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For other uses, see Santa Maria Maggiore (disambigua- 13th century, says of Liberius: “He built the basil- tion). ica of his own name (i.e. the Liberian Basilica) near the Macellum of ".[6] Its prevalence in the 15th century The Basilica di Santa Maria Maggiore (English: Basil- is shown in the painting of the Miracle of the Snow by .[7][Notes 3] ica of Mary Major, : Basilica Sanctae Mariae Maioris),[2] or of Santa Maria Maggiore, is the largest Marian church in , . Other churches in Rome dedicated to Mary include Santa Maria in , Santa Maria in Aracoeli, and Santa Maria sopra , but the greater size of the Basilica of Saint Mary Major justifies the adjective by which it is distinguished from the other 25. According to the 1929 Treaty, the basilica lo- cated in Italian territory is owned by the and enjoys extraterritorial status similar to that of foreign embassies.[Notes 2] The building is patrolled internally by police agents of Vatican State, not by Italian police. It is located on Piazza del Esquilino, number 34, some five blocks southwest of the Stazione Termini.

1 Other names

The church is sometimes referred to as Our Lady of the Snows, a name given to it in the 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[3] in connection with a that the 1911 Catholic Encyclo- pedia reports thus: “During the pontificate of Liberius, the Roman John and his wife, who were with- out heirs, made a vow to donate their possessions to the 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 sum- mer, snow fell during the on the of the Es- quiline Hill. In obedience to a vision of the Virgin Mary The Blessed Virgin Mary overlooking as the Pontiff which they had the same night, the couple built a basilica scraped the foundation of the basilica into the snow. By Italian in honour of Mary on the very spot which was covered artist Masolino da Panicale. circa 15th-century. Museo di with snow. From the fact that no mention whatever is Capodimonte. made of this alleged miracle until a few hundred years later, not even by Sixtus III in his eight-line dedicatory The feast was originally called Dedicatio Sanctae Mariae inscription ... it would seem that the legend has no his- [4] [4] (Dedication of Saint Mary’s), and was celebrated only torical basis.” in Rome until inserted for the first time into the General The legend is first reported only after the year 1000.[5] It , with ad Nives added to its name, in may be implied in what the Liber Pontificalis, of the early 1568.[3] A congregation appointed by Pope Benedict XIV

1 2 3 HISTORY OF THE PRESENT CHURCH

in 1741 proposed that the reading of the legend be struck from the Office and that the feast be given its original name.[4] 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).[3] The legend is still com- memorated by dropping petals from the during the celebration of the and Second of the feast. The earliest building on the site was the Liberian Basil- ica 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 to where it did occur and Map by Giacomo Lauro and Antonio Tempesta depicting Saint there marked out the area on which the church was to be Mary Major among the Seven in 1599, built.[8] Liberiana is still included in some versions of the in view of the Holy Year of 1600. basilica’s formal name, and “Liberian Basilica” may be used as a contemporary as well as historical name.[9] immemorial custom, hold the of basilica are minor On the other hand, the name “Liberian Basilica” may . be independent of the legend, since, according to Pius Until 2006, the four major basilicas, together with Parsch, Pope Liberius transformed a of the the basilica of outside the Sicinini family into a church, which was for that reason were referred to as the five “patriarchal basilicas” of called the Sicinini Basilica. This building was then re- Rome,[Notes 4] associated with the five ancient patriarchal placed under Pope Sixtus III (432-440) by the present sees of (see ). Saint Mary Ma- structure dedicated to Mary.[8] However, some sources jor was associated with the Patriarchate of . In say that the adaptation as a church of a pre-existing build- the same year, the title of “patriarchal” was also removed ing on the site of the present basilica was done in the from the basilica of Saint Francis in . under , the immediate predecessor of Sixtus III.[10] The former five patriarchal basilicas with the Basilica of the Holy Cross in and fuori le Long before the earliest traces of the story of the mirac- mura formed the traditional Seven Pilgrim Churches of ulous snow, the church now known as Saint Mary Ma- Rome, which are visited by during their pilgrim- jor was called Saint Mary of the Crib (Sancta Maria age to Rome following a 20 kilometres (12 mi) itinerary ad Praesepe),[11] a name it was given because of its established by Saint on 25 February 1552, of the crib or manger of the Nativity of Christ, especially when seeking the plenary on Holy four boards of sycamore wood believed to have been Years.[19][20][21] For the of 2000, Pope John brought to the church, together with a fifth, in the time Paul II replaced ’s church with the Shrine of (640-649).[12][13] This name appears of Our Lady of Divine . in the Tridentine editions of the Roman Missal as the place for the pope’s Mass (the station Mass) on Christ- Night,[14] while the name “Mary Major” appears for the church of the station Mass on .[15] 3 History of the present church

It is agreed that the present church was built under Pope 2 Status as major basilica Sixtus III (432-440). The dedicatory inscription on the triumphal , Sixtus Episcopus plebi Dei, (Sixtus the to the people of ) is an indication of that See also: Major basilica and minor basilica Pope’s role in the construction.[22] As well as this church No can be honoured with the title of on the summit of the , Pope Sixtus III is basilica unless by apostolic grant or from immemorial said to have commissioned extensive building projects custom.[16] Saint Mary Major is one of the only four that throughout the city, which were continued by his succes- today hold the title of major basilica. The other three sor , the great.[23] are Saint John Lateran, Saint and Saint Paul outside the Walls.[17] (The title of major basilica was once used The church retains the core of its original structure, de- more widely, being attached, for instance, to the basilica spite several additional construction projects and damage of Saint Mary of the in Assisi.)[18] All the other by the earthquake of 1348. Catholic churches that, either by grant of the Pope or by Church building in Rome in this period, as exemplified 3

Miri Rubin believes that the building of the basilica was influenced also by seeing Mary as a one who could rep- resent the imperial ideals of classical Rome, bringing to- gether the old Rome and the new Christian Rome: “In Rome, the city of , if no longer of emperors, Mary was a figure that could credibly carry imperial memories and representations.”[29] When the returned to Rome after the period of the papacy, the buildings of the basilica became a temporary Palace of the Popes due to the deteriorated state of the . The papal residence was later moved to the Palace of the Vatican in what is now . 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 commis- sioned to build the present façade and to The Piazza and Church of Santa Maria Maggiore, by Giovanni modify the interior. The interior of the Santa Maria Mag- Paolo Pannini giore underwent a broad renovation encompassing all of its between the years 1575 and 1630. in Saint Mary Major, was inspired by the idea of Rome 4 being not just the centre of the world of the Roman Em- pire, as it was seen in the classical period, but the centre of the Christian world.[24] Santa Maria Maggiore, one of the first churches built in honour of the Virgin Mary, was erected in the immedi- ate aftermath of the of 431, which proclaimed Mary Mother of God. Pope Sixtus III built it to commemorate this decision.[25] Certainly, the atmo- sphere that generated the council gave rise also the mo- saics 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.”[26] The magnificent of the and triumphal arch, seen as “mile- stones in the depiction” of the Virgin,[27] depict scenes of her life and that of Christ, but also scenes from the Old Piazza dell'Esquilino with the apse area of Santa Maria Mag- Testament: striking the , and giore. drowning in the Red Sea. attributes the magnificence of the The original architecture of Santa Maria Maggiore was work also to the abundant revenue accruing to the papacy classical and traditionally Roman perhaps to convey the at the time from land holdings acquired by the Church idea that Santa Maria Maggiore represented old impe- during the 4th and 5th centuries on the : rial Rome as well as its Christian future. As one scholar “Some of these holdings were locally controlled; the ma- puts it, “Santa Maria Maggiore so closely resembles a jority as early as the end of the 5th century were adminis- second-century imperial basilica that it has sometimes tered directly from Rome with great efficiency: a central been thought to have been adapted from a basilica for use as a Christian church. Its plan was based on Hellenistic accounting system was involved in the papal chancery; [30] and a budget was apparently prepared, one part of the in- principles stated by at the time of .” come going to the papal administration, another to the Even though Santa Maria Maggiore is immense in its needs of the clergy, a third to the maintenance of church area, it was built to plan. The design of the basilica was buildings, a fourth to charity. These fines enabled the pa- a typical one during this time in Rome: “a tall and wide pacy to carry out through the 5th century an ambitious nave; an on either side; and a semicircular apse at building program, including Santa Maria Maggiore.”[28] the end of the nave.”[24] The key aspect that made Santa 4 5 INTERIOR

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 mar- ble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals.[31] The 14th century campanile, or , is the highest in Rome, at 240 feet, (about 75 m.). The basilica’s 16th-century coffered ceiling, to a design by , is said to be gilded with gold, initially brought by Christopher Colum- bus, presented by Ferdinand and Isabella to the Spanish pope, VI.[32] The apse , the , is from 1295, signed by the Franciscan Interior of the basilica , . The Basilica also contains frescoes by , in the Cappella Borghese. The mosaics of the triumphal arch and the nave in Santa The 12th-century façade has been masked by a recon- Maria Maggiore were the definition of impressionistic struction, with a screening loggia, that were added by during the time period and gave a for the future Pope Benedict XIV in 1743, to designs by Ferdinando representations of the Virgin Mary. The influences of Fuga that did not damage the mosaics of the façade. The these mosaics are rooted in late antique impressionism wing of the canonica () to its left and a match- that could be seen in frescoes, manuscript paintings and ing wing to (designed by Ponzio) give many pavement mosaics across in , and the basilica’s front the aspect of a palace facing the Pi- during the 5th century.[22] azza Santa Maria Maggiore. To the right of the Basilica’s façade is a memorial representing a column in the form These mosaics gave historians insight into artistic, re- of an up-ended cannon barrel topped with a cross: it was ligious, and social movements during this time. As erected by Pope Clement VIII to celebrate the end of the one scholar explains that mosaics in Santa Maria Mag- .[33] giore had two goals: one to glorify the Virgin Mary as , (God-Bearer); and the other as the scholar The erected in 1614, to designs of Carlo puts is “a systematic and comprehensive articulation of Maderno is the model for numerous Marian columns the relationship of the Hebrew and the Christian erected in Catholic countries in thanksgiving for remis- scriptures as one in which the Hebrew Bible foreshadows sion of the plague during the era. (An exam- .”[35] This is explained by the dual images of ple is the Holy Column in Olomouc, the Czech and events depicted in the ). The column itself is the sole remainder mosaics of the triumphal arch and the nave. The mosaics from Constantine’s Basilica of and Constan- also show the range of artistic expertise and refute the the- tine in Campo Vaccino Rome Art Lover website notes that ory that mosaic technique during the time was based on Campo Vaccino as what the Roman was called copying from model books. The mosaics found in Santa until the 18th century]. Maderno’s at the base Maria Maggiore are combinations of different styles of combines the armorial eagles and dragons of Paul V. mosaic art during the time. As one scholar puts it “the range of artistic expertise and the actual complexities of production can hardly be reduced to a mentality of copy- 5 Interior ing. A test case is given by the mosaics of S. Maria Mag- giore in Rome”.[26] 5.1 Fifth century mosaics 5.1.1 Triumphal arch The mosaics found in Santa Maria Maggiore are not just incredibly beautiful works of Late Antique art; they are The triumphal arch at the head of the nave was at first also one of the oldest representations of the Virgin Mary referred to as the apse arch, but later became known as in Christian . As one scholar puts it, “This the triumphal arch.[36] The triumphal arch is illustrated is well demonstrated by the decoration of Santa Maria with magnificent mosaics depicting different scenes of Maggiore in Rome,... where the iconographic depiction Christ and the Virgin Mary. There was a difference in of the Virgin Mary was chosen at least in part to celebrate the styles used in the triumphal arch mosaics compared the affirmation of Mary as Theotokos (bearer of God) by to those of the nave; the of the triumphal arch was the third of Ephesus in 431 CE.”[34] much more linear and flat as one scholar describes it, not 5

A nave mosaic from the story of Moses

underneath light blue; the man next to him wears a deep Mosaic in the triumphal arch blue toga over a gray and white tunic.”[22] Another panel shows the demise of the Egyptians in the Red Sea. An observer describes the mosaic: “The Egyptians, clad in nearly as much action, emotion and movement in them as blue armor with gold bands and scarlet cloaks wildly fly- there were in the Old Testament mosaics of the nave.[26] ing, drown in the greenish blue ; the horses, white One of the first scenes that were visible on the triumphal or light brown shaded with darker browns, highlighted in arch was a panel of Christ’s with a group of white, the accoutrements a bright red.”[37] angels as his court. As one historian describes it: “On the apse arch Christ is enthroned, a young emperor attended by four chamberlains, angels of course”,[24] this is a per- fect example of mosaic art in the 5th century. Another 6 Crypt of the Nativity and Cap- panel found on the triumphal arch is of the Virgin, she pella Sistina is crowned and dressed in a colorful veil, her wardrobe subtly brings to mind that of a Roman empress and in this panel she has her divine son walking with her and a suite of angles and ready to greet her; “The Vir- gin...shows to perfection the impressionistic character of mosaics.”[37] Another panel is known as the Adoration of the and this mosaic depicts Infant Christ and The Virgin and the arrival of the three wise men, “mosaics il- lustrating Christ’s first coming and his youth covered the triumphal arch.”[37] The other panel depicts the Virgin accompanied by five martyrs.[22]

5.1.2 Nave

The nave of the basilica was covered in mosaics repre- senting Old Testament events most vividly of Moses lead- ing the out of across the Red Sea. “The Reliquary of the Holy Crib nave mosaics (which represents stories of Old Testament history and accordingly offered Christians in Rome a Under the high of the basilica is the Crypt of the new 'past') are illusionistic in a colorful and impression- Nativity or Crypt, with a crystal reliquary de- [26] signed by said to contain wood from ist manner” as this scholar puts it the scene was filled [38] with movement, emotion, and it was to inspire thinking the Holy Crib of the Christ. Here is of Rome’s “new” past; the past of the Old Testament. The the place of Saint , the 4th-century who translated the Bible into the Latin lan- detail used in creating the scene was magnificent as one [39] scholar describes it: “Moses strikes the waters of the Red guage (the ). Sea in a heroic gesture, his toga in light and dark grays and Fragments of the of the Nativity believed to be blues, but lined in black, the folds white lines, the tunic by 13th-century were transferred to 6 8 PAPAL BASILICA

Bril, and Ferraù Fenzoni.[40]

7 Borghese and Salus Pop- uli Romani

The Borghese Chapel

The column in the Piazza Santa Maria Maggiore cele- Altar of and of the Nativity brates the famous of the Virgin Mary now enshrined in the Borghese Chapel of the Basilica. It is known as beneath the altar of the large Sistine Chapel [38] off the , or Health of the or right transept of the church. This chapel of the Blessed of the Roman People, due to a miracle in which Sacrament is named after , and is not to be the icon helped keep plague from the city. The icon is confused with the Sistine Chapel of the Vatican, named at least a thousand years old, and according to a tradition after Pope Sixtus IV. The architect was painted from life by St using the designed the chapel, which contains the tombs of Sixtus wooden table of the in . V himself and of his early patron . The main The Salus Populi Romani has been a favourite of several altar in the chapel has four gilded bronze angels by Se- popes and acted as a key Mariological symbol. Roman- bastiano Torregiani, holding up the , which is a born Pope Pius XII (Eugenio Pacelli) celebrated his first model of the chapel itself. Holy Mass there on 1 April 1899. In 1953, the icon was Beneath this altar is the Oratory or Chapel of the Nativity, carried through Rome to initiate the first Marian year in on whose altar, at that time situated in the Crypt of the Church history. In 1954, the icon was crowned by Pope Nativity below the main altar of the church itself, Saint Pius XII as he introduced a new Marian feast Queenship celebrated his first Mass as a on of Mary. Pope Paul VI, Pope John Paul II, Pope Bene- 25 December 1538. dict XVI, and all honoured the Salus Populi Romani with personal visits and liturgical celebrations. Just outside the Sistine Chapel is the tomb of Gianlorenzo Bernini and his family.[39] The Mannerist interior decoration of the Sistine Chapel 8 Papal basilica was completed (1587–1589) by a large team of artists, directed by and Giovanni Guerra. While As a papal basilica, Santa Maria Maggiore is often used the art biographer, Giovanni Baglione allocates specific by the pope. Most notably, the pope presides over the works to individual artists, recent scholarship finds that annual Feast of the , celebrated on the hand of Nebbia drew preliminary sketches for many, 15 August each year at the basilica. The canopied high if not all, of the frescoes. Baglione also concedes the roles altar is used by the pope alone — except for a few of Nebbia and Guerra could be summarized as “Nebbia including the . Pope Francis began his first full drew, and Guerra supervised the teams”. day as pontiff with a visit to the basilica on 14 March Others include Ferdinando Sermei, Giacomo Stella, Paul 2013. 7

10 List of major works of art in the basilica

• Early Christian mosaic cycle depicting Old Testa- ment events, 5th century • The Salus Populi Romani, a much venerated early icon of the Virgin and Child. • Funerary of Clement IX (1671) by with the papal bust by . • Temporary catafalque for Philip IV of de- signed in 1665 by Rainaldi • Funerary monument of Pope Nicholas IV, designed by Domenico Fontana in 1574. • Bust of Costanzo Patrizi by Algardi. • Sacristy frescoes by Passignano and Giuseppe Puglia, • Saint Cajetan holding the Holy Child, by Bernini. • High altar sculpture by , (c. 1750). • of Pius IX in prayer by Ignazio Jacometti, (c. 1880). • Pauline Chapel frescoes, by • Frescoes for the monument of Clement VIII, Lanfranco Salus Populi Romani, perhaps the oldest Marian image in Rome, • Cesi Chapel tombs by Italy. • Altar, confessio and Presepio (crib) by Arnolfo di Cambio, about 1290 The pope gives charge of the basilica to an archpriest, usually an , who has been made a cardinal. Formerly, the archpriest was the titular Latin 11 in the church of Antioch, a title abolished in 1964. Since 21 Novem- ber 2011, the current archpriest has been Santos Abril y Further information: List of papal tombs Castelló. In addition to the archpriest and his assistant priests, • a chapter of canons is resident. Redemptorist and Dominican priests serve the church, hearing confessions • and celebrating the and other sacraments such • as and matrimony. Archbishop Domenico Caloyera O.P. The King of Spain, currently Felipe VI, is ex officio • Pope Clement VIII [41] protocanon of the basilica’s chapter. • Pope III (no longer extant) • Pope Clement IX 9 of the Basilica di • Saint Jerome, Santa Maria Maggiore since • Pope Nicholas IV 1127 • Saint Pope Pius V • Cardinal List of archpriests of the Liberian Basilica since • Pope Sixtus V 1127.[42][43][44][45][46] Initially not all archpriests were cardinals • Guido di Santa Fiora 8 14 REFERENCES

12 See also 14 References

• Properties of the Holy See Citations • Marian churches [1] “Historic Centre of Rome, the Properties of the Holy See • Dedication of the Basilica of St Mary Major in that City Enjoying Extraterritorial Rights and San Paolo Fuori le Mura”. Whc..org. Archived from the orig- • Index of Vatican City-related articles inal on 29 June 2011. Retrieved 17 June 2011.

[2] The actual official name seems to vary: The Holy See's 13 Notes press office uses “Papal Liberian Basilica of St. Mary Ma- jor in Rome” in English in a 2011 note, while the official Vatican website for the church uses various formulas not [1] The basilica, which is owned by the Holy See (article 13 including “Liberian” or Liberiana, some under a coat of of the ), “form(s) part of the territory of arms that includes “basilica Liberiana” in Italian. the Italian State (but) (s) the immunities granted by to the headquarters of the diplomatic [3] Calendarium Romanum 1969, p. 99 agents of foreign States” (article 15 of the Lateran Treaty). [4] Ott 1913, Our Lady of the Snow [2] “Treaty between the Holy See and Italy”. Holy See. Ar- ticle 13: “Italy recognizes the full ownership of the Holy [5] Dedication of St. Mary Major Basilica See over the patriarchal Basilicas of St. John Lateran, Sta. Maria Maggiore, and St. Paul, with their annexed build- [6] Loomis 1916, p. 77 ings. ... [7] Miles 1993, p. 157 Article 15 The properties indicated in Article 13 hereof ..., even if such edifices form part of the territory of the [8] Pius Parsch, The Church’s Year of Grace quoted in Italian State, will enjoy the immunities granted by Inter- : “Ordinary Time, 5 August” national Law to the headquarters of the diplomatic agents of foreign States.” [9] See for example the Holy See's press office using “Papal Liberian Basilica of St. Mary Major in Rome” in English [3] This triptych painted around 1423 was commissioned for in a 2011 note, while the official Vatican website for the the basilica by a member of the family; it is now church uses various formulas, some under a coat of arms in the Museo di Capodimonte, (Paul Joannides, that includes “basilica Liberiana” in Italian. “The Colonna Triptych by Masolino and ,” Arte Cristiana no 728 (1988:339-)). The miracle is depicted as [10] Rubin 2009, p. 95 witnessed by a crowd of men and women, with Jesus and the Virgin Mary observing from above. [11] , 5 [4] When Pope Benedict XVI abandoned the title "Patriarch [12] Stephen M. Donovan, “Crib” in of the West", Saint Mary Major changed its name from 1908 Patriarchal to Papal Basilica, as in the heading of its offi- cial website, while the body of the articles on the site has [13] Joan Carroll Cruz, Relics (Our Visitor 1984 ISBN not yet been revised to remove the term “patriarchal”. 978-0-87973-701-6), p. 22 [5] Archpriest Pietro Sasso is commonly identified with con- [14] Missale Romanum, 1962 edition, p. 17 temporary cardinal Pietro Sasso of S. Pudenziana (1206– [15] Missale Romanum, 1962 edition, p. 20 1218/19). However, this identification remains uncertain because the only document which mentions this archpriest [16] Robert F. McNamara, Minor Basilicas in the United States (dated July 3, 1212) makes no reference to his cardinalate, cf. Ferri in ASRSP, vol. 28, p. 24 [17] Basilicas [6] Cardinal Pietro Capocci (died 1259) is mentioned in the [18] , Modern Catholic Dictionary 1980 majority of the catalogs of archpriests of Liberian Basil- ica but the documents from the archive of the Basilica, [19] La Visita alle Sette Chiese published by Ferri in ASRSP, vol. 27, p. 34–39 and vol. [20] Panvinio, Onofrio (1570). Le sette chiese romane. Rome. 30, p. 119, give no support for this affirmation. Docu- Retrieved 12 August 2011. ment dated March 19, 1244 mentions Astor (or Aston) as archpriest, documents between , 1247 and [21] Sacchi, Guido. “La visita alle Sette Chiese: cenni storici” October 1, 1255 mention archpriest without mentioning (in Italian). Retrieved 12 August 2011. his name but also without indicating his cardinalate, and on May 28, 1258 Romano was archpriest of the Basilica; [22] Krautheimer 1980, p. 49 the latest document mentions also cardinal Pietro Capocci [23] Krautheimer 1980, p. 52 but makes no reference to his occupation of that post. If he was really an archpriest under Innocent IV, he must [24] Krautheimer 1980, p. 46 have later resigned, but it seems more likely that this state- ment resulted from a confusion. [25] Vassilaki 2000, p. 10 9

[26] Cormack 2000, p. 889 • Ferri, G. (1904). Le carte dell'Archivio Liberiano dal secolo X al XV. Archivio della Societa Romana [27] Vassilaki 2000, p. 132 di Storia Patria (in Italian) 27. [28] Krautheimer 1980, pp. 69–70 • Ferri, G. (1905). Le carte dell'Archivio Liberiano [29] Rubin 2009, pp. 95–96 dal secolo X al XV (continua). Archivio della Soci- eta Romana di Storia Patria (in Italian) 28. [30] Miles 1993, p. 158 • Ferri, G. (1907). Le carte dell'Archivio Liberiano [31] Beny & Gunn 1981, p. 106 dal secolo X al XV (continuazione e fine). Archivio [32] Charles A. Coulombe, Vicars of Christ, p. 330. della Societa Romana di Storia Patria (in Italian) 30. • [33] Basilica memorial to celebrate the end of the French Wars Gwynn, M.; Bangert, Susanne (2010). Reli- of Religion; accessed 22 March 2014. gious diversity in late antiquity. Leiden: Brill. ISBN 978-90-04-18000-0. [34] Gwynn 2010, p. 235 • Krautheimer, Richard (1980). Rome : profile of a [35] Miles 1993, p. 160 city, 312-1308. Princeton, N.J.: Princeton Univer- [36] Krautheimer 1980, p. 47 sity Press. ISBN 978-0-691-00319-1. • [37] Krautheimer 1980, p. 48 Loomis, Louise Ropes (1916). The Book of Popes (Liber Pontificalis). New York: Columbia Univer- [38] Inside the Basilica sity Press. OCLC 1941708. [39] Sacred Destinations: SantaMariaMaggiore, Rome • Miles, Margaret R. (1993). “Santa Maria Maggiore’s Fifth-Century Mosaics: Tri- [40] Eitel-Porter 1997, pp. 452–462 umphal Christianity and the Jews”. Har- [41] Liberian Chapter vard Theological Review 86 (2): 155–172. doi:10.1017/S001781600003114X. The fifth- [42] Moroni 1840, pp. 127–135 century mosaics of Santa Maria Maggiore in Rome [43] Respective biographical entries on Essay of a General List represent the oldest surviving program of mosaic of Cardinals by Salvador Miranda decoration in a Christian church.

[44] Ferri 1904, p. 147–202 and 441–459 • Moroni, Gaetano (1840). “Notizie sul capitolo ed arcipreti della basilica di s. Maria Maggiore”. [45] Ferri 1905, pp. 23–39 Dizionario di erudizione storico-ecclesiastica da S. Pietro sino ai nostri giorni (in Italian) 12. Tipografia [46] Ferri 1907, pp. 119–168 Emiliana. pp. 127–135. Retrieved 4 August 2011.

Bibliography • Ott, (1913). "Our Lady of the Snow". Catholic Encyclopedia. New York: Robert Appleton • Holy See (1969). Calendarium Romanum: ex de- Company. Retrieved 2008-12-17. creto Sacrosancti Oecumenici Concilii Vaticani II in- • Rubin, Miri (2009). Mother of God : a history of stauratum. Vatican State: Typis Polyglottis Vatica- the Virgin Mary. New Haven: Yale University Press. nis. ISBN 978-0-300-10500-1. • Beny, Roloff; Gunn, Peter (1981). The churches of • Vassilaki, Maria (2000). The mother of God : rep- Rome. New York: Simon and Schuster. ISBN 978- resentations of the Virgin in . Milano: 0-671-43447-2. Skira. ISBN 88-8118-738-8. • Cormack, Robin (2000). “Chapter 30: The Visual • Warland, Rainer (2003). “The Concept of Rome in ”. In Cameron, Averil; Ward-Perkins, Bryan; Late Antiquity reflected in the mosaics of the Tri- Whitby, Michael. The Cambridge ancient history. umphal Arch of S. Maria Maggiore in Rome”. Acta and successors, AD 425-600 XIV. Cam- ad archaeologiam et artium historiam pertinentia 17: bridge: Cambridge University Press. ISBN 978-0- 127–141. ISSN 0333-1512. Retrieved 4 August 521-32591-2. 2011. • Eitel-Porter, Rhoda (1997). “Artistic Co-Operation in Late Sixteenth-Century Rome: Sistine Chapel in S. Maria Maggiore and the Scala Santa”. The 15 External links Burlington Magazine 139 (1139): 452–462. JSTOR 887503. • A video on the early building history of the church. 10 15 EXTERNAL LINKS

• A look at the restoration

• Devotion to Our Lady of the Snows from the National Shrine of Our Lady of the Snows website of The Missionary of Mary Immaculate • Eternal Word Television Network, Global Catholic Network (EWTN) Profile of Basilica di Santa Maria Maggiore.

• Images and Links Further Information on Basilica di Santa Maria Maggiore

• Kunsthistorie.com gallery • Roberto Piperno, “S. Maria Maggiore”

• Satellite Photo of St. Mary’s Major Basilica

• The Papal Basilica Santa Maria Maggiore (website of the Holy See) 11

16 Text and image sources, contributors, and licenses

16.1 Text

• Basilica di Santa Maria Maggiore Source: http://en.wikipedia.org/wiki/Basilica%20di%20Santa%20Maria%20Maggiore?oldid= 645894192 Contributors: Zundark, Panairjdde, Gabbe, Docu, WouterVH, JASpencer, Charles Matthews, Nv8200p, Warofdreams, Wet- man, The lorax, Gentgeen, Robbot, Broux, Gugganij, Tgwena, Xandar, Gerald Farinas, Trilobite, D6, Pmadrid, Rich Farmbrough, Lima, Bill Thayer, Caeruleancentaur, JoaoRicardo, Ghirlandajo, Woohookitty, Brassica, Sixtus, Revas, Josh Parris, Eoghanacht, Vegaswikian, Mm35173, FlaBot, Eubot, Jcmurphy, Xcia0069, Chobot, Gdrbot, Ariasne, Borgx, NTBot, Darsie, RussBot, Shell Kinney, BSNRa- heim, Djadek, Mlouns, Sebastian Prospero, Nlu, Chase me ladies, I'm the Cavalry, [email protected], Attilios, SmackBot, Mira, Hmains, Švitrigaila, , Scwlong, KaiserbBot, JACurran, Savidan, Jan.Kamenicek, Copysan, Andreakkk, Ian Spack- man, Ccirulli, JHunterJ, Neddyseagoon, Iridescent, sk, Angeldeb82, Rwflammang, Todowd, Namayan, CMG, Cydebot, Jame- sAM, Thijs!bot, Cwtyler, Sanctvs, JAnDbot, Partiro41, Andrepalis, Panarjedde, Cynwolfe, Magioladitis, Howardsend87, The Anomebot2, R'n'B, Paris1127, Johnbod, Biglovinb, Joanenglish, VolkovBot, Lambdoid, Tgrankin, Bonzon, VanishedUserABC, Goldnpuppy, Quist- wiki, SieBot, StAnselm, Albanman, CarlosPn, Lightmouse, Bede735, Afernand74, Vanished user ewfisn2348tui2f8n2fio2utjfeoi210r39jf, Tetraktys-English, Randy Kryn, Lloydbaltazar, Dvl007, TIY, Diegom-08, Sun Creator, Erpecom, Elizium23, Mattissa, EstherLois, Ambro- sius007, Felix Folio Secundus, Addbot, Mephiston999, Castalusoria, Favonian, Aunva6, LinkFA-Bot, Тиверополник, Ondewelle, Light- bot, Zorrobot, Luckas-bot, Yobot, KamikazeBot, Twpsyn Pentref, MinorProphet, AnomieBOT, Tango7174, Galoubet, JackieBot, Mate- rialscientist, Citation bot, Xqbot, Jayarathina, TechBot, TudorTulok, INeverCry, Aidas, FrescoBot, MGA73bot, Louperibot, LittleWink, RedBot, Lars Washington, Emporostheoros, TobeBot, Hermarchos, LawBot, Stalwart111, RjwilmsiBot, Alph Bot, DASHBot, Esoglou, EmausBot, TomIzbick, Stebunik, ZéroBot, George46, Eyadhamid, Respino1989, Frietjes, Rotgild, Helpful Pixie Bot, WithPenache, KL- Bot2, Rococo1700, Igorkon, ChrisGualtieri, AK456, Dexbot, QvisDevs, Matthewrobertolson, WilliamDigiCol, Quinn thomas 12, Dnalor 01, Stamptrader, Redheadrambler and Anonymous: 72

16.2 Images

• File:046CupolaSPietro.jpg Source: http://upload.wikimedia.org/wikipedia/commons/5/5a/046CupolaSPietro.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: MarkusMark • File:Coat_of_arms_of_the_Vatican_City.svg Source: http://upload.wikimedia.org/wikipedia/commons/b/b3/Coat_of_arms_of_the_ Vatican_City.svg License: Public domain Contributors: • File:Emblem of the Papacy SE.svg Original artist: Cronholm144 created this image using a file by User:Hautala - File:Emblem of Vatican City State.svg, who had created his file using PD art from Open Clip Art Library and uploaded on 13 July 2006. User talk:F l a n k e r uploaded this version on 12 December, 2007. The original design is attributed to the Vatican City in Rome and an unknown artist. • File:Commons-logo.svg Source: http://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: ? Contributors: ? Original artist: ? • File:Emblem_of_the_Holy_See_usual.svg Source: http://upload.wikimedia.org/wikipedia/commons/4/4e/Emblem_of_the_Holy_See_ usual.svg License: CC0 Contributors: • Keys: File:Sede_vacante.svg Original artist: Gambo7 • File:Flag_of_Italy.svg Source: http://upload.wikimedia.org/wikipedia/en/0/03/Flag_of_Italy.svg License: ? Contributors: ? Original artist: ? • File:Flag_of_the_Vatican_City.svg Source: http://upload.wikimedia.org/wikipedia/commons/0/00/Flag_of_the_Vatican_City.svg Li- cense: CC0 Contributors: http://files.mojeeuro.meu.zoznam.sk/200000288-390ab3a04d/2_Commemorative_coin_Vatican_city_2010. jpg labelbasis Original artist: Unknown • File:Giovanni_Paolo_Pannini_-_The_Piazza_and_Church_of_Santa_Maria_Maggiore.jpg Source: http://upload.wikimedia.org/ wikipedia/commons/a/a6/Giovanni_Paolo_Pannini_-_The_Piazza_and_Church_of_Santa_Maria_Maggiore.jpg License: Public domain Contributors: www.wga.hu/html/p/pannini/maggiore.html Original artist: • File:LaPurisimaInmaculadaConcepciondeRibera.jpg Source: http://upload.wikimedia.org/wikipedia/commons/f/f7/ LaPurisimaInmaculadaConcepciondeRibera.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Lloydbaltazar • File:Masolino,_fondazione_di_santa_maria_maggiore.jpg Source: http://upload.wikimedia.org/wikipedia/commons/d/d9/ Masolino%2C_fondazione_di_santa_maria_maggiore.jpg License: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Distributed by DIRECTMEDIA Publishing GmbH. Original artist: Masolino da Panicale • File:Piazza_Esquilino,_Santa_Maria_Maggiore.JPG Source: http://upload.wikimedia.org/wikipedia/commons/b/bd/Piazza_ Esquilino%2C_Santa_Maria_Maggiore.JPG License: CC-BY-SA-3.0 Contributors: Own work Original artist: Sixtus • File:Rom,_Basilika_Santa_Maria_Maggiore,_Innenansicht.jpg Source: http://upload.wikimedia.org/wikipedia/commons/3/3d/ Rom%2C_Basilika_Santa_Maria_Maggiore%2C_Innenansicht.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Dnalor 01 • File:RomaSantaMariaMaggioreArcoTrionfaleDxRegistro4.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/68/ RomaSantaMariaMaggioreArcoTrionfaleDxRegistro4.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: MM • File:SMM_Nave_Mosaic.jpg Source: http://upload.wikimedia.org/wikipedia/commons/c/c1/SMM_Nave_Mosaic.jpg License: CC-BY- SA-3.0 Contributors: photo taken by Ulrich Mayring Original artist: Ulrich Mayring • File:Sacra_culla.jpg Source: http://upload.wikimedia.org/wikipedia/commons/5/57/Sacra_culla.jpg License: Public domain Contribu- tors: my photo Original artist: it:Utente:Riccardov • File:SantaMariaMaggiore_front.jpg Source: http://upload.wikimedia.org/wikipedia/commons/4/46/SantaMariaMaggiore_front.jpg License: Public domain Contributors: Transferred from en.wikipedia Original artist: Original uploader was JACurran at en.wikipedia 12 16 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

• File:Santa_Maria_Maggiore_(Rome)_06.jpg Source: http://upload.wikimedia.org/wikipedia/commons/b/b0/Santa_Maria_Maggiore_ %28Rome%29_06.jpg License: CC-BY-SA-3.0 Contributors: Own work Original artist: User:MatthiasKabel • File:Santamariamaggiore2b.jpg Source: http://upload.wikimedia.org/wikipedia/commons/a/a9/Santamariamaggiore2b.jpg License: CC BY-SA 3.0 Contributors: taken by Ricardo André Frantz Original artist: Ricardo André Frantz (User:Tetraktys) • File:Seven_Churches_of_Rome_-_Giacomo_Lauro_-_1599.jpg Source: http://upload.wikimedia.org/wikipedia/commons/3/3e/ Seven_Churches_of_Rome_-_Giacomo_Lauro_-_1599.jpg License: Public domain Contributors: [1], 2011-04-26 Original artist: Giacomo Lauro • File:Virgin_salus_populi_romani.jpg Source: http://upload.wikimedia.org/wikipedia/commons/8/88/Virgin_salus_populi_romani.jpg License: Public domain Contributors: [1] Original artist: Unknown • File:Wikisource-logo.svg Source: http://upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg License: CC BY-SA 3.0 Contributors: Rei-artur Original artist: Nicholas Moreau

16.3 Content license

• Creative Commons Attribution-Share Alike 3.0