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Catholic Shrine Basilica • Marian Shrine • Seven Pilgrim Churches of Rome


THE BASILICA OF SAINT MARY MAJOR, ROME, ITALY

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Home » The Basilica of Saint Mary Major, Rome, Italy


BASILICA OF SAINT MARY MAJOR, ROME






INTRODUCTION



The Basilica of Saint Mary Major (Italian: Basilica di Santa Maria Maggiore,
Latin: Basilica Sanctae Mariae Maioris), or church of Santa Maria Maggiore, is a
Major papal basilica as well as one of the Seven Pilgrim Churches of Rome and
the largest Catholic Marian church in Rome, Italy.



The basilica enshrines the venerated image of Salus Populi Romani, depicting the
Blessed Virgin Mary as the health and protectress of the Roman people, which was
granted a Canonical coronation by Pope Gregory XVI on 15 August 1838 accompanied
by his Papal bull Cælestis Regina.

Pursuant to the Lateran Treaty of 1929 between the Holy See and Italy, the
Basilica is within Italian territory and not the territory of the Vatican City
State. However, the Holy See fully owns the Basilica, and Italy is legally
obligated to recognize its full ownership thereof and to concede to it “the
immunity granted by International Law to the headquarters of the diplomatic
agents of foreign States.” In other words, the complex of buildings has a status
somewhat similar to a foreign embassy.


HISTORY OF BASILICA OF SAINT MARY MAJOR, ROME




The Basilica is sometimes referred to as Our Lady of the Snows, a name given to
it in the Roman Missal from 1568 to 1969 in connection with the liturgical feast
of the anniversary of its dedication on 5 August, a feast that was then
denominated Dedicatio Sanctae Mariae ad Nives (Dedication of Saint Mary of the
Snows). This name for the basilica had become popular in the 14th century in
connection with a legend that circa the year 352, during “the pontificate of
Liberius, a Roman patrician John and his wife, who were without heirs, made a
vow to donate their possessions to the Virgin Mary.



They prayed that she might make known to them how they were to dispose of their
property in her honour. On 5 August, at the height of the Roman summer, snow
fell during the night on the summit of the Esquiline Hill. In obedience to a
vision of the Virgin Mary which they had the same night, the couple built a
basilica in honour of Mary on the very spot which was covered with snow.

The legend is first reported only after AD 1000. It may be implied in what the
Liber Pontificalis, of the early 13th century, says of Pope Liberius: “He built
the basilica of his own name (i.e. the Liberian Basilica) near the Macellum of
Livia”. Its prevalence in the 15th century is shown in the painting of the
Miracle of the Snow by Masolino da Panicale.

The feast was originally called Dedicatio Sanctae Mariae (Dedication of Saint
Mary’s), and was celebrated only in Rome until inserted for the first time into
the General Roman Calendar, with ad Nives added to its name, in 1568. A
congregation appointed by Pope Benedict XIV in 1741 proposed that the reading of
the legend be struck from the Office and that the feast be given its original
name. No action was taken on the proposal until 1969, when the reading of the
legend was removed and the feast was called In dedicatione Basilicae S. Mariae
(Dedication of the Basilica of Saint Mary). The legend is still commemorated by
dropping white rose petals from the dome during the celebration of the Mass and
Second Vespers of the feast.



The earliest building on the site was the Liberian Basilica or Santa Maria
Liberiana, after Pope Liberius (352–366). This name may have originated from the
same legend, which recounts that, like John and his wife, Pope Liberius was told
in a dream of the forthcoming summer snowfall, went in procession to where it
did occur and there marked out the area on which the church was to be built.
Liberiana is still included in some versions of the basilica’s formal name, and
“Liberian Basilica” may be used as a contemporary as well as historical name.

On the other hand, the name “Liberian Basilica” may be independent of the
legend, since, according to Pius Parsch, Pope Liberius transformed a palace of
the Sicinini family into a church, which was for that reason called the Sicinini
Basilica. This building was then replaced under Pope Sixtus III (432–440) by the
present structure dedicated to Mary. However, some sources say that the
adaptation as a church of a pre-existing building on the site of the present
basilica was done in the 420s under Pope Celestine I, the immediate predecessor
of Sixtus III.

Long before the earliest traces of the story of the miraculous snow, the church
now known as Saint Mary Major was called Saint Mary of the Crib (Sancta Maria ad
Praesepe), a name it was given because of its relic of the crib or manger of the
Nativity of Jesus Christ, four boards of sycamore wood believed to have been
brought to the church, together with a fifth, in the time of Pope Theodore I
(640–649). This name appears in the Tridentine editions of the Roman Missal as
the place for the pope’s Mass (the station Mass) on Christmas Night, while the
name “Mary Major” appears for the church of the station Mass on Christmas Day.


STATUS AS A PAPAL MAJOR BASILICA




No Catholic church can be honoured with the title of basilica unless by
apostolic grant or from immemorial custom. St. Mary Major is one of the only
four that hold the title of major basilica. The other three are the basilicas of
St. John in the Lateran, St. Peter, and St. Paul outside the Walls. (The title
of major basilica was once used more widely, being attached, for instance, to
the Basilica of St. Mary of the Angels in Assisi).



Along with all of the other major basilicas, St. Mary Major is also styled a
papal basilica. Before 2006, the four papal major basilicas, together with the
Basilica of St. Lawrence outside the Walls were referred to as the patriarchal
basilicas of Rome, and were associated with the five ancient patriarchates (see
Pentarchy). St. Mary Major was associated with the Patriarchate of Antioch.

The five papal basilicas along with the Basilica of the Holy Cross in Jerusalem
and San Sebastiano fuori le mura were the traditional Seven Pilgrim Churches of
Rome, which were visited by pilgrims during their pilgrimage to Rome following a
20-kilometre (12 miles) itinerary established by St. Philip Neri on 25 February
1552.


HISTORY OF THE PRESENT CHURCH




It is now agreed that the present church was built under Pope Celestine I
(422–432) not under Pope Sixtus III (432–440), who consecrated the basilica on
the 5th of August 434 to the Virgin Mary.



The dedicatory inscription on the triumphal arch, Sixtus Episcopus plebi Dei
(Sixtus the bishop to the people of God), is an indication of that Pope’s role
in the construction.[26] As well as this church on the summit of the Esquiline
Hill, Pope Sixtus III is said to have commissioned extensive building projects
throughout the city, which were continued by his successor Pope Leo I, the
Great.

The church retains the core of its original structure, despite several
additional construction projects and damage by the earthquake of 1348.

Church building in Rome in this period, as exemplified in Santa Maria Maggiore,
was inspired by the idea of Rome being not just the centre of the world of the
Roman Empire, as it was seen in the classical period, but the centre of the
Christian world. Santa Maria Maggiore, one of the first churches built in honour
of the Virgin Mary, was erected in the immediate aftermath of the Council of
Ephesus of 431, which proclaimed Mary Mother of God. Pope Sixtus III built it to
commemorate this decision.

Certainly, the atmosphere that generated the council gave rise also the mosaics
that adorn the interior of the dedication: “whatever the precise connection was
between council and church it is clear that the planners of the decoration
belong to a period of concentrated debates on nature and status of the Virgin
and incarnate Christ.” The magnificent mosaics of the nave and triumphal arch,
seen as “milestones in the depiction” of the Virgin, depict scenes of her life
and that of Christ, but also scenes from the Old Testament: Moses striking the
Red Sea, and Egyptians drowning in the Red Sea.



Richard Krautheimer attributes the magnificence of the work also to the abundant
revenue accruing to the papacy at the time from land holdings acquired by the
Catholic Church during the 4th and 5th centuries on the Italian peninsula: “Some
of these holdings were locally controlled; the majority as early as the end of
the 5th century were administered directly from Rome with great efficiency: a
central accounting system was involved in the papal chancery; and a budget was
apparently prepared, one part of the income going to the papal administration,
another to the needs of the clergy, a third to the maintenance of church
buildings, a fourth to charity. These fines enabled the papacy to carry out
through the 5th century an ambitious building program, including Santa Maria
Maggiore.”

Miri Rubin believes that the building of the basilica was influenced also by
seeing Mary as one who could represent the imperial ideals of classical Rome,
bringing together the old Rome and the new Christian Rome: “In Rome, the city of
martyrs, if no longer of emperors, Mary was a figure that could credibly carry
imperial memories and representations.”

Gregory the Great may have been inspired by Byzantine devotions to the Theotokos
(Mother of God) when after becoming Pope during a plague in 590 that had taken
the life of his predecessor, he ordered for seven processions to march through
the city of Rome chanting Psalms and Kyrie Eleison, in order to appease the
wrath of God. The processions began in different parts of the city, but rather
than finally converging on St Peter’s, who was always the traditional protector
of Rome, he instead ordered the processions to converge on Mary Major instead.



When the popes returned to Rome after the period of the Avignon papacy, the
buildings of the basilica became a temporary Palace of the Popes due to the
deteriorated state of the Lateran Palace. The papal residence was later moved to
the Palace of the Vatican in what is now Vatican City.

The basilica was restored, redecorated and extended by various popes, including
Eugene III (1145–1153), Nicholas IV (1288–92), Clement X (1670–76), and Benedict
XIV (1740–58), who in the 1740s commissioned Ferdinando Fuga to build the
present façade and to modify the interior. The interior of the Santa Maria
Maggiore underwent a broad renovation encompassing all of its altars between the
years 1575 and 1630.

On 15 December 2015, a Palestinian and a Tunisian national were arrested after
they tried to disarm soldiers stationed outside the basilica while yelling
“Allah (God) is great”. When police intervened, the two men aged 40 and 30
called other foreigners in the area to their aid, and assaulted and threatened
the arresting officers.


ARCHITECTURE




Architectural Styles: Romanesque Architecture, Baroque Architecture, Ancient
Roman Architecture, Medieval Architecture.

The original architecture of Santa Maria Maggiore was classical and
traditionally Roman, perhaps to convey the idea that Santa Maria Maggiore
represented old imperial Rome as well as its Christian future. As one scholar
puts it, “Santa Maria Maggiore so closely resembles a second-century imperial
basilica that it has sometimes been thought to have been adapted from a basilica
for use as a Christian church. Its plan was based on Hellenistic principles
stated by Vitruvius at the time of Augustus.”

Even though Santa Maria Maggiore is immense in its area, it was built to plan.
The design of the basilica was a typical one during this time in Rome: “a tall
and wide nave; an aisle on either side; and a semicircular apse at the end of
the nave.” The key aspect that made Santa Maria Maggiore such a significant
cornerstone in church building during the early 5th century were the beautiful
mosaics found on the triumphal arch and nave.

The Athenian marble columns supporting the nave are even older, and either come
from the first basilica, or from another antique Roman building; thirty-six are
marble and four granite, pared down, or shortened to make them identical by
Ferdinando Fuga, who provided them with identical gilt-bronze capitals. The
14th-century campanile, or bell tower, is the highest in Rome, at 246 feet,
(about 75 m.). The basilica’s 16th-century coffered ceiling, to a design by
Giuliano da Sangallo, is said to be gilded with gold, initially brought by
Christopher Columbus, presented by Ferdinand and Isabella to the Spanish pope,
Alexander VI.

The apse mosaic, the Coronation of the Virgin, is from 1295, signed by the
Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by
Giovanni Baglione, in the Cappella Borghese. The 12th-century façade has been
masked by a reconstruction, with a screening loggia, that was added by Pope
Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the
mosaics of the façade. The wing of the canonica (sacristy) to its left and a
matching wing to the right (designed by Flaminio Ponzio) give the basilica’s
front the aspect of a palace facing the Piazza Santa Maria Maggiore.

To the right of the Basilica’s façade is a memorial constituting a column in the
form of an up-ended cannon barrel topped with a cross: it was erected by Pope
Clement VIII to celebrate the end of the French Wars of Religion. In the piazza
in front of the facade rises a column with a Corinthian capital, topped with a
statue of the Virgin and the child Jesus.

This Marian column was erected in 1614 to the designs of Carlo Maderno during
the papacy of Paul V. Maderno’s fountain at the base combines the armorial
eagles and dragons of Paul V (Borghese). The column itself was the sole intact
remainder from the Basilica of Maxentius and Constantine in the Roman Forum. The
statue atop the column was made by Domenico Ferri. In a papal bull from the year
of its installation, the pope decreed three years of indulgences to those who
uttered a prayer to the Virgin while saluting the column.


SALUS POPULI ROMANI (OUR LADY OF ROMAN PEOPLE)




Salus Populi Romani (Protectress, or more literally health or salvation, of the
Roman People) is a Roman Catholic title associated with the venerated image of
the Blessed Virgin Mary in Rome. This Byzantine icon of the Madonna and Child
Jesus holding a Gospel book on a gold ground, now heavily overpainted, is kept
in the Borghese (Pauline) Chapel of the Basilica of Saint Mary Major.

The image arrived in Rome in 590 A.D. during the reign of Pope Gregory I. Pope
Gregory XVI granted the image a canonical coronation on 15 August 1838 through
the papal bull Cælestis Regina. Pope Pius XII crowned the image again and
ordered a public religious procession during the Marian year of 1 November 1954.
The image was cleaned and restored by the Vatican Museum, then given a
Pontifical Mass on 28 January 2018.

The phrase Salus Populi Romani goes back to the legal system and pagan rituals
of the ancient Roman Republic. After the legalisation of Christianity by Emperor
Constantine the Great through the Edict of Milan in 313 AD, the phrase was
sanctioned as a Marian title for the Blessed Virgin Mary.


HISTORY OF SALUS POPULI ROMANI




The image is held to have arrived from Crete in the year 590 AD during the
Pontificate of Pope Gregory the Great, who welcomed the image in person on its
arrival borne with a floral boat from the Tiber river. For centuries it was
placed above the door to the baptistery chapel of the Basilica of Santa Maria
Maggiore where in the year 1240 it began to be called Regina Caeli (“Queen of
Heaven”) in an official document.

Later it was moved to the nave, and from the 13th century it was preserved in a
marble tabernacle. Since 1613 it has been located in the altar tabernacle of the
Cappella Paolina that was built specifically for it, later known to
English-speaking pilgrims as the Lady Chapel. The church and its Marian shrine
are under the special patronage of the popes.

From at least the 15th century, it was honored as a miraculous image, and it was
later used by the Jesuit Order in particular to foster devotion to the Mother of
God through the Sodality of Our Lady movement.

The Roman Breviary states, “After the Council of Ephesus (431) in which the
Mother of Jesus was acclaimed as Mother of God, Pope Sixtus III erected at Rome
on the Esquiline Hill, a basilica dedicated to the honor of the Holy Mother of
God. It was afterward called Saint Mary Major and it is the oldest church in the
West dedicated to the honor of the Blessed Virgin Mary.”




DATING BY ART HISTORIANS



The image “has been confidently dated to almost every possible period between
the fifth century and the thirteenth”. The recent full-length study by Gerhard
Wolf says, cautiously, that it is “probably Late Antique” in its original form.

The icon in its current state of overpainting seems to be a work of the 13th
century (as witnessed by the features of the faces), but other layers visible
under the top one suggest it is a repainting of a much earlier piece; especially
revealing is the modeling of Child’s right hand in the first layer, which can be
compared to other early Christian icons that display ‘Pompeian’ illusionistic
qualities.

The areas of linear stylization, such as Christ’s garment which is rendered in
golden hatching producing a flat effect, seem to go back to the 8th century, and
can be compared with a very early icon of Elijah from Mount Sinai. A second
restoration process started around 1100 and came to an end in the 13th century.
The Virgin’s blue mantle which is wrapped over her purple dress was severely
altered in the outline; the red halos are also not part of the original image.

The image type itself suggests it is not a medieval invention, but rather an
Early Christian concept dating from antiquity: a majestic, half-length portrait
showing a frank outward gaze of the rulerlike Virgin, with her upright, stately
pose and folded hands gently clasping the Child, unique among all icons. Lively
turning of the maturely developed and attired Child also attests to the
painting’s antiquity.

The vivid contrapposto of the two bodies, which suggests direct observation, can
be compared with a 5th-century Mount Sinai icon of the Virgin and Child in Kiev,
and contrasted with the Pantheon Marian icon from 609, which already shows the
Mother slightly subordinated to the Child by the imploring gesture and the turn
of the head, and where the interaction of the bodies exists only in a flat
plane. These comparisons suggest a date of the 7th century for the icon.

The early fame of the icon can be gauged from the production of replicas and the
role it played in the ritual on the feast of the Virgin’s Assumption, where the
Acheiropoieta was moved in a procession to Santa Maria Maggiore to ‘meet’ with
it. Monneret de Villard has shown that engravings of this icon brought by
Jesuits to Ethiopia influenced the art of that country from the 17th century
onwards. More far flung apparent copies include a Moghul miniature, presumably
based on a copy given to Akbar by the Jesuits, and copies in China, of which a
16th-century example is in the Field Museum of Natural History in Chicago.




CAPPELLA SISTINA AND CRYPT OF THE NATIVITY



Under the high altar of the basilica is the Crypt of the Nativity or Bethlehem
Crypt, with a crystal reliquary designed by Giuseppe Valadier said to contain
wood from the Holy Crib of the nativity of Jesus Christ. Here is the burial
place of Jerome, the 4th-century Doctor of the Church who translated the Bible
into the Latin language (the Vulgate).

Fragments of the sculpture of the Nativity believed to be by 13th-century
Arnolfo di Cambio were transferred to beneath the altar of the large Sistine
Chapel off the right transept of the church. This chapel of the Blessed
Sacrament is named after Pope Sixtus V, and is not to be confused with the
Sistine Chapel of the Vatican, named after Pope Sixtus IV. The architect
Domenico Fontana designed the chapel, which contains the tombs of Sixtus V
himself and of his early patron Pope Pius V. The main altar in the chapel has
four gilded bronze angels by Sebastiano Torregiani, holding up the ciborium,
which is a model of the chapel itself.

Beneath this altar is the Oratory or Chapel of the Nativity, on whose altar, at
that time situated in the Crypt of the Nativity below the main altar of the
church itself, Ignatius of Loyola celebrated his first Mass as a priest on 25
December 1538. Just outside the Sistine Chapel is the tomb of Gianlorenzo
Bernini and his family.

The Mannerist interior decoration of the Sistine Chapel was completed
(1587–1589) by a large team of artists, directed by Cesare Nebbia and Giovanni
Guerra. While the art biographer, Giovanni Baglione allocates specific works to
individual artists, recent scholarship finds that the hand of Nebbia drew
preliminary sketches for many, if not all, of the frescoes. Baglione also
concedes the roles of Nebbia and Guerra could be summarized as “Nebbia drew, and
Guerra supervised the teams”.




FEAST DAY - 5TH AUGUST



On 12 November 1964, Blessed Pope Paul VI made a pilgrimage to the basilica and
solemnly proclaimed Our Lady “Mother of the Church.” On 5 August the anniversary
of the miraculous snow fall, the Feast of Our Lady of Snows is celebrated at the
basilica of her name. White petals are scattered throughout the Basilica.


MASS TIME




WEEKDAYS

7:00 am 8:00 am 9:00 am 10:00 am 11:00 am 12:00 (Noon) 6:00 pm


SUNDAYS

7:00 am 8:00 am 9:00 am 10:00 am 12:00 (Noon) 6:00 pm


CHURCH VISITING TIME

Every Days : 7:00 am to 6:45 pm


CONTACT INFO


Basilica of Saint Mary Major,
Piazza di Santa Maria Maggiore,
00100, Rome RM, Italy.


PHONE NO.



Tel : +39 06 6988 6800

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ACCOMMODATIONS





HOW TO REACH THE BASILICA



Giovan Battista Pastine International Airport in Italy is the nearby Airport to
the Basilica.

Farini Transit Stop in Rome, Italy is the nearby Transit Station to the
Basilica.


Basilica Di Santa Maria Maggiore Basilica of Saint Mary Basilica of Saint Mary
Major Basilica of Saint Mary Major Rome in Italy Basilica Sanctae Mariae Maioris
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