secretary of State of Pius VII, wrote: "His most powerful weapon was patience, and his most effective strategy was forgiveness." Now, let's head towards one of the most evocative and lesser-known places in the basilica: the Vatican Grottoes, where numerous popes are buried and where we can get even closer to the tomb of Saint Peter. Let's follow the signs to the staircase leading to the lower level of the basilica, remembering that we are about to enter a place of particular sacredness and contemplation.

The Vatican Grottoes

Let's now descend through this staircase that leads us to the Vatican Grottoes, a place of extraordinary spiritual and historical importance, where the history of the Church becomes tangible through the tombs of numerous popes. This semicircular space, located between the floor of the current basilica and that of the ancient Constantinian basilica, holds the remains of 91 popes, from Saint Peter to Saint John Paul II, forming an unbroken chain of successors spanning two thousand years of history. The Grottoes are divided into the Old Grottoes and the New Grottoes. The Old Grottoes form the central part, directly beneath the main nave of the basilica. Here we can see the tombs of important 20th-century popes: Paul VI, the pope who concluded the Second Vatican Council; John Paul I, who reigned for only 33 days; and Saint John Paul II, whose simple tomb, yet constantly visited by pilgrims from all over the world, is located near that of Saint Peter. Observe the tomb of John Paul II: a white marble slab with the simple inscription "Ioannes Paulus PP. II" and the dates of his pontificate. No elaborate monument, no lavish decoration—just the simplicity that characterized his personal life, despite his extraordinary impact on the Church and the world. During his funeral, the faithful shouted "Santo subito!" ("Saint immediately!"), and indeed he was canonized in record time, only nine years after his death. Continuing into the New Grottoes, we discover a true underground museum, with artifacts from the ancient Constantinian basilica and the Roman necropolis that was located on this very site. Particularly touching is the Chapel of Saints Peter and Paul, where fragments of Saint Peter's original sarcophagus are preserved. A little-known anecdote concerns the tomb of Saint John XXIII. When his body was exhumed in 2000, on the occasion of his beatification, it was found incorrupt, extraordinarily preserved despite 37 years having passed since his death. This event, which many consider miraculous, further increased the devotion to this beloved pope, known as the "Good Pope." In the Vatican Grottoes, one breathes a unique atmosphere, where history, art, and faith intertwine indissolubly. As an art historian wrote: "Here, more than anywhere else, one perceives the living continuity of the Church, founded on the rock of Peter and guided by his successors through the centuries." Before ascending, let's take a moment of silence and reflection. In this place, where so many saints and great souls who have guided the Church rest, we can feel the strength of the communion of saints, that mysterious yet real bond that unites all believers, living and deceased, in a single Body of Christ. As the Letter to the Hebrews says: "We are surrounded by such a great cloud of witnesses" (Hebrews 12:1). Now, let's ascend and head towards another significant area of the basilica: the Baptism Chapel, where we will admire the beautiful baptismal font and reflect on the sacrament that introduced us into the Christian life. Follow the signs to return to the main level of the basilica.

The Baptism Chape

Let's now enter the Baptism Chapel, located in the left nave of the basilica. This sacred space, dedicated to the first of the sacraments, invites us to reflect on our Christian roots and the profound significance of baptism in the life of faith. The center of the chapel is occupied by the imposing baptismal font, crafted using the lid of the sarcophagus of the Roman Emperor Otto II, who died in Rome in 983 AD. This red porphyry sarcophagus, an imperial stone in antiquity, was transformed into a baptismal font in 1698 during the pontificate of Innocent XII. The overlay of an imperial funerary element with the sacrament that grants new life in Christ is rich in theological meaning: from earthly power to the Kingdom of God, from death to new life. Above the font rises a golden dome supported by four black marble columns, and at the center of the dome, one can admire the sculpture of the Baptism of Christ, a work by Carlo Fontana. Observe how John the Baptist pours water over Jesus' head, while the dove of the Holy Spirit descends from above, visually recreating the Gospel scene where "the heavens were opened and he saw the Spirit of God descending like a dove" (Mt 3:16). The altarpiece of the chapel is a magnificent mosaic reproducing the "Baptism of Christ" by Carlo Maratta. The mosaic, created between 1722 and 1735, not only shows the baptism of Jesus but also angels attending the scene, symbolizing the presence of heaven opening above the Jordan River. A significant curiosity: this chapel has witnessed countless baptisms over the centuries, including those of children of European monarchs and nobles. But perhaps the most touching moment occurred in 1994, during the International Year of the Family, when Pope John Paul II personally baptized several children from various parts of the world, symbolizing the universality of the Church and the importance of the family as a "domestic church." Baptism reminds us of our spiritual origins and invites us to reflect on our deepest identity. As Saint Paul wrote: "Do you not know that all of us who have been baptized into Christ Jesus were baptized into his death? Therefore, we have been buried with him by baptism into death, so that just as Christ was raised from the dead by the glory of the Father, so we too might walk in newness of life" (Rm 6:3-4). In an era when many Christians seem to have forgotten the radical nature of their baptism, this chapel invites us to rediscover the grace of baptism and to live consistently with the commitments we have made, or that were made for us by our parents and godparents. As Pope Francis said: "Baptism is not a formality, it is an act that deeply touches our existence." Now, let's continue our pilgrimage by heading towards the Dome of St. Peter, the final point of our itinerary, from where we can enjoy an extraordinary view of the eternal city and better understand the symbolic significance of this architectural marvel that towers over the basilica.

The Dome of St. Peter's

Here we are at the final point of our pilgrimage: the majestic Dome of St. Peter's, one of the most extraordinary architectural masterpieces of the Renaissance and a universally recognized symbol of Vatican City. Designed by the genius of Michelangelo Buonarroti when he was already 71 years old, the dome was completed after his death by Giacomo della Porta, who slightly modified its profile, making it more slender. The ascent to the dome is both a physical and spiritual experience. We have two options: we can take the elevator to the basilica's terrace and then climb 320 steps, or tackle the entire ascent of 551 steps on foot. Whatever your choice, the reward will be an incomparable view of Rome and a deeper understanding of the architectural genius that created this marvel. During the climb, observe how the staircase becomes progressively narrower and steeper, following the curvature of the dome. The slanted walls create an almost disorienting sensation, which some interpret as a metaphor for the spiritual journey: the closer one gets to heaven, the narrower and more challenging the path becomes, but the final reward is of incomparable beauty. Upon reaching the intermediate terrace, we can admire the mosaic of the dome from the inside, with its inscription in letters almost two meters high running all around: "TU ES PETRUS ET SUPER HANC PETRAM AEDIFICABO ECCLESIAM MEAM ET TIBI DABO CLAVES REGNI CAELORUM" (You are Peter, and on this rock, I will build my Church, and I will give you the keys of the kingdom of heaven) - the words of Jesus that establish the Petrine primacy and are literally the theological foundation of the entire basilica. An intriguing curiosity: during the construction of the dome, the architects faced an apparently unsolvable problem. The structure showed signs of subsidence, and there was fear of a catastrophic collapse. Pope Sixtus V convened a competition of ideas to find a solution. It was the mathematicians who proposed adding iron chains inside the masonry, an innovative solution that saved the dome and is still in function today, invisible to visitors. Finally, we reach the lantern at the top, from where a 360-degree view of Rome, the eternal city, opens up. From this height of 137 meters, we can see the Tiber winding through the city, the seven hills, the countless domes of churches, the Colosseum in the distance. On a clear day, the view can extend to the Alban Hills and the Sabine Mountains, creating a sense of connection with the land that has nurtured the Christian faith for two thousand years. This privileged view offers us a unique perspective not only on the city but on our own lives. As Pope Francis once wrote: "Sometimes we need to look at things from above to truly understand them." This physical height becomes a metaphor for a spiritual elevation, a gaze that seeks to see the world with God's eyes, in its entirety and beauty. As we begin the descent, we carry with us not only the images of this extraordinary view but also the awareness of having touched, in this pilgrimage, the beating heart of Christianity, literally walking in the footsteps of the saints who preceded us on the path of faith.

Conclusio

Our pilgrimage "In the Footsteps of the Saints" is coming to an end. In these ninety minutes, we have traversed not only an extraordinary physical space but a true spiritual journey through two thousand years of Christian faith. From the tomb of Peter, the fisherman from Galilee to whom Christ entrusted the keys of the Kingdom, to the dizzying height of the dome reaching towards the sky, we have walked a path that is both historical, artistic, and profoundly spiritual. Every stone, every mosaic, every sculpture in this basilica tells a story of faith, sacrifice, and devotion. The saints we have encountered along the way—Peter and Paul, the Church Fathers, the Popes who have succeeded on the papal throne—are not remote figures of the past but living witnesses who continue to speak to us through their works, their words, their example. The jubilee pilgrimage you have undertaken today is not just an isolated moment but the beginning or continuation of a broader journey. The Holy Year is an invitation to renew our lives, to rediscover the beauty of faith, to reconcile with God and with our brothers. Like the Holy Door you have crossed, every experience of this jubilee year is a threshold inviting us to move from darkness to light, from sin to grace, from individualism to communion. Before we part, remember that anyone with questions or curiosities can activate a virtual tour guide based on artificial intelligence at any time, which can delve into any aspect of our visit or suggest other itineraries in the Eternal City. As we conclude this pilgrimage, we carry with us not only memories and images but above all a renewed awareness of our belonging to the great family of the Church, a legacy of faith that spans the centuries and that we are called to live with joy and bear witness to with courage in the contemporary world.