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The Baroque Transformation of the Salus Populi Romani Amber Mcalister Blazer

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The Baroque Transformation of the Salus Populi Romani Amber Mcalister Blazer From Icon to Relic: The Baroque Transformation of the Salus Populi Romani Amber McAlister Blazer In partial response 10 the Pro1esian1 denunciation of sa­ of another revered icon al the Chiesa Nuova.' This con1empo­ cred images, the Counter-Reformation Church in Rome initi• rary project anticipates lhe formal solution employed at 1he atcd a widespread progmm 10 resanctify holy icons.' The re­ Pauline altar. In 1606, the Orntorian fathers of S. Mruia in newed importance or such images for the renovmio of the Vallicella commissioned a paiming from Pe1cr Paul Rubens for Church was stated emphatically by the elaborate Baroque vo­ tbe high altar of 1heir new church. the Chiesa Nuova.' One of cabulary employed in their re-installation. An important ex­ their requirements was 1ha1 it should incorporate the mirncu­ ample of this process is seen in the tomb chapel erected by lous image of the Madonna and Child which the fathers had Paul Vat S. Maria Maggiore and its allar that houses the icon. preserved from their old church. Rubens finished the canvas of today known as the Salus Pop11li Rom1111i (Figure I).' Because Sts. Grego,}' and Domiti/111, S11rro1111ded by Fo11r Saims !Sts. of1he long and revered his1ory of 1he icon. the papal patronage Maurus and Papianus. Nereus and Achilleus] in 1607.' Be­ of the si1e. and the nascent Baroque style used for 1he altar cause of the poor light in the church the painting was unread­ itself. the Pauline installation serves as a paradigm for the able, and 1he Church fathers asked Rubens 10 redo the work on Counter-Reformation display of icons. In its new seuing. em­ a non-reOec1i ve surface. Instead of merely copying the com­ bedded in a series of gold and marble frames, the Salus Pop11/i position on stone. in 1608 the painter came up wi1h an entirely Romani is revealed to be not simply a painted image of 1hc new a1Tangement that emphasized the venerated image (Fig­ Madonna and Child, but a relic. the precious remains of 1he ure 2). He removed the four flanking saints to two separaie lncan1a1ion itself. side panels. !hereby focusing on 1hc ccn1ral scene. As in the The progl"dm ai the Pauline Chapel, initiated in 1605 and previous version. the miracle-working image was concealed completed a decade later. is an1icipa1ed by the re-installation behind a copper panel that was. in turn. paimcd wi1h Rubens' Thi s. lhlpet was developed in the 1993 fall quarter i.eminarcooduc1cd by A.rchi1elaonische En,euerung ,·e>n S. Maria Maggiore un1cr Pllul v .. tt Profo~so. Shelley 2ur.m'. I wish 10 express iny th:inks 10 Dr. Zuraw for ROmiu:hes J<lhrl111cJ1 ftir Kmrsrge.w-:hechte 20 ( 1983): 241-327. ht.-r inspir:uion and cncouragcmem with this project. I would al~C> like 10 lhank Lbe School of An al the Univcrsily of Gt-orgia for its coniinucd Sec Torgil Mag.nus.en. Rom" iri the /\gt> ,>J Bt mhri. vol. I (Stockholm. financial support of this undertaking.. ' Sweden: Alrnq\•i~1 & Wiks.c.11, 1982) 162; and Ilse von zur MUhlen, "'Nach1ridcn1incis.hc 8ildau(fas&1.mgen: Cesare Baronio und Ruben~· EmHe Male. Li\rt Rdigieut'1prts le Condie dt' Treme (Pari-.: A. Colin, Gem.!llde rur S. Maria in Vallicella in Rom." M/lnch11er Jahrln1rh ,fer 1932) c.~. 29-36: Howard Hibt>.ird, "Ut picwr,,e scrm<mt~·: The Fil'Sl Bildemle,r Kll11st 41 (1990): 46, and n. 114. l>ai ntcd Oecormjon or the GeSU." in Baroque Ari: The Jesuit Contrilm­ tit>n. ed. Rudolf Wiukowcr mlCI Inn., Jnffc (New Yort: f'ordhnm Uni\·et· TI11:: para.Itel:,, between these two al1ars has ills<> 1/Ccn dn,wn by Gerhard si1y Pre~-.. H>72) 30: and Rudolf Wiuk.ower. Art and Ardu'tecfllre in Wolf in his rcccnl aniclc ~Regina Cocti. F:icies Lun.'le. ·e1 in 1emi pw,:.­ IU1l)'. J()(J()10 J750(3tded. Harmond~wonh: Penguin Books, Ltd., 1991) RlJmischts Jahrb11d1 dtr Bibliotheca lltr1:;i(IJU1 21ns ( 199 lfl)2): 328- 21-25. Fot- icon(>grnphic isi-ucs rel:uing 10 icons and especially their role 331. Herc. 1he author explores the iconography of the fresco program. in the Coun1c,-l~cform:uion. see the 1>ecet11 publieaLi on by Hans Bell­ u.s well as 1hc relationship of 1hc decoration of the chapel to Lhe in:,,1alla- in£. LJJ:t'r1ess and P"srnu: A 1/islory of11,e lm<1ge before the Em <>f 1ion of the icon at the a.liar. Mt. tr.ins. Edmund Jcphcou (Chic.igo: 11lC Univcrsily of Chicago Press. 1994). • Regarding this commi$Sion sec: Mich:iel Jamt "Pe1cr Paul Rubens and 1hc Orn1orian Fathers." Pro1x,r:;.io11i 4 ( 1963): 209-241: J. MUiier Soo al!,() Oiavid Pn."t.-dbcrg, ·1'hc Orig.ins and Rise of the FJemish Ma• l-lofSlede. "Ruben.fs firsl bo1.zcttofor Sta. Maria in Vallicclla," 811rli,1g1'm donnas in f':lowcr Garhlnds: Oecoratjon and Devotion." Miinclmer Mngnzi11e 106 (1964): 442-451: Manin Warnke. "llalienische JohrlJ'l,tlt dcr 8ildc1ulr11 Kw,st 32 ( 1981 ): I IS- I SO: und Sylvia Pagdcn, Bildiabem:tl:.el bis w m Frtihbarock." Mii,:dmer Jahrbudrder fJilderu/e,, ·rrorn Cull Images 10 lhe Cult of Images: The C'1se or R.-iphael's Altar. K11nst 19 ( 1968): 61 -1 02: Michael Jafff, R11l>Msa,u/ holy (Ithaca, New piccc~.M in Tire Alu,rpieu in the Renai~·wm:e. ed. Pe1er Humfrey and York: Cornell Universi1y Press. 1977) 85-99: Volker l lerl.l.er. "Honor Mart.in Kemp (Cambridge: Cambridge Univer.-ily Press. 1990) 178. refenurad prowcypa; Noch einrnal zu Ruben..:;' All.arw-crkcn fiirdie Chiesa Nuova in Rom," 7..eitsclrrift fllr K11n.stgeschirl11t: 42 (1979): 117-132: Alc~:indra Hen discussei. 1he lOmbs and lhcir chapels as rencc1ion~of Julius Held. 11u: Oil Sk~1rl,"s of Pcur P<ml R11bens. vol. I (Princt:1on. C0trnter-Reformalion lhough1 in 771" Sixti,ie '"''' l'auli11e fombs irr St. N.J.: Prince1on Univers i1y Press. 1980) 537-545; and Pc1cr Suuon, ed. Maria Mnggion-. An lro,1ogr<111llkal St11dy (Ann Arbor. Mich.: Uni­ 11,e Age ofR"/H11s, exh. c:11 .. Boston. Museum of Fine Aris. Seple.mbe1' versi1y Microfilms. 1974): and in a summary of her dis~rta1ion. Mihc 22. 1993 • January 2. 1994 (New York: lla,ry N. Abrams. Inc .. 1993) Si.x.tine and Pauline Tombs.. J)ocumcnts of the Coun1er•Reformation.M 228-231. Storia de/Ji\rte 43 (198 1): 241•262. See also Klaus Schwager. "Die of ATHANOR XIII AM SER MC AUSTER BLAZER imitation of the icon. A host of angels adore and support the a similarily was a common means ofaffinning its a11ribu1ion 10 framed copy. Raised on a pedestal of colored marbles, the al­ the hand of Ille Evangelist, and therefore the icon's venerable tarpiece itself is flanked by red marble columns with gilt capi­ naturc. 11 tals and inlaid marble paneling. The preciousness of materials The miracle that proved the S. Maria Maggiore icon's effi­ and the grandness ofscale present the new image as ifit were a cacy and, thus, authenticated its avowed saintly origin, is said heavenly apparition. to have occurred in 590." According 10 tradition, in an effon It is likely that Cardinal Cesare Baronius, author of the to save his people from the plague, Pope Gregory the Great l11111ales Ecclesiastici, a history of the Catholic Church com­ carried the image lllrough the s1ree1s of Rome. As the pope's piled to defend it against Protestant rcfonncrs, suggested the procession approached St. Peter's, an angelic chorus was heard initial solution for the program of the high altar.• Apparently singing. When Gregory responded, Ille Archangel Michael ap­ his aim was to legitimize the veneration of the miracle-working peared over the Castel Sanl'Angelo, renamed after this event, image of the Virgin through a close association with Ille cucha­ and brought an end to Ille plague." The icon was thus credited ristic ritual perfonned at the altar below.' The manner in which as the savior of the Romans. 14 the Chiesa Nuova image is embedded in the altar complex an­ In medieval Rome such powerful icons were closely iden­ nounces its dual role as both icon and relic. This same transfor­ Lilied with their location, acting as both representatives and mation was achieved through similar means with the installa­ patrons of their church." The documented history of Lhe Salus tion of the S(llus Pop11/i Rom(lni in 1613 in the Pauline Chapel Populi Romani connects ii with one church, S. Maria at S. Maria Maggiore. Maggiore." This Roman basil ica was the first church in all of In this image the figures of the Madonna and Child arc Christendom dedicated to Ille Virgin, very likely in direct re­ depicted against a background ofgold inscribed with the Greek sponse to the proclamation of the Virgin Mary as Theotokos, or abbreviation for Mother of God (Figure 3).1 The icon is usu­ Mother of God, at the Council of Ephesus in 431.17 According ally described as an example of the Hodegetria type, in which to legend, the basilica's foundation can be traced to a miracu­ the Virgin gestures with her free hand, pointing to her Child.9 lous intervention of the Virgin." During tl1e night between lhe However, the Salus Populi Romani Virgin rests her right hand fourth and fift h of August, in the year of 352, Ille Virgin ap­ on top of her left and extends her thumb, index, and middle peared in a vision 10 both Pope Liberius and a wealthy patri­ fingers in an allusion to the Trinily.
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