Salus populi Romani
In Latin, “Protectress of the Roman people.” Describes a Marian icon of the Blessed Virgin Mary and infant Jesus in the Basilica of Sanctuary Maria Maggiore in Rome. In the ancient icon, Mary is depicted in a majestic pose with a gaze suffused with ineffable sweetness, while she supports her Child, who blesses with his right hand and holds the Book of the New Covenant in his left hand. The Pauline Chapel was built to house this icon (in 1611) by Pope Paul V Borghese.
Previously, this painting was located in one of the two tabernacles (12th century), now lost, built to the sides of the altar in the central nave of the Basilica. From 1613 onwards, it was transferred to the new chapel and placed above the altar, surrounded by a host of gilded bronze angels in a splendid harmony of precious marbles. For this chapel many famous artists of the time (architects, painters, sculptors), such as Guido Reni, Cigoli, Cordier, Mariani, Maderno, Cesari, were called to honor Mary with wonderful works of art.
Art critics disagree about the origin and antiquity of this icon. There is a popular tradition that holds the image to be painted by the evangelist Saint Luke. Scholars and experts are inclined to view the icon as the work of a Byzantine painter resident in the East or Rome, with a date of execution that, according to various estimates, is placed between the 8th and 11th centuries.
One certain fact is that for many centuries many generations of Christians have come together before this image to venerate Mary under the title Salus Populi Romani, accompanying her in procession along the streets of Rome, especially in the most dramatic moments of history, to implore her maternal help.
Pope Francis is among those who venerated this portrait, included during the COVID-19 pandemic when it was brought to St. Peter’s square. Pope Francis was later interred at the same basilica where the icon can be seen today. (Kremer, 1025)