Ancient site · Vatican City · Restored
Saint Peter's tomb
Tomba di Pietro
Saint Peter's tomb is the subterranean burial site beneath St. Peter's Basilica in the Vatican, marked by an aedicula and long venerated as the original burial place of Saint Peter. The area sits within the Vatican Necropolis and includes a small memorial chamber, adjacent graffiti walls and the grave that lies at the foot of the aedicula.
Its prime
1633
Today
Restored
As it stood in 1633
What Saint Peter's tomb looked like in its prime.
A small, vaulted memorial niche framed by polychrome marble columns and ornate pilasters, centered on an arched gold-mosaic panel of a holy figure; a low marble bench and altar form the foreground. An elaborate gilt metal grille and decorative bronze lamps hang over the niche. Walls and floor are richly veined red, grey and white marbles with high polish, producing clear reflections on the floor. The overall effect is a compact, heavily ornamented chapel opening beneath the basilica's main floor.
Its story
The story of Saint Peter's tomb.
Crucified Under Nero, and the Trophies of the Apostles
The earliest reference to Peter's death is a letter from Clement, bishop of Rome, to the Corinthians in about AD 96. Eusebius, a contemporary of Constantine citing the earlier Origen, records that Peter "came to Rome, and was crucified with his head downwards", and Tertullian places the death in Nero's persecution of Christians.
Eusebius adds that the burial places of Peter and Paul were still known in his day, quoting Gaius, a Roman churchman writing early in the 3rd century against the Montanist Proclus: "if you will go to the Vatican or to the Ostian way, you will find the trophies of those who laid the foundations of this church." Catholic tradition holds that Peter was buried as close as possible to the scene of his death, in Christian-owned ground beside the Via Cornelia on the Vatican hill.
The Aedicula of Gaius and Constantine's Basilica
The mausoleum complex of the Vatican Necropolis dates from about AD 130 to AD 500. No mausoleum was ever built directly beneath the present high altar, but shallow burials lay there and later graves clustered round the space without encroaching on it. Around 160 a small niched monument was built into a wall there, the aedicula known as the trophy of Gaius.
Between 320 and 327 Constantine raised a five-aisled basilica over the necropolis, whose tombs were unroofed and filled with earth as foundation; it was consecrated by Pope Sylvester I in 326, with the altar set directly above the tomb. Whatever treasure stood at the tomb is presumed taken in the Saracen sack of 846. Gregory the Great later raised the presbytery, partly burying the Constantinian monument and creating the Confession.
Digging Under the High Altar, 1939–1950
Pius XI died in 1939 having asked to be buried at a particular spot in the Vatican Grottoes; lowering the cramped floor, the workmen exposed the cornice of a buried building. Pius XII ordered a scientific excavation, which ran from 1940 to 1949 under Monsignor Ludwig Kaas with the archaeologists Antonio Ferrua and Bruno Maria Apollonj Ghetti, without interruption through the Second World War.
The diggers broke through a stack of papal altars — Clement VIII's, Callixtus II's of 1123, Gregory the Great's — to the Constantinian Memoria Petri, and below the basilica a Roman necropolis used by Christians and non-Christians into the later 3rd century. At its centre was a grave cut in bare earth, set off by a wall of Christian graffiti naming Christ, Mary and Peter. Pius XII announced the find by radio in the Holy Year of 1950, while stating in December that year that none of the bones recovered could be confirmed as Peter's with absolute certainty.
Guarducci, Correnti and the Announcement of 26 June 1968
A set of bones had been taken from a niche in the graffiti wall during the dig, without the archaeologists' knowledge. Accounts differ: by one, the basilica's administrator Ludwig Kaas, fearing the presumed relics would not be treated with the respect they deserved, had them stored elsewhere in 1942; by another, the foreman of the workmen gathered them from rubble left when the Constantinian casing was broken through. The epigrapher Margherita Guarducci traced the foreman and had the box handed over.
Venerando Correnti of Palermo University examined them in 1962 and reported a robust man of 60 to 70, with bones from every part of the skeleton except the feet; carbon analysis dated them to the first century. Guarducci, working from 1957 to 1969, read hundreds of graffiti on the wall and in 1965 reconstructed the Greek petros eni, "Peter is here". Antonio Ferrua, who had headed the excavation, said he was not convinced the bones were Peter's. On 26 June 1968 Paul VI stated that the relics had been identified in a manner considered convincing, on circumstantial evidence; the next day they were returned to their loculus in a plexiglass box, inscribed as bones held to belong to Saint Peter.
Shown in 2013, Nine Fragments Sent to Constantinople in 2019
On 24 November 2013 part of the relics was displayed publicly for the first time, after Pope Francis celebrated the Mass closing the Year of Faith. On 2 July 2019 it was announced that Francis had transferred nine bone fragments to the Orthodox Ecumenical Patriarch Bartholomew of Constantinople, who called the gesture "brave and bold"; Francis said his decision was born "out of prayer" and was meant as a sign of the work towards communion between the churches. Most of the remains stay under the high altar of St Peter's Basilica. Modern scholarship holds that while the fragments cannot be conclusively verified as Peter's, the site was his original burial place, venerated for centuries before the first basilica rose over it.
Step inside
7 places to explore in 1633.
The record describes 7 distinct spots at Saint Peter's tomb, including 6 interiors: direct front of the aedicula (confessio forecourt), left side view along marble pilasters and wall panels, right side showing the red wall and nearby graffiti wall and more. Create your own photoreal reconstruction and explore every one, more scenes means more photos, more angles and more of the immersive experience.
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