This name, in Latin, translated into the "Protectress of the Roman People" or "Health of the Roman People." has received these titles by the local populace through saving the city in the past during times of crisis, of plague and other difficulties. Many popes have praised this icon and it is a key symbol of Mary in the Eternal City.
The icon is at least a thousand years old and has historically been attributed to St. Luke who was a first century artist, physician, and writer of both the Gospel of Luke and the Acts of the Apostles. There is a corresponding legend that the icon was painted atop a table taken from the home of the Holy Family in Nazareth.
This icon is dear to the hearts of Romans and also for many pilgrims who visit. Sometimes newly ordained priests can be seen celebrating their first Solemn Mass here after ordination. In fact, the young Fr. Eugenio Pacelli, future Ven. Pius XII, did this on Easter Sunday, April 2, 1899 when he celebrated his first Mass atop this same altar the day after his priestly ordination at the main altar.
Indeed, many of us have countless fond memories of visiting here for special Masses and moments of quiet prayer and reflection. For many years my confessor has been here, a saintly Dominican priest from the Netherlands. The ministry of Confession is a big apostolate at St. Mary Major, under the care of the Dominican friars who live across the street in the rose-colored palazzo.
The chapel was commissioned by Pope Paul V (Camillo Borghese) and captures perfectly the Baroque spirit. It is typically symmetrical in design, shaped like a Greek cross, articulated with Corinthian orders. Massive pilasters support four large arches, with a frescoed dome resting atop. The fresco depicts the Assumption of Our Lady, a dogma that Pius XII declared on November 1, 1950.
The chapel was designed by Flaminio Ponzio, the architect of Paul V during the late Renaissance Mannerist period. Ponzio designed the chapel from 1605-1612 as not only a chapel to hold the icon, but also as a burial site for various members of the Borghese family, including Pope Paul V, his nephew Cardinal Scipione Borghese, and even Pauine Bonaparte, Napoleon's sister, who married into the Borghese family. It was consecrated in 1613.
The icon has recently been restored and shines in resplendent glory. Its message is 'Ad Iesum per Mariam,' (to Jesus trough Mary). Next to Jesus, Mary is the most perfect model offered for our imitation. This is because the Holy Spirit, in virtue of her Son's merits, lived in her and made her a living image of Christ, as the first tabernacle who held him for the first nine months of his existence as a pre-born human being.
The backdrop is a majestic setting of colored marbles and resplendent gilt metals, cornices in gold, an exquisite harmony with an abundance of lapis lazuli - or blue marble - sourced in Persia, modern day Iran. The icon is the focal point, enshrined above the main altar with golden angels in the style of Bernini, with a Holy Ghost dove reigning down in the center.
High above is a clever low relief on the front depicting Pope Liberius amid the miraculous snowfall of August 5, 358. He outlines in the snow the perimeter of the new church to be built, with the snow depicted with the whitest possible Carrara marble. The artist was Stefano Maderno, one of the greatest Roman sculptors of his day.
Other great artists also contributed, including Guido Reni and Giuseppe Cesari, aka the Cavalieri d'Arpino.
The liturgical space has a unique design. The sanctuary floor is on the same level as the entire chapel. There is no altar rail. The altar is raised by the traditional three steps, plus an additional footpace step, making for a wide surface space, suitable for all liturgical scenarios, including intricate Pontifical rites with deacons and deacons of honor. Indeed, one can imagine in the good olds days the Papal Chapel executing flawless Papal liturgies here of immense beauty and cultural import.
In December of 1953, the icon was carried through the streets of Rome in celebration of the beginning of the first "Marian year." On November 1, 1954, the icon was officially crowned by Ven. Pius XII at St. Peter's Basilica. On October 11, 1954, the Pope promulgated a new encyclical letter, Ad Caeli Reginam, and introduced a new liturgical feast day on the General Roman Calendar to celebrate the Queenship of the Blessed Virgin Mary.
In concluding, the though of Our Lady in art is inseparable from the place she holds in history. She is the most influential woman in world history. Indeed, she is the most sublime heroine in human history. Her life was marked with many agonies and humiliations, as well as many triumphs and consolations. Next to her Son, she was the chief protagonist or coorperator in the story of the Redemption. This icon is the result of a splendid crescendo of religious praise and adoration where human art has attained its highest perfection.
The Christian faithful have seen her prefigured in the Old Testament. In the history of Christianity, poetry rings with her praises. And with Dante, Christendom has deplored its infufficiency to express her wondrous perfections: "
"I saw the Virgin smile, whose rapture shot
Joy through the eyes of all that blessed throng:
And even did the words that I possess
Equal imagination, I should not
Dare, the attempt her faintest charms to express."
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| Plaque commemorating the election of Ven. Pius XII to the throne of St. Peter in the 40th year of his priesthood |
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| Plaque commemorating the First Mass of the future Ven. Pius XII |
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| Plaque commemorating work done on the chapel by Ven. Pius XII |
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| The Borghese Chapel seen from an old pilgrim alleyway |
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| Joyful pilgrims gather at St. Mary Major after Mass |
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| Historic liturgies are celebrated here with eminent churchmen, such as Cardinal Ernest Simoni |
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| The majestic interior of the Basilica during Mass |
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| The outside of the chapel can be seen here, with pilgrims arriving, including the great Catholic intellectual Roberto de Mattei and his family |
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| The lantern of the chapel seen from the rooftop terrace |
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| The chapel seen from the outside |
