You all know how much the Basilica of Santa Maria Maggiore in Rome is a true splendor, an artistic and architectural puzzle in which medieval, Renaissance, Baroque and late ancient elements coexist. Among the latter, today, I would like to talk about a Marian icon to whom many are particularly devoted such as, for example, Pope Francis. The latter, in fact, decided to be buried in the seventeenth-century Pauline Chapel, which has preserved this precious icon for four centuries, precisely to be in direct contact with a timeless masterpiece. Today, therefore, it is time to talk about the Salus Populi Romani.

This interesting icon has attracted millions of pilgrims and devotees for centuries because, according to tradition, it was even painted by Saint Luke (like, for example, another icon I talk about in this article). Despite this which, to all intents and purposes, can be considered a tradition, even today it is very difficult to find the correct dating. Various alterations over the centuries lead us to think that this icon may have been painted between the 5th and 13th centuries. Apart from this, today its fame also derives from the extraordinary position in which it is still possible to venerate it today: the Pauline Chapel of Santa Maria Maggiore, as previously mentioned. Commissioned at the beginning of the 17th century by pope Paul V Borghese , this chapel is the last one on the left of the beautiful basilica dedicated to the Virgin. Perhaps to copy one of the pontiffs who preceded him, Sixtus V, who had the Sistine Chapel built on the other side (not to be confused with the one in the Vatican), perhaps to instead find a worthy home for his burial or perhaps really to celebrate the sacred icon by giving it a place of great respect, the fact is that the Pauline Chapel is one of the most beautiful architectural creations of the entire seventeenth century. Returning to this beautiful image of the Madonna and Child , which is also called Regina Coeli, I would add that it has unusual dimensions for an icon (117 by 79 cm), which make it particularly large. Another peculiarity is found in the object that the Virgin holds in her hand: a sort of colored handkerchief called mappula. It is a small liturgical vestment, embroidered, still used today for certain functions. Curious how the origin of this small liturgical element derives from ancient Rome, when the republican consuls used to use a similar object during some functions. And the relationship between this icon and the tradition that today we would define as pagan does not end here... just think of the name by which the icon is still referred to today. Salus Populi Romani , in fact, would be a typical expression used by greetings during certain religious ceremonies. With Constantine, then, it went on to indicate the Madonna as Queen of the World and, in this case, as the salvation of the roman people.

It is therefore interesting to understand how the history of Rome is always a continuous looking back in search of the origins of artistic wonders, and in this case also devotional ones, such as the Salus Populi Romani. It should also be added that only recently, with pope Pius XII, the Marian icon of the Basilica of Santa Maria Maggiore was subjected to great devotion. This masterpiece certainly has great charm and, even today, attracts many pilgrims, or simple believers, who stop for a few moments in front of the image of She to whom the entire basilica is dedicated. Without forgetting that, historically, this church is the first dedicated to the Virgin Mary in Rome.