This name of course is in Latin. In English it is called the "Protectress of the Roman People" or "Health of the Roman People." It has received these titles by the acclaim of local populace, the result of saving the city during times of crisis, plague and other dangers. Many popes have praised the image and it is a key Marian shrine in the Eternal City.
History and Theology of the Renowned Icon
The icon is at least a thousand years old. Historically, it has 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 the icon was painted atop a table taken from the home of the Holy Family in Nazareth.
Dear to the hearts of Romans, the image is discovered by many pilgrims on their first visit to Rome. The result is many people from across the world develop an affinity for Our Lady under this title. Catholics flock to the chapel by the millions to pray before the icon. In the gift shop images of the icon can be purchased.
The icon was in recent years restored and today it shines in resplendent glory. It has a spiritual message: '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.
Sometimes newly ordained priests choose to celebrate their first Solemn Mass here after their priestly ordinations. In fact, the young Fr. Eugenio Pacelli, future Ven. Pius XII, did exactly that on Easter Sunday, April 2, 1899. On that day he celebrated his first Mass atop the altar under the icon on the day after his priestly ordination.
Indeed, many of the world's Catholics have countless fond memories of visiting here for special Masses and moments of quiet prayer and reflection. St. Mary Major is also a place where many choose to go to Confession. The ministry of Confession is a big apostolate at St. Mary Major, under the care of the Dominican friars who staff the confessional boxes and live across the street in the rose-colored palazzo.
The Resplendent Chapel that Houses the Icon
The chapel of the icon was commissioned by Pope Paul V (Camillo Borghese) and captures perfectly the Baroque spirit. Not surprisingly, it is 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 well-known fresco depicts the Assumption of Our Lady, a dogma that proclaimed by Pius XII on November 1, 1950.
The chapel was designed by Flaminio Ponzio, the architect of Paul V during the late Renaissance. That was during the Mannerist period. Ponzio designed the chapel from 1605-1612 as not only 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 Pauline Bonaparte (Napoleon's sister, who married into the Borghese family).
The chapel was consecrated in 1613.
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 fitting 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 fluffy 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 to the decoration of the chapel, including Guido Reni and Giuseppe Cesari (aka the Cavalieri d'Arpino).
The liturgical space has a unique layout. The sanctuary floor is on the same level as the chapel. There is no permanent 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 old days of the Papal Chapel, with flawless Papal liturgies executed here, liturgies of immense beauty and historic import.
Pius XII's Marian Devotion
Pope Pius XII, who was ordained priest at St. Mary Major and chose to celebrate his First Solemn Mass before the presence of the icon, had a great devotion to Our Lady. In all his works and writings, he entrusted himself to her maternal care and protection.
In December of 1953, Pius XII ordered the icon to be taken out and 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 him in St. Peter's Basilica.
On October 11, 1954, he further promulgated a new encyclical letter, Ad Caeli Reginam, ("To the Queen of Heaven"), and introduced a new liturgical feast day on the General Roman Calendar (May 31) to celebrate the Queenship of the Blessed Virgin Mary under the title of "Queen of Heaven."
In the encyclical, Pius XII wrote that the main principle on which the royal dignity of Mary rests is her divine motherhood, and thus as St. John Damascus wrote, "When she became Mother of the Creator, she truly became Queen of every creature."
The place of Our Lady in art is inseparable from the place she holds in our hearts. 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, Mary was the chief protagonist or cooperator 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 the Blessed Mother prefigured in the Old Testament. In the history of Christianity, the art and poetry of the Church rings with her praises. And with Dante, Christendom has deplored its insufficiency 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 |
