罗马的圣母大教堂

 

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圣母大教堂

Basilica di Santa Maria Maggiore

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圣母大殿或称马杰奥尔圣母玛丽亚大教堂。位于意大利罗马，是天主教的四座特级宗座圣殿之一。在13世纪时传说，公元4世纪的盛夏，圣母玛利亚托梦给教皇利伯略，让他在下雪之处建立一座修道院以显示圣母的荣耀。结果第二天早晨埃斯奎利诺山丘(Esquilline)上落下了雪，教皇命人在此建立起教堂，故教堂又名圣母雪地殿。如今，该教堂还有洒落白玫瑰花花瓣以象征这一圣迹的活动。该教堂也是世界上第一个以圣母命名的教堂，自从该教堂建成以后历尽多次改建，因而该教堂也包含了多种艺术风格。

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The Piazza and Church of Santa Maria Maggiore, by Giovanni Paolo Pannini

 

根据考证，该教堂大约建于公元四世纪，在教皇圣西斯笃三世任内被重建。该教堂曾经拥有过多个名字，如Santa Maria della Neve (圣玛利亚之雪)， Santa Maria Liberiana（圣玛丽娅利伯略）。在获得了圣婴摇篮（Holy Crib）之后，又改名为Santa Maria Del Presepe (圣玛丽亚摇篮)。因为它是罗马以圣母玛利亚命名的教堂中最大的，所以获得了现在的名字。18世纪时该教堂经历了一次大修，现在所看到的外表基本都是修缮后的产物。

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圣母大教堂的后广场

 

教堂正面的墙上有一尊西班牙国王菲利普四世的雕像，这是为了纪念他对于该教堂的捐助。

教堂的主体结构是其5世纪被建造的时候确立的，为标准的罗马式长方形大教堂，又是应用古典装饰艺术的典范。中殿两排巨大圆柱的顶端采用爱奥尼亚式柱头，柱头上面没采用罗马式教堂惯用的连拱，而代之以简朴的柱楣。柱楣上面的墙被刻有凹槽的壁柱分割成块，窗户与绘画错落安排其上。教堂至今保存着大量镶嵌画。因纪念以弗所公会议之故，其镶嵌画均以教会和圣母的胜利为主题。圣所内半圆穹窿天花板上的镶嵌画今已无存。在圣所上端的拱门上还保存着反映耶稣童年的一组镶嵌画，题材取自“伪马太福音”（亦称《马利亚诞生与救主童年》），包括圣母领报、三王朝拜圣婴、耶稣在圣殿等故事。中殿墙上原有42块镶嵌画，现存37块，题材均取自《旧约》故事，北墙上的人物为以色列人的先祖亚伯拉罕、以撒、雅各，南墙为摩西和约书亚,说明旧约预示的救赎应验在基督身上。有的学者认为，罗马圣母大堂的镶嵌画可能以某种圣经古抄本(如5世纪抄本“维也纳《创世记》”)的插图为蓝本。包括一段以马赛克装饰的中殿和圆形后殿。最初的马赛克装饰只有部分留存了下来，损毁的那些有一部分在16世纪时被图画替换了。

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主殿

 

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鎏金天花板

 

主殿长86米，两边是36根大理石石柱和4根花岗岩石柱，这36根圆柱是从古代罗马的神殿搬来的，以列柱支持水平梁是典型的初期基督教教堂建筑手法，这些圆柱在18世纪的修复中被替换掉。

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钟楼

 

13世纪中为教堂修建了一座高75米的钟楼，在被一场地震毁掉之后又重建于14世纪，曾为罗马之冠。钟楼内的五口钟会在每天晚上9点响起以提示人们做祷告。

鎏金天花板修建于15世纪，所用的黄金来自于美洲。

16世纪中，Flaminio Ponzio设计建造了埋葬着教皇保罗五世的巴洛克风格保利娜小礼拜堂（Cappella Pauline）

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祭台和华盖

 

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穹顶上的壁画：圣母加冕

 

后殿的马赛克壁画完成于13世纪，描述的是圣母加冕（Coronation of the Virgin）。

正殿的中央是一座专供教皇或被其授权的神职人员使用的祭坛，主殿祭坛描绘旧约圣经36个场景的镶嵌画是5世纪基督教初期的遗物；一般说来，该祭坛会在每年8月15日，也就是圣母升天节的群众性纪念活动中被使用到。2楼走廊后面也有13世纪的镶嵌装饰。

该教堂还有一座伯利恒地下室，其内安放着银制的圣婴摇篮和金制马槽，还埋葬有圣徒杰罗姆和教皇庇护五世。

 

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维基百科中的圣母大教堂

Basilica of Santa Maria Maggiore

 

The Basilica di Santa Maria Maggiore (Italian pronunciation: [ˈsanta maˈriːa madˈdʒoːre]; 'Basilica of Saint Mary Major', Latin: Basilica Sanctae Mariae Maioris), or church of Santa Maria Maggiore, is a Papal major basilica and the largest Catholic Marian church in Rome, Italy, from which size it receives the appellation "major".

The basilica enshrines the venerated image of Salus Populi Romani, depicting the Blessed Virgin Mary as the health and protectress of the Roman people, which was granted a Canonical coronation byPope Gregory XVI on 15 August 1838 accompanied by his Papal bull Cælestis Regina.

Pursuant to the Lateran Treaty of 1929 between the Holy See and Italy, the Basilica is within Italian territory and not the territory of the Vatican City State. However, the Holy See fully owns the Basilica, and Italy is legally obligated to recognize its full ownership thereof and to concede to it "the immunity granted by International Law to the headquarters of the diplomatic agents of foreign States."

 

Other appellations

The Basilica is sometimes referred to as Our Lady of the Snows, a name given to it in the Roman Missal from 1568 to 1969 in connection with the liturgical feast of the anniversary of its dedicationon 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 in connection with a legend that the 1911 Catholic Encyclopedia reports thus: "During the pontificate of Liberius, the Roman patrician John and his wife, who were without heirs, made a vow to donate their possessions to the Virgin 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 summer, snow fell during the night on the summit of the Esquiline Hill. In obedience to a vision of the Virgin Mary which they had the same night, the couple built a basilica in honour of Mary on the very spot which was covered with snow. From the fact that no mention whatever is made of this alleged miracle until a few hundred years later, not even by Sixtus III in his eight-line dedicatory inscription ... it would seem that the legend has no historical basis."

The legend is first reported only after AD 1000. It may be implied in what the Liber Pontificalis, of the early 13th century, says of Pope Liberius: "He built the basilica of his own name (i.e. the Liberian Basilica) near the Macellum of Livia". Its prevalence in the 15th century is shown in the painting of the Miracle of the Snow by Masolino da Panicale.

The Blessed Virgin Mary overlookingPope Liberius as the Pontiff scrapes the foundation of the basilica into the snow. By Italian artist Masolino da Panicale. circa 15th-century. Museo di Capodimonte.

The feast was originally called Dedicatio Sanctae Mariae (Dedication of Saint Mary's), and was celebrated only in Rome until inserted for the first time into the General Roman Calendar, with ad Nives added to its name, in 1568. A congregation appointed by Pope Benedict XIV in 1741 proposed that the reading of the legend be struck from the Office and that the feast be given its original name. 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). The legend is still commemorated by dropping white rose petals from the dome during the celebration of the Mass and Second Vespers of the feast.

The earliest building on the site was the Liberian Basilica 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 procession to where it did occur and there marked out the area on which the church was to be built. Liberiana is still included in some versions of the basilica's formal name, and "Liberian Basilica" may be used as a contemporary as well as historical name.

On the other hand, the name "Liberian Basilica" may be independent of the legend, since, according to Pius Parsch, Pope Liberius transformed a palace of the Sicinini family into a church, which was for that reason called the Sicinini Basilica. This building was then replaced under Pope Sixtus III (432–440) by the present structure dedicated to Mary. However, some sources say that the adaptation as a church of a pre-existing building on the site of the present basilica was done in the 420s under Pope Celestine I, the immediate predecessor of Sixtus III.

Long before the earliest traces of the story of the miraculous snow, the church now known as Saint Mary Major was called Saint Mary of the Crib (Sancta Maria ad Praesepe), a name it was given because of its relic of the crib or manger of the Nativity of Jesus Christ, four boards of sycamore wood believed to have been brought to the church, together with a fifth, in the time of Pope Theodore I (640–649). This name appears in the Tridentine editions of the Roman Missal as the place for the pope's Mass (the station Mass) on Christmas Night,[17] while the name "Mary Major" appears for the church of the station Mass on Christmas Day.

 

Status as a Papal Major Basilica

Map by Giacomo Lauro and Antonio Tempesta depicting Saint Mary Major among the Seven Pilgrim Churches of Rome in 1599, in view of the Holy Year of 1600.

No Catholic church can be honoured with the title of "basilica" unless by apostolic grant or from immemorial custom. St. Mary Major is one of the only four that hold the title of "major basilica". The other three are the Basilicas of St. John in the Lateran, St. Peter's, and St. Paul outside the Walls. (The title of major basilica was once used more widely, being attached, for instance, to the Basilica of St. Mary of the Angels in Assisi.) Along with all of the other four Major Basilicas, St. Mary Major is also styled a "Papal basilica". Before 2006, the four Papal Major Basilicas, together with the Basilica of St. Lawrence outside the Walls were referred to as the "patriarchal basilicas" of Rome, and were associated with the five ancient patriarchates (seePentarchy). St. Mary Major was associated with the Patriarchate of Antioch.

The five Papal Basilicas along with the Basilica of the Holy Cross in Jerusalem (actually in Rome) and San Sebastiano fuori le mura were the traditional Seven Pilgrim Churches of Rome, which were visited by pilgrims during their pilgrimage to Rome following a 20 kilometres (12 mi) itinerary established by St. Philip Neri on 25 February 1552. On 21 June 2011, Pope Benedict XVI issued a Papal bull granting equal indulgences of the basilica for pilgrims who travel to the Minor Basilica of Our Lady of Manaoag.

 

History of the present church

It is agreed that the present church was built under Pope Sixtus III (432–440). The dedicatory inscription on the triumphal arch, Sixtus Episcopus plebi Dei, (Sixtus the bishop to the people of God) is an indication of that Pope's role in the construction. As well as this church on the summit of the Esquiline Hill, Pope Sixtus III is said to have commissioned extensive building projects throughout the city, which were continued by his successor Pope Leo I, the Great.

The church retains the core of its original structure, despite several additional construction projects and damage by the earthquake of 1348.

Church building in Rome in this period, as exemplified in Saint Mary Major, was inspired by the idea of Rome being not just the centre of the world of the Roman Empire, as it was seen in the classical period, but the centre of the Christian world.

Santa Maria Maggiore, one of the first churches built in honour of the Virgin Mary, was erected in the immediate aftermath of the Council of Ephesus of 431, which proclaimed Mary Mother of God. Pope Sixtus III built it to commemorate this decision. Certainly, the atmosphere that generated the council gave rise also the mosaics 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." The magnificent mosaics of the nave and triumphal arch, seen as "milestones in the depiction" of the Virgin, depict scenes of her life and that of Christ, but also scenes from the Old Testament: Moses striking the Red Sea, and Egyptians drowning in the Red Sea.

Richard Krautheimer attributes the magnificence of the work also to the abundant revenue accruing to the papacy at the time from land holdings acquired by the Church during the 4th and 5th centuries on the Italian peninsula: "Some of these holdings were locally controlled; the majority as early as the end of the 5th century were administered directly from Rome with great efficiency: a central accounting system was involved in the papal chancery; and a budget was apparently prepared, one part of the income going to the papal administration, another to the needs of the clergy, a third to the maintenance of church buildings, a fourth to charity. These fines enabled the papacy to carry out through the 5th century an ambitious building program, including Santa Maria Maggiore."

Miri Rubin believes that the building of the basilica was influenced also by seeing Mary as one who could represent the imperial ideals of classical Rome, bringing together the old Rome and the new Christian Rome: "In Rome, the city of martyrs, if no longer of emperors, Mary was a figure that could credibly carry imperial memories and representations."

When the popes returned to Rome after the period of the Avignon papacy, the buildings of the basilica became a temporary Palace of the Popes[citation needed] due to the deteriorated state of the Lateran Palace. The papal residence was later moved to the Palace of the Vatican in what is now Vatican City.

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 commissioned Ferdinando Fuga to build the present façade and to modify the interior. The interior of the Santa Maria Maggiore underwent a broad renovation encompassing all of its altars between the years 1575 and 1630.

On 15 December 2015, a Palestinian and a Tunisian national were arrested after they tried to disarm soldiers stationed outside the basilica while yelling "Allah (God) is great". When police intervened, the two men aged 40 and 30 called other foreigners in the area to their aid, and assaulted and threatened the arresting officers.

 

Architecture

The original architecture of Santa Maria Maggiore was classical and traditionally Roman perhaps to convey the idea that Santa Maria Maggiore represented old imperial Rome as well as its Christian future. As one scholar puts it, "Santa Maria Maggiore so closely resembles a second-century imperial basilica that it has sometimes been thought to have been adapted from a basilica for use as a Christian church. Its plan was based on Hellenistic principles stated by Vitruvius at the time of Augustus."

Even though Santa Maria Maggiore is immense in its area, it was built to plan. The design of the basilica was a typical one during this time in Rome: "a tall and wide nave; an aisle on either side; and a semicircular apse at the end of the nave." The key aspect that made Santa 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 marble and four granite, pared down, or shortened to make them identical by Ferdinando Fuga, who provided them with identical gilt-bronze capitals. The 14th centurycampanile, or bell tower, is the highest in Rome, at 246 feet, (about 75 m.). The basilica's 16th-century coffered ceiling, to a design by Giuliano da Sangallo, is said to be gilded with gold, initially brought by Christopher Columbus, presented by Ferdinand and Isabella to the Spanish pope, Alexander VI. The apse mosaic, theCoronation of the Virgin, is from 1295, signed by the Franciscan friar, Jacopo Torriti. The Basilica also contains frescoes by Giovanni Baglione, in the Cappella Borghese.

The 12th-century façade has been masked by a reconstruction, with a screening loggia, that were added by Pope Benedict XIV in 1743, to designs by Ferdinando Fuga that did not damage the mosaics of the façade. The wing of the canonica (sacristy) to its left and a matching wing to the right (designed by Flaminio Ponzio) give the basilica's front the aspect of a palace facing the Piazza Santa Maria Maggiore. To the right of the Basilica's façade is a memorial representing a column in the form of an up-ended cannon barrel topped with a cross: it was erected by Pope Clement VIII to celebrate the end of the French Wars of Religion.

The Marian column erected in 1614, to designs of Carlo Maderno is the model for numerous Marian columns erected in Catholic countries in thanksgiving for remission of the plague during the Baroque era. (An example is the Holy Trinity Column in Olomouc, the Czech Republic). The column itself is the sole remainder from Constantine's Basilica of Maxentius and Constantine in Campo Vaccino Rome Art Lover website notes that Campo Vaccino as what the Roman Forum was called until the 18th century. Maderno's fountain at the base combines the armorial eagles and dragons of Paul V.

 

Interior

Fifth century mosaics

The mosaics found in Santa Maria Maggiore are one of the oldest representations of the Virgin Mary in Christian Late Antiquity. As one scholar puts it, "This is well demonstrated by the decoration of Santa Maria Maggiore in Rome,... where the iconographic depiction of the Virgin Mary was chosen at least in part to celebrate the affirmation of Mary as Theotokos (bearer of God) by the third ecumenicalCouncil of Ephesus in 431 CE." The mosaics of the triumphal arch and the nave in Santa Maria Maggiore were the definition of impressionistic art during the time period and gave a model for the future representations of the Virgin Mary. The influences of these mosaics are rooted in late antique impressionism that could be seen in frescoes, manuscript paintings and many pavement mosaics across villas in Africa, Syria and Sicily during the 5th century.

These mosaics gave historians insight into artistic, religious, and social movements during this time. As Margaret Miles explains the mosaics in Santa Maria Maggiore have two goals: one to glorify the Virgin Mary as Theotokos (God-Bearer); and the other to present "a systematic and comprehensive articulation of the relationship of the Hebrew Bible and the Christian scriptures as one in which the Hebrew Bible foreshadows Christianity." This is explained by the dual images of Old Testament and New Testament events depicted in the mosaics of the triumphal arch and the nave. The mosaics also show the range of artistic expertise and refute the theory that mosaic technique during the time was based on copying from model books. The mosaics found in Santa Maria Maggiore are combinations of different styles of mosaic art during the time, according to art scholar Robin Cormack: "the range of artistic expertise and the actual complexities of production can hardly be reduced to a mentality of copying. A test case is given by the mosaics of S. Maria Maggiore in Rome".

 

Triumphal arch

The triumphal arch at the head of the nave was at first referred to as the apse arch, but later became known as the triumphal arch. The triumphal arch is illustrated with magnificent mosaics depicting different scenes of Christ and the Virgin Mary. There was a difference in the styles used in the triumphal arch mosaics compared to those of the nave; the style of the triumphal arch was much more linear and flat as one scholar describes it, not nearly as much action, emotion and movement in them as there were in the Old Testament mosaics of the nave. One of the first scenes that were visible on the triumphal arch was a panel of Christ's enthronement with a group of angels as his court. As one historian describes it: "On the apse arch Christ is enthroned, a young emperor attended by fourchamberlains, angels of course", this is a perfect example of mosaic art in the 5th century. Another panel found on the triumphal arch is of the Virgin, she 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 angels and Joseph ready to greet her; "The Virgin...shows to perfection the impressionistic character of mosaics." Another panel is known as the Adoration of the Magi and this mosaic depicts Infant Christ and The Virgin and the arrival of the three wise men, "mosaics illustrating Christ's first coming and his youth covered the triumphal arch." The other panel depicts the Virgin accompanied by five martyrs.

 

Nave

The nave of the basilica was covered in mosaics representing Old Testament events of Moses leading the Jews out of Egypt across the Red Sea. "The nave mosaics (which represents stories of Old Testament history and accordingly offered Christians in Rome a new 'past') are illusionistic in a colorful and impressionist manner" as this scholar puts it the scene was filled with movement, emotion, and it was to inspire thinking of Rome's "new" past; the past of the Old Testament. As one scholar describes it: "Moses strikes the waters of the Red Sea in a heroic gesture, his toga in light and dark grays and blues, but lined in black, the folds white lines, the tunic underneath light blue; the man next to him wears a deep blue toga over a gray and white tunic." Another panel shows the demise of the Egyptians in the Red Sea. An observer describes the mosaic: "The Egyptians, clad in blue armor with gold bands and scarlet cloaks wildly flying, drown in the greenish blue waters; the horses, white or light brown shaded with darker browns, highlighted in white, the accoutrements a bright red."

 

Crypt of the Nativity and Cappella Sistina

Under the high altar of the basilica is the Crypt of the Nativity or Bethlehem Crypt, with a crystal reliquary designed by Giuseppe Valadier said to contain wood from the Holy Crib of the nativity of Jesus Christ. Here is the burial place of Saint Jerome, the 4th-century Doctor of the Church who translated the Bible into theLatin language (the Vulgate).

Fragments of the sculpture of the Nativity believed to be by 13th-century Arnolfo di Cambio were transferred to beneath the altar of the large Sistine Chapel off the right transept of the church. This chapel of the Blessed Sacrament is named after Pope Sixtus V, and is not to be confused with the Sistine Chapel of the Vatican, named after Pope Sixtus IV. The architect Domenico Fontana designed the chapel, which contains the tombs of Sixtus V himself and of his early patron Pope Pius V. The main altar in the chapel has four gilded bronze angels by Sebastiano Torregiani, holding up the ciborium, which is a model of the chapel itself.

Beneath this altar is the Oratory or Chapel of the Nativity, on whose altar, at that time situated in the Crypt of the Nativity below the main altar of the church itself, Saint Ignatius of Loyola celebrated his first Mass as a priest on 25 December 1538.

Just outside the Sistine Chapel is the tomb of Gianlorenzo Bernini and his family.

The Mannerist interior decoration of the Sistine Chapel was completed (1587–1589) by a large team of artists, directed by Cesare Nebbia and Giovanni Guerra. While the art biographer, Giovanni Baglioneallocates specific works to individual artists, recent scholarship finds that the hand of Nebbia drew preliminary sketches for many, if not all, of the frescoes. Baglione also concedes the roles of Nebbia and Guerra could be summarized as "Nebbia drew, and Guerra supervised the teams".

 

Borghese Chapel and Salus Populi Romani

The column in the Piazza Santa Maria Maggiore celebrates the famous icon of the Virgin Mary now enshrined in the Borghese Chapel of the basilica. It is known as Salus Populi Romani, or Health of the Roman People or Salvation of the Roman People, due to a miracle in which the icon reportedly helped keep plague from the city. The icon is at least a thousand years old, and according to a tradition was painted from life by St Luke the Evangelist using the wooden table of the Holy Family in Nazareth.

The Salus Populi Romani has been a favourite of several popes and acted as a key Mariological symbol. Roman-born Pope Pius XII (Eugenio Pacelli) celebrated his first Holy Mass there on 1 April 1899. In 1953, the icon was carried through Rome to initiate the first Marian year in church history. In 1954, the icon was crowned by Pope Pius XII as he introduced a new Marian feast Queenship of Mary. Pope Paul VI, Pope John Paul II, Pope Benedict XVI, and Pope Francis all honoured the Salus Populi Romani with personal visits and liturgical celebrations.

 

Papal basilica

As a papal basilica, Santa Maria Maggiore is often used by the pope. He presides over the rites for the annual Feast of the Assumption of Mary on 15 August there. Except for a few priests and the basilica's archpriest, the canopied high altar is reserved for use by the pope alone. Pope Francis visited the basilica on the day after his election.

The pope gives charge of the basilica to an archpriest, usually a cardinal. Formerly, the archpriest was the titular Latin Patriarch of Antioch, a title abolished in 1964. Since 29 December 2016, the archpriest has beenStanisław Ryłko.

In addition to the archpriest and his assistant priests, a chapter of canons is resident. Redemptorist and Dominican priests serve the church.

The King of Spain, currently Felipe VI, is ex officio protocanon of the basilica's chapter.

 

Archpriests of the Basilica di Santa Maria Maggiore since 1127

List of archpriests of the Liberian Basilica since 1127. Initially not all archpriests were cardinals

List of major works of art in the basilica