Santa Maria Maggiore
Santa Maria Maggiore
The church of Santa Maria Maggiore (St Mary Major), which is one of Rome's four papal basilicas (the other three are San Giovanni in Laterano, San Paolo fuori le Mura and San Pietro in Vaticano), was built during the reign of Pope Sixtus III (r. 432-40), immediately after the Council of Ephesus (431) had declared the Virgin Mary to be the mother of God.
The brick bell tower was added in the 14th century. Rising to a height of 75 metres (250 feet), it is the tallest in Rome.
The brick bell tower was added in the 14th century. Rising to a height of 75 metres (250 feet), it is the tallest in Rome.
Rear
The rear of the church, which was designed by Carlo Rainaldi (1611-91), is arguably more impressive than the facade. It was built during the reign of Pope Clement X (r. 1670-76), whose coat of arms it sports.
Plaque to Pope Clement X
The pope's coat of arms crowns a grand dedication, which proclaims: CLEMENS · X · PONT · MAX / LIBERIANAE · BASILICAE / SEPTENTRIONALEM / FRONTEM · SVA / IN · VERGINEM · MAGNAM / PIETATE / MAGNIFICENTIVS / EXTRVXIT / ET · EXORNAVIT / AN · SAL · MDCLXXIII / PONTIFICATVS · IV · (Clement the Tenth, Pontifex Maximus, from his devotion to the mighty Virgin erected and embellished in grander fashion the north facade of the Liberian Basilica in the year of Salvation 1673, the fourth of his pontificate).
Statues of Humility and Charity & the Coat of Arms of Pope Benedict XIV
The majestic facade of the church of Santa Maria Maggiore was designed by the Florentine architect Ferdinando Fuga (1699-1782), at the behest of Pope Benedict XIV (r. 1740-58), and built between 1741 and 1750. Above the entrance portico is the Benediction Loggia, from which a pope can bless the people in the piazza. The two allegorical statues above the main entrance are Chastity by Giovanni Battista Maini and Humility by Pietro Bracci. The coat of arms belongs to Pope Benedict XIV.
Benediction Loggia
The outer pair of statues are the Blessed Nicholas Albergati by Filippo Della Valle and St Charles Borromeo by Francesco Queirolo. A statue of the Virgin and Child, the work of Giuseppe Lironi, crowns the facade. It is flanked by the statues of four popes of uncertain identity. Fuga's facade masks a much older facade, which, by good fortune, retains its beautiful medieval mosaics .
Central Bronze Door (1949) by Ludovico Pogliaghi
The central bronze door (1949) was designed by Lodovico Pogliaghi (1857-1950). The panels depict episodes from the life of the Virgin Mary; from bottom to top and left to right they are: The Birth of Mary, The Presentation of Mary, The Annunciation, The Visitation, The Nativity, The Assumption, The Crucifixion, The Deposition, Pentecost and The Ascension of Christ.
The Holy Door (Porta Santa)
The door on the left is the Porta Santa (Holy Door), which is only open on the occasion of a Jubilee year. Financed by the Knights of the Holy Sepulchre and created by Luigi Enzo Mattei, the door was unveiled by Pope John Paul II (r. 1978-2005). The two main panels depict the Virgin Mary and the Risen Christ. Two of Mary's titles are inscribed above. The Council of Ephesus proclaimed her as MATER DEI (Mother of God), while the Second Vatican Council declared her to be MATER ECCLESIAE (Mother of the Church). The door is crowned with the coat-of-arms of Pope St John Paul II and his motto: TOTUS TUUS (All Yours).
King Philip IV of Spain by Girolamo Lucenti
At the right end of the portico is a bronze statue (1692) of King Philip IV of Spain (r. 1621-40), the work of Girolamo Lucenti (1627-92).
Counter-facade (det.)
In the entrance vestibule of the church are funerary monuments to two popes. That of Pope Clement IX (r. 1667-1669), to the right, was designed by Carlo Rainaldi (1611-91).
Funerary Monument to Pope Clement IX
The statue of Pope Clement IX is by Domenico Guidi. The pope is flanked by two allegorical statues: Faith (Cosimo Fancelli) and Charity (Ercole Ferrata).
On the opposite side of the church is the older funerary monument to Pope Nicholas IV (r. 1288-92), which was designed by Domenico Fontana in 1574.
On the opposite side of the church is the older funerary monument to Pope Nicholas IV (r. 1288-92), which was designed by Domenico Fontana in 1574.
Stained Glass Window by János 'Giovanni' Hajnal
The striking stained glass window (1995), in the counter-facade, is the work of the Romanian artist János Hajnal (1913-2010). The design reaffirms the declaration of the Second Vatican Council (1962-65), which stated that Mary, the exalted daughter of Zion (Excelsa Filia Sion), is the link that unites the Christian Church to the Old Testament. To symbolise the Old Testament Hajnal uses the Tablets of the Ten Commandments and the Menorah (the seven-branched candlestick), while for the New Testament he chose the Cross and the chalice of the Eucharist.
A door at the beginning of the right aisle leads to the baptistery.
A door at the beginning of the right aisle leads to the baptistery.
Nave
The nave is divided from the two aisles by 36 ancient ionic granite columns, which support architraves rather than arches.
The sumptuously gilded, coffered wooden ceiling was created (c. 1498) for the Spanish pope, Alexander VI (r. 1492-1503), by Giuliano da Sangallo (c.1443-1516) and funded by the Spanish monarchs, Ferdinand and Isabella. Here we can see the heraldic bull of the infamous Borgia family, of which the pope was a member.
The sumptuously gilded, coffered wooden ceiling was created (c. 1498) for the Spanish pope, Alexander VI (r. 1492-1503), by Giuliano da Sangallo (c.1443-1516) and funded by the Spanish monarchs, Ferdinand and Isabella. Here we can see the heraldic bull of the infamous Borgia family, of which the pope was a member.
Baldacchino by Fuga
One of the glories of Santa Maria Maggiore are its many mosaics. The mosaics in the apse are partly obscured by the giant porphyry and bronze baldacchino, which was built over the high altar on the occasion of the Jubilee of 1750. Its designer was Ferdinando Fuga.
Reliquary of the Holy Crib
The confessio, which lies before the high altar, was remodelled by Virginio Vespignani (1808-82), at the behest of Pope Pius IX (r. 1846-78). The silver and crystal reliquary, the work of the goldsmith Luigi Valadier (1726-85), holds fragments of wood believed to come from the Santa Culla, the Holy Manger in which the infant Jesus was laid.
The celebration of the Holy Crib originated in 432 when Pope Sixtus III (r. 432-440) created, within the newly-built basilica, a 'cave of the Nativity' similar to that in Bethlehem. This led to Santa Maria Maggiore being also known as Santa Maria ad Praesepem, the church of the Nativity. (Presepio means nativity in Italian.)
Numerous pilgrims, returning to Rome from the Holy Land, brought back fragments of the Holy Crib (cunambulum), which were housed in the basilica. In 1288, Pope Nicolas IV (r. 1288-92) commissioned Arnolfo di Cambio to create a sculpture of the scene of the Nativity for the 'cave'.
The celebration of the Holy Crib originated in 432 when Pope Sixtus III (r. 432-440) created, within the newly-built basilica, a 'cave of the Nativity' similar to that in Bethlehem. This led to Santa Maria Maggiore being also known as Santa Maria ad Praesepem, the church of the Nativity. (Presepio means nativity in Italian.)
Numerous pilgrims, returning to Rome from the Holy Land, brought back fragments of the Holy Crib (cunambulum), which were housed in the basilica. In 1288, Pope Nicolas IV (r. 1288-92) commissioned Arnolfo di Cambio to create a sculpture of the scene of the Nativity for the 'cave'.
Nativity Figures by Arnolfo di Cambio
Three centuries later, when Pope Sixtus V (r. 1585-1590) wished to erect the Chapel of the Blessed Sacrament, better known as the Cappella Sistina, he ordered the architect Domenico Fontana to dismantle the 'cave', but to preserve Arnolfo di Cambio's sculpture.
Statue of Pope Pius IX by Ignazio Jacometti
The statue of Pope Pius IX, the work of the Roman sculptor Ignazio Jacometti (1819-83), was placed in the confessio by his successor, Pope Leo XIII (r. 1878-1903).
To the right of the high altar, off the right aisle, is the enormous Cappella Sistina. On the opposite side of the church stands the equally grand Cappella Paolina.
To the right of the high altar, off the right aisle, is the enormous Cappella Sistina. On the opposite side of the church stands the equally grand Cappella Paolina.
Tomb Slab of Gian Lorenzo Bernini
Gian Lorenzo Bernini (1598-1680), the man who did so much to create the image of Baroque Rome, is interred (with members of his family) in a vault to the right of the high altar.
Ave Regina Pacis (Hail, Queen of Peace) by Guido Galli
The marble statue of the Virgin and Child (Ave Regina Pacis) by Guido Galli (1890-1944), which stands in the left aisle, was commissioned by Pope Benedict XV (r. 1914-22), who was a fervent opponent of the first world war.
Gallery
