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St. Peter's Square or Piazza San Pietro, is a large plaza located directly in front of St. Peter's Basilica in the Vatican City, the papal enclave inside Rome, directly west of the neighbourhood or rione of Borgo.
St Peter's at Clippesby is hidden away down a leafy lane and thus despite its close proximity to a busy main road is easily missed, you would never know it was there unless you specifically sought it out. It is a small but rather charming building consisting of an aisleless nave and chancel with a Norman round tower at the west end (its later upper storey octagonal).
The interior is given a more restored impression by the Victorian east window and reredos but it remains a place of antiquity nonetheless. There is a good late medieval brass in the nave floor and also a fine Arts & Crafts window by Margaret Rope on the south side.
The church is generally kept open and welcoming, for more see below:-
Tomb of Maria Clementina Sobieski, wife of James Stuart, the Old Pretender, d1735, by Filippo Barigioni
Window on north side of nave by Burlison & Grylls. The series of windows have descriptions of the saints rather than memorial dedications.
The St. Peter's Church (S:t Petri kyrka) was built in the 14th century in gothic style. It has a 105 m tall tower and is a natural landmark in central Malmö.
St Peter's Basilica is the most prominent building inside the Vatican City. Its dome is a dominant feature of the skyline of Rome. Probably the largest church in Christianity, it covers an area of 2.3 ha (5.7 acres) and has a capacity of over 60,000 people. One of the holiest sites of Christendom in the Catholic tradition, it is traditionally the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus.
Rome, Italy
1991
Recording Session & Lunchtime Concert (Choristers & Sedecim) - St. Peter's Methodist Church, 6th November 2015.
New Inn Hall Street, Oxford. The College Chapel is the church of St Peter-Le-Bailey, designed by Basil Champneys and completed in 1874.
Nonetheless, the building remains a ruin- shockingly so, according to the architecture writer Frank Arneil Walker: "nothing prepares one for the sight of the new grown prematurely old." Attempts to convert and reuse it, or even protect it from further damage, have come to nothing - hampered by the unique design of the building and its remote location. Plans have included building a 28-unit housing development in the building's grounds, and to stabilise the structure by stripping it back to its concrete skeleton, possibly fully restoring a small cross-section. This is a source of concern for conservation bodies including the Twentieth Century Society, who have placed it on their Risky Buildings Register arguing that this would destroy much of the remaining fabric of the building.
Detail of the east window by Charles Eamer Kempe, 1887.
St Peter's at Church Lawford is medieval in origin, but what we see today is a mostly Victorian structure by Slater & Carpenter (built 1871-3) and quite a handsome building. The only medieval part is the north arcade inside and a plain blocked Norman south door, the exterior is otherwise wholly the result of the Victorian rebuilding. Externally there are some eye catching carved adornments and the fine west tower is a good local landmark, prominently sited to be visible from the nearby railway (the sight of it has welcomed me home on numerous occasions over the years).
Inside the church is rather spacious, if a little grey owing to the unpainted or grey-washed render that lines its walls. The remaining medieval part is apparent in the late 14th century north nave arcade with its banded piers of alternating coloured stonework. The Victorian south arcade happily follows a similar design in order to give harmony to the interior. Alas there is little else to see of the pre-Victorian church aside from the rather plain font and some intriguing 17th century carved woodwork in the chancel (dated 1618) and the pulpit of similar date (alas I didn't get photos of this or the architectural remnants under the tower as time was limited). There is much late Victorian or early 20th century glass in the chancel and north aisle, with an east window by Kempe and several fine windows by Heaton, Butler & Bayne.
I'd first got into this church many years ago by luckily stumbling across a keyholder. It is still kept locked now but on this occasion a group visit enabled me to revisit. Unfortunately the casual visitor is unlikely to get inside without prior arrangement, a pity as it does reward a visit.
St Peter's at Binton is another church entirely rebuilt in the Victorian period, by Frederick Preedy in 1875-6. The building is entirely of this date, leaving no trace of the medieval structure, although there are reminders of it still in the fittings, with three medieval carved cross slabs (that at the west end being particularly fine) , along with a simple late medieval font. The early Georgian Royal Arms survives too.
The church is most famous for it's Kempe glass, which is found in three windows, although it is the west window people come to see. This commemorates Scott of the Antarctic (who was married to the rector's daughter and visited Binton regularly) and portrays four scenes from his last expedition, surreally shown within Kempe's trademark Gothic canopies.
For more see Binton's entry on the Warwickshire Churches website below:-
St Peter's church at Withington is dominated by it's slender, tapering spire mounted on a simple 13th century block of a tower. The body of the church is one long single chamber without aisles, and again is mostly of 13th century date with later alterations in several of the window openings.
The interior is quite dark and tunnel-like with an old screen separating the chancel from the nave. The windows are largely filled with a mixture of Victorian glass, which keeps out a significant amount of light.
My visit was with work on this occasion as the stonework of the east window was being repaired, thus we removed the leaded panels temporarily for minor repairwork.
Thus I am not sure what the usual opening arrangements are for this church, I suspect it may normally be kept locked.
The earliest documentary evidence of a place of worship on the site is in a charter of confirmation dated 1093. Later references are in a will dated 1599 and in documents relating to the building of a north chapel in 1640 by John Tilston of Lower Huxley Hall. In the 19th century, restorations of the body of the church took place, one in 1845 and another in 1888 by John Douglas when the clerestory was rebuilt. The pyramidal roof was added to the tower in the late 19th century.
An interesting feature of St Peter's is the large tower compared to the rest of the church.
St Peter's dates to the 14th-Century standing on site of an earlier building. Additions were made in the 15th-Century and the parish is now part of the Vale of Belvoir.
Recording Session & Lunchtime Concert (Choristers & Sedecim) - St. Peter's Methodist Church, 6th November 2015.
The ancient church of St Peter, Ipsley was joined in the 1990s to a new parish centre by a modern glazed atrium, now the principal entrance to the church.
The highly effective sandblasted design of St Peter the fisherman, the church's patron, is the work of noted Bristol-based stained glass artist Roy Coomber
Pevsner: "Worth a very special look to see how good and how free from period associations a Victorian country church could be when the architect took pains over it"
See where this photo was taken at maps.yuan.cc.
Family holiday to Rome. This include going to the city within the city - the Vatican City.
This is St Peter's Square
The south chancel window of St Peter is by Hardman and dated 1877.
Memorial to Edmund Meade-Waldo, who lived at Hever Castle and died in 1858.
“To the Glory of God and in Memory of Edmund Wakefeild Meade Waldo Dedicated by Wakefield Suft Meade AD 1877.”
Source: Historic Hever: The Church, 1905.
The Chapel of St Peter-on-the-Wall, Bradwell-on-Sea, Essex is among the oldest largely intact Christian church buildings in England still in regular use, dating from the 7th century.
The Chapel is assumed to be that of "Ythanceaster" (Bede, book III, chapter XXII), originally constructed as an Anglo-Celtic Church for the East Saxons in 654 AD by St Cedd, astride the ruins of the abandoned Roman fort of Othona. The current structure was most likely built around 660-662AD, incorporating the Roman bricks and stones. Cedd travelled south from Lindisfarne to spread Christianity at the behest of Sigeberht the Good, then King of the East Saxons, in 653AD and returned the next year having been ordained as a Bishop in order to build this Chapel and probably others too. Following the death of St Cedd in October 664 from plague, the Chapel became part of the Diocese of London.
No further record exists of the Chapel's use until 1442 when the local clergy reported to the Bishop of London that it had been expanded slightly, with a small tower above the porch with a bell in it. However, they did not know of its origins and it was unusable, having been burnt. It was repaired and returned to regular use alongside the parish church in Bradwell-on-Sea until at least the Tudor period (1500s) before falling into disuse as a church again and being used as a barn - the position of the wide barn doorway, now filled in, can be seen on the south side of the nave.
In 1920 it was restored and reconsecrated as a chapel. It is a Grade I listed building.
St. Peter's Bethnal Green, St. Peter's Close, Bethnal Green, Tower Hamlets, London, England. Built in 1840-1841, the architect of this church was Lewis Vulliamy. St. Peter's is one of only five functioning churches to survive from Bishop Blomfield's original 1840s Bethnal Green churches, and is the only one that remains fully intact. The others were either destroyed in the Blitz or by fire or have now been converted into flats.
Heritage weekend now last two weekend and maybe up to four, or more, weekday, meaning that I had the chance to visit some I missed the week before.
The write up on the heritage website sounded interesting, so we were at the door of St Peter just after ten.
After renovation, required when it was discovered that the white paint used inside was not allowing the bricks to breath, upon its removal, this fantastic brickwork was uncovered, and the decision by English Heritage not to put a new coat of paint on, and allow the multi-coloured bricks to be seen.
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High on the East cliff overlooking the harbour is a remarkable group of school and church. St Peter's is a shrine of peace and tranquillity and has a real sense of holiness. Built to serve the growing community of the resort, it was originally designed by Richard Hussey in 1862. For the next few years the church became a centre of controversy as its priests tried to introduce ritualistic worship and furnishings. In 1870 the church was extended by the addition of a north aisle and an enlarged chancel to assist ritualism. The day it re opened vestments were introduced. The wonderful blue Rood Screen is made of wrought iron and dates from 1872. It has the image of Christ on its central cross - a symbol that created much controversy when it was erected. In the north aisle are fragments of early glass by Kempe - the rest having been destroyed in a fire in 1996. Nearby is the octagonal font which is fifteenth century and came from one of the Norfolk churches that was demolished due to the incursion of the sea. In a county full of medieval brasses it is interesting to record three small Victorian examples here, to a priest, a sacristan and a nun.
St Peter's was built in 674 AD by Benedict Biscop and is one of the oldest churches in Britain,where christians have gathered and worshipped for more than 1300 years.30/07/2011
I like Bridge, I like the name, even if the bridge over the Nailbourne takes some finding.
Again, the main road between Dover and London used to pass through the village, but the A2 now curves pass it, so the long main street is quiet, if jammed with parked cars. It is also blessed with two good pubs and a fine country butcher.
St Peter stands on the hill to the east of the town, as the old road heads up to the downs on its way to the coast.
St Peter was Vicotianised, but the work did preserve much of what was old including a trimpium and a oddly truncated tomb where the middle section of the body is missing.
Windows seems to be in threes, echoing the Holy Trinity I guess, and the church has a fine rose window in the south chapel.
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LOCATION: Situated on Upper Chalk (just above the Nailbourne floodplain) at about 90 feet above O.D. with the main Roman road to Dover immediately to the north-east. Bridge Place is about a ¼ mile to the south-west, and its mother-church of Patrixbourne is about ¾ miles to the north-east. Canterbury is just under 3 miles to the north-west.
DESCRIPTION: Unfortunately the church was disastrously over-restored in 1859 by Scott (John Newman, B.O.E. (N.E. and Kent 3rd ed. 1983), 159, says it was 'done with grotesque insensitivity'). However, with the help of Glynne's description (of 1846), and various early 19th century views, as well as the few surviving medieval features, it is possible to work out something of the architectural history. Externally it has been completely refaced with heavy knapped flint, and Bathstone dressings, but the core of all the main walls, except the Vestry on the north-east and the tower stair-turret must be medieval. The west end of the north aisle also appears to have been extended westwards in 1859.
There had been an earlier small-scale repewing in 1836, followed by a restoration by Scott in 1857. The complete rebuilding took place in 1859-60, with most of the money coming from Mrs Gregory of Bridge Hill.
From the surviving remains, there is no doubt that the nave, chancel, south aisle and tower-base all date from the 12th century. It is also possible that the nave itself dates from the late 11th century, but there is no visible evidence for this. The west doorway to the nave is of a mid- to later 12th century date, and unlike virtually everything else on the outside of the church was not totally renewed in 1859. There is a decorated round-headed archway with water-leaf capitals, and much original Caenstone survives. The internal north jamb to the doorway is also mostly of original diagonally-tooled Caenstone blocks. On the north-east side of the chancel is a round-headed (c. mid-12th century) window, which was unblocked in 1859. Glynne in 1846 refers to two 'closed' windows on the north side of the chancel, and 'on the south a fine doorway and two windows, now closed; the former has fine chevron mouldings'. This doorway was reset on the east side of the north-east vestry in 1859, but its fine chevroned arch, over scalloped capitals, is still visible as an entrance to the vestry lobby. The south aisle and south-west tower seem to have been added in the later 12th century. The arcade had already gone by 1846, but part of a respond (with nook-shafts) still survives at the extreme east end. Just beyond this, in the east wall, a fragment of the north jamb of a 12th century window survives. This south aisle had a low southwall until 1859, and its steep-pitched roof continued the line of the main nave roof. The tower at the west end of this aisle has 1859 round-headed arches, on the north and east in a 'decorated Romanesque' style (? designed by Scott). Glynne tells us that originally they were 'very rude semicircular arches'. The south and east windows into the ground floor of the tower may be based on earlier 12th century ones.
During the earlier 13th century, a north transept chapel and north aisle were added. Glynne tells us that 'the north aisle is very low and narrow, divided from the nave by three rude pointed arches with large wall piers having no capitals or impost mouldings'. The pointed arches survive, though a fourth has been added on the west, as well as three extraordinary double piers. The eastern respond is mostly original, however, with bar-stopped chamfers. Another original arch (with bar-stopped chamfers) divides the north aisle from the north-east transept chapel. Glynne also says that there was a lancet at the west end of this aisle. The north-east chapel still has a pair of original lancets on the north (restored externally), and earlier there was apparently a hagioscope from this chapel into the chancel. The upper stage of the tower may be 13th century.
The one later medieval feature that survives is the 3-light early perpendicular window in the west wall of the nave. This too still contains quite a lot of original masonry, and may date from the late 14th century. The 2-light east window, now rebuilt, was probably early 14th century ('poor Middle Pointed' according to Glynne). The early 19th century views show a pair of two-light late perpendicular windows with square hoods on the south side of the chancel.
The chancel still contains some early 16th century fittings, and a roodloft was documented as being made in 1522 (see below). On the north side of the sanctuary are two low rectangular niches which contain the two halves of the effigy for Macobus Kasey (ob. 1512). Above and just to the west of this is some relief sculpture (also ? early 16th century) in a tympanum panel. Was this set originally inside a 12th century doorway? Above this is an early 17th century painting of Robert Bargrave (ob. 1649). On the chancel south wall (at the west end) are fragments of a relief memorial to a vicar, Malcolm Ramsey (ob. 1538). He was vicar of Patrixbourne and Bridge for 44 years. These include part of an inscription.
The tower appears to have been given brick south-east and south-west buttresses in the 17th or 18th century. These were removed in 1859 when a south-east stair-turret was added to the tower. This was apparently restored in 1891.
BUILDING MATERIALS: (Incl. old plaster, paintings, glass, tiles etc.): Virtually the whole of the church has Bathstone dressings, with heavy knapped flint on the exterior. Some 12th century and later Caenstone does, however, survive.
EXCEPTIONAL MONUMENTS IN CHURCH: - see above
CHURCHYARD AND ENVIRONS:
Size, Shape: Large Rectangular area around with church, but with the north-east side cut off by the main (Roman) road to Dover (Bridge Hill). Large new extension to the south - ? Late 19th century.
Condition: Good
Apparent extent of burial: Burial in churchyard from at least 1474.
Boundary walls: To road on north-east, with gateway with brick piers and iron arch.
Ecological potential: ? Yes - many fastigiate yews (and other trees) in southern part of churchyard.
HISTORICAL RECORD (where known):
Earliest ref. to church: 13th century.
Late med. status: Vicarage (with Patrixbourne).
Patron: Goes with Patrixbourne church to which it was a chapel. After the Reformation, the patron was the owner of nearby Bifrons.
Other documentary sources: Hasted IX (1800), 289-290. Test. Cant. (E. Kent, 1907), 35-6 mentions the Holy Cross (Rood) light, as well as lights of Our Lady, St. Nicholas, St. Erasmus, the Trinity, St. Loye, St. Trunion, as well as St. Peter (? in the chancel). The Eastern Sepulchre mentioned in 1535, and 'the painting of the High Cross in the Roodloft in 1504 - also 'to the making of the Roodloft, 1522'.
SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:
Inside present church: ? Good, except under east end of south aisle, where there is a sunken boiler house.
Outside present church: Good, but perhaps disturbed by the 1859 refacing and rebuilding.
Quinquennial inspection (date\architect): MAY 1993 A. CLAGUE
ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:
The church and churchyard: A 12th century nave, chancel, south aisle and south-west tower base, with an added earlier 13th century north aisle and north-east transept chapel, which was very heavily restored and refaced externally in 1859-60.
The wider context: One of a group of medieval parish churches, which was technically only a chapel-of-ease (to Patrixbourne, in this case).
REFERENCES: For the vicars, see W.A. Scott Roberton 'Patricksbourne church, and Bifrons' Arch. Cant. 14 (1882), 169-184. (A list of vicars, by T.S. Frampton (1900) is on the S.W. side of the nave). S.R. Glynne Churches of Kent (1877), 131-2 (he visited in 1846).
Plans and early drawings: Petrie view from S.W. in 1807, and views from S.W. and S. in 1828 in Victoria and Albert Museum. Also view of church from S.W. in oil (? early 19th cent.) and Watercolour of church from S.E. (June 1869) in the vestry and plan of graveyard (new part) in 1942 (also in vestry).
DATE VISITED: 21st February 1994 REPORT BY: Tim Tatton-Brown
www.kentarchaeology.org.uk/01/03/BRI.htm
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BRIDGE
LIES the next adjoining parish to Patrixborne southward, being written in old deeds, Bregge, and taking its name from the bridge, which was antiently over the stream which crosses it. This parish was in early times so considerable, as to give name both to the hundred and deanry in which it is situated.
IT IS SITUATED about two miles and an half eastward of Canterbury, on the high Dover road, formerly the Roman Watling-street way, which appears high and entire almost throughout it; in the valley on this road stands the village of Bridge, with the church and vicarage in it, a low moist situation, the bourn or stream of the Little Stour crossing it under a stone bridge, built a few years ago by the contributions of the neighbouring gentlemen. At a small distance southward is Bridge place, now inhabited by lady Yates, widow of the late judge Yates, and of Dr. Thomas, late bishop of Rochester. The hills, form which there is a most pleasing prospect, are wholly chalk, as are in general the other upland parts of it, towards the south especially, where the country is very barren, with heathy ground and woodland, and much covered with stones. In this part of the parish is Gosley wood, once belonging to St. Augustine's monastery, afterwards granted to Thomas Colepeper, esq. It belongs now to Mr. Beckingham.
The MANOR OF BLACKMANSBURY, alias BRIDGE, claims over the greatest part of it, and the manor of Patrixborne over that part of this parish on the north side of the Dover road. There are two boroughs in it, viz. of Blackmansbury and of Bridge.
The MANOR OF BLACKMANSBURY, alias BRIDGE, was parcel of the possessions of the abbey of St. Augustine, belonging to the sacristie, as appears by the registers of it, in which frequent mention is made of this manor, with the free tenants belonging to it, in Honpit, Rede, and Blackmansbury. In which state this manor continued till the suppression of the abbey in the 30th year of king Henry VIII. when it came into the king's hands, (fn. 1) where it remained till the 36th year of that reign, when this manor, with divers lands in Houndpit and Blackmanbury, was granted to Henry Laurence, to hold in capite by knight's service, and he that year held a court here; and in his descendants it continued till the 18th of queen Elizabeth's reign, when it was alienated by fine levied, by John Laurence, to William Partherich, esq. whose arms were, Vaire, argent and sable, on a chief of the second, three roses of the first. His grandson Sir Edward Partherich, of this place, passed it away in 1638 to Sir Arnold Braems, descended of a family originally out of Flanders, where his ancestors were opulent merchants. Jacob Braems, his ancestor, was of Dover, merchant, and built the great house now the Custom house there, where he resided. Sir Arnold Braems above-mentioned, bore for his arms, Sable, on a chief, argent, a demi lion Tampant, gules. He built a spacious and magnificent mansion on the scite of the antient court-lodge here, which he named BRIDGE-PLACE, in which he afterwards resided, as did his son Walter Braems, esq. till his death in 1692; but the great cost of building this seat so impoverished the estate, that his heirs, about the year 1704, were obliged to part with it, which they did by sale to John Taylor, esq. of Bisrons, who soon afterwards pulled down the greatest part of this mansion, leaving only one wing of it standing, the size and stateliness of which being of itself full sufficient for a gentleman's residence, cannot but give an idea of the grandeur of the whole building when entire. He died in 1729, since which this manor and seat has continued in his descendants, in like manner as Bisrons abovedescribed, down to his great-grandson Edward Taylor, esq. the present possessor of them. There is not any court held for this manor.
BEREACRE, now called Greatand Little Barakers is another manor in this parish, which in the 21st year of king Edward I. was in the possession of Walter de Kancia, as appears by an inquisition taken that year, at his decease; not long after which it has passed into a family of its own name. After this name was become extinct here, it came into the possession of the Litchfields, who owned much land about Eastry, Tilmanstone, and Betshanger, and in this name it continued till the 22d year of Edward IV. and then Roger Litchfield passed it away to Richard Haut, whose only daughter and heir Margery carried it in marriage to William Isaac, esq. of Patrixborne, from whose descendant Edward Isaac, about the latter end of king Henry VIII. it was sold to Petyt and Weekes, who joined in the sale of it to Naylor, of Renville, from which name it was alienated to Smith and Watkins; after which it was conveyed by sale to John Taylor, esq. of Bisrons, in whose descendants it has continued down to Edward Taylor, esq. the present owner of it.
Charities.
SIR HENRY PALMER, of Bekesborne, by will in 1611, gave 10s. to be yearly paid out of his manor of Well-court, towards the relief of the poor of it.
The poor constantly relieved are about eighteen, casually the same.
BRIDGE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name.
¶The church, which is dedicated to St. Peter, consists of three isles, a high chancel, and a north sept or chancel in the middle of the north isle. It has a spire steeple at the south-east corner, in which are three bells. In the high chancel, within the altar-rails, is a monument for Jane, second daughter of Walter Harslete, of Bekesborne, first wife of Sir Arnold Braems, ob 1635, and lies buried in St. Mary's church, in Dover; and for Elizabeth, (second daughter of Sir Dudley Diggs) his second wife, obt. 1645, and lies in the middle of this chancel. Against the north wall is a painted portrait of Robert Bargrave, gent. of Bridge, obt. 1649. Under a circular arch in the same wall are two rows of small imagery, carved in stone, the uppermost repre santing God the Father, with several figures on each side; the lower one, figures taken from the history of the Old Testament. Underneath these, in the hollow of the wall, is the figure of a man lying at full length, in robes, with his two hands joined and uplifted, having on his head seemingly a full perriwig. A memorial for John Hardy, esq. of Bridge-place, obt. 1779. On the east side of the south window is a hollow in the wall, and under it an inscription for Macobus Kasey, vicar of Patrixborne, obt. m.v.c.i.xii. and of his being vicar there xxi years. On the opposite side of the window is carved the figure of a scull, with a snake entering in at one eye, and the end of it out at the other, and a hand with a finger pointing up to it, as if it had been the cause of the person's death, and several bones are interspersed about it. The north chancel is made use of for a school, by voluntary contributions. On the south side of the chancel is a circular arched door-way, with Saxon ornaments. In the register are many entries, from the year 1580 to 1660, of the family of Bargrave, alias Bargar, residents in this parish, and one for Thomas, son of John Cheney, gent. who died in 1620.
The church of Bridge, which is a vicarage, was always esteemed as a chapel to the church of Patrixborne, and as such is included in the valuation of that vicarage in the king's books, the vicar of which is instituted and inducted into that vicarage, with the chapel of Bridge annexed to it. (fn. 2)
The parsonage of this parish therefore, as an appendage to that of Patrixborne, is the property of Edward Taylor, esq. of Bifrons. In 1588 here were eightynine communicants, in 1640 one hundred and twenty.
St Peter's is the parish church of the village of Petersham in the London Borough of Richmond upon Thames. St Peter's is part of the Diocese of Southwark in the Church of England.
The Papal Basilica of Saint Peter (Latin: Basilica Sancti Petri), officially known in Italian as Basilica Papale di San Pietro in Vaticano and commonly known as Saint Peter's Basilica, is a Late Renaissance church located within the Vatican City. Saint Peter's Basilica has the largest interior of any Christian church in the world.[1] While it is neither the official mother church of the Roman Catholic Church nor the cathedral of the Pope as Bishop of Rome, Saint Peter's is regarded as one of the holiest Catholic sites. It has been described as "holding a unique position in the Christian world"[2] and as "the greatest of all churches of Christendom".[3]
In Roman Catholic tradition, the basilica is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus and, according to tradition, the first Bishop of Rome and therefore first in the line of the papal succession. Tradition and some historical evidence hold that Saint Peter's tomb is directly below the altar of the basilica. For this reason, many Popes have been interred at St. Peter's since the Early Christian period. There has been a church on this site since the 4th century. Construction of the present basilica, over the old Constantinian basilica, began on 18 April 1506 and was completed on 18 November 1626.[4]
St. Peter's is famous as a place of pilgrimage, for its liturgical functions and for its historical associations. It is associated with the papacy, with the Counter-reformation and with numerous artists, most significantly Michelangelo. As a work of architecture, it is regarded as the greatest building of its age.[5] Contrary to popular misconception, Saint Peter's is not a cathedral, as it is not the seat of a bishop. It is properly termed a papal basilica. The Archbasilica of St. John Lateran is the cathedral church of Rome.
The Church of St Peter the Poor Fisherman in Revelstoke, Noss Mayo, Devon, England, was built in 1226.
It is recorded in the National Heritage List for England as a designated Grade I listed building, and is a redundant church in the care of the Churches Conservation Trust. It was declared redundant on 6 April 1971, and was vested in the Trust on 28 June 1972.
The mediaeval church has Saxon origins with portions being built in the 13th, 14th and 15th centuries. The aisle and the porch still have their carved wagon roofs however the roofs have fallen down over the rest of the building.
Around 1870 a new church, also dedicated to St Peter, was built nearby and this church fell into disrepair. It is still consecrated and occasional services are held in the church during the summer.
The pinnacle of St. Peter's Church tower in Riga, Latvia.
Pináculo da torre da Igreja de S. Pedro em Riga, Letónia.