There is no doubt also that there is a great similarity between the two, in the attitude and inclination of the body, the position of the feet, the style of dress, and even the lines of the folds. But portrait-statues of bronze may belong to any age; because, while the sculptor in marble is obliged to produce a work of his own hands and conception, and the date of a marble statue can therefore be determined by comparison with other well-known works, the caster in bronze can easily reproduce specimens of earlier and better times by taking a mould from a good original, altering the features slightly, and then casting it in excellent bronze. This seems to be the case with this celebrated image. I know that the current opinion makes it contemporary with the erection of Constantine's basilica; but to this I cannot subscribe on account of the comparatively modern shape of the keys. One of two things must be true,--either that these keys are a comparatively recent addition, in which case the statue may be a work of the fourth century, or they were cast together with the figure. If the latter be the fact the statue is of a comparatively recent age. Doubts on the subject might be dispelled by a careful examination of these crucial details, which I have not been able to undertake to my satisfaction.
[Illustration: Bronze Statue of S. Peter.]
The destruction of old S. Peter's is one of the saddest events in the history of the ruin of Rome. It was done at two periods and in two sections, a cross wall being raised in the mean time in the middle of the church to allow divine service to proceed without interruption, while the destruction and the rebuilding of each half was accomplished in successive stages.
The work began April 18, 1506, under Julius II. It took exactly one century to finish the western section, from the partition wall to the apse. The demolition of the eastern section began February 21, 1606. Nine years later, on Palm Sunday, April 12, 1615, the jubilant multitudes witnessed the disappearance of the partition wall, and beheld for the first time the new temple in all its glory.
It seems that Paul V., Borghese, to whom the completion of the great work is due, could not help feeling a pang of remorse in wiping out forever the remains of the Constantinian basilica. He wanted the sacred college to share the responsibility for the deed, and summoned a consistory for September 26, 1605, to lay the case before the cardinals. The report revealed a remarkable state of things. It seems that while the foundations of the right side of the church built by Constantine had firmly withstood the weight and strain imposed upon them, the foundation of the left side, that is, the three walls of the circus of Caligula, which had been built for a different purpose, had yielded to the pressure so that the whole church, with its four rows of columns, was bending sideways from right to left, to the extent of three feet seven inches. The report stated that this inclination could be noticed from the fact that the frescoes of the left wall were covered with a thick layer of dust; it also stated that the ends of the great beams supporting the roof were all rotten and no longer capable of bearing their burden. Then cardinal Cosentino, the dean of the chapter, rose to say that, only a few days before, while mass was being said at the altar of S. Maria della Colonna, a heavy stone had fallen from the window above, and scattered the congregation. The vote of the sacred college was a foregone conclusion. The sentence of death was passed upon the last remains of old S. Peter's; a committee of eight cardinals was appointed to preside over the new building, and nine architects were invited to compete for the design. These were Giovanni and Domenico Fontana, Flaminio Ponzio, Carlo Maderno, Geronimo Rainaldi, Nicola Braconi da Como, Ottavio Turiano, Giovanni Antonio Dosio, and Ludovico Cigoli. The competition was won by Carlo Maderno, much to the regret of the Pope, who was manifestly in favor of his own architect, Flaminio Ponzio. The execution of the work was marked by an extraordinary accident. On Friday, August 27, 1610, a cloud-burst swept the city with such violence that the volume of water which accumulated on the terrace above the basilica, finding no outlet but the winding staircases which pierced the thickness of the walls, rushed down into the nave in roaring torrents and inundated it to a depth of several inches. The Confession and tomb of the apostle were saved only by the strength of the bronze door.