Santa Maria Maggiore in the context of "Architecture of cathedrals and great churches"

⭐ In the context of Architecture of cathedrals and great churches, Santa Maria Maggiore is considered notable primarily because of its association with what characteristic of major religious buildings?

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⭐ Core Definition: Santa Maria Maggiore

Santa Maria Maggiore (Italian pronunciation: [ˈsanta maˈriːa madˈdʒoːre]), also known as the Basilica of Saint Mary Major or the Basilica of Saint Mary the Great, is one of the four major papal basilicas and one of the Seven Pilgrim Churches of Rome. The largest Marian church in Rome, it is regarded as the first Marian sanctuary in the Western world and the mother of all sanctuaries.

Santa Maria Maggiore is located in Esquilino, the 15th rione (administrative district) of Rome, on the Piazza dell'Esquilino. Pursuant to the Lateran Treaty of 1929 between the Holy See and Italy, the basilica is in Italy and not Vatican City. However, as a property of the Holy See, Italy is obliged to protect its ownership and to concede to it "the immunity granted by international law to the headquarters of the diplomatic agents of foreign states". The complex of buildings therefore has a status somewhat similar to an embassy.

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👉 Santa Maria Maggiore in the context of Architecture of cathedrals and great churches

Cathedrals, collegiate churches, and monastic churches like those of abbeys and priories, often have certain complex structural forms that are found less often in parish churches. They also tend to display a higher level of contemporary architectural style and the work of accomplished craftsmen, and occupy a status both ecclesiastical and social that an ordinary parish church rarely has. Such churches are generally among the finest buildings locally and a source of regional pride. Many are among the world's most renowned works of architecture. These include St Peter's Basilica, Notre-Dame de Paris, Cologne Cathedral, Salisbury Cathedral, Antwerp Cathedral, Prague Cathedral, Lincoln Cathedral, the Basilica of Saint-Denis, Santa Maria Maggiore, the Basilica of San Vitale, St Mark's Basilica, Westminster Abbey, Saint Basil's Cathedral, Antoni Gaudí's incomplete Sagrada Família and the ancient cathedral of Hagia Sophia in Istanbul, now a mosque.

The earliest large churches date from Late Antiquity. As Christianity and the construction of churches spread across the world, their manner of building was dependent upon local materials and local techniques. Different styles of architecture developed and their fashion spread, carried by the establishment of monastic orders, by the posting of bishops from one region to another and by the travelling of master stonemasons who served as architects. The successive styles of the great church buildings of Europe are known as Early Christian, Byzantine, Romanesque, Gothic, Renaissance, Baroque, Rococo, Neoclassical, and various Revival styles of the late 18th to early 20th centuries, and then Modern. Underlying each of the academic styles are the regional characteristics. Some of these characteristics are so typical of a particular country or region that they appear, regardless of style, in the architecture of churches designed many centuries apart.

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Santa Maria Maggiore in the context of Cavour (Rome Metro)

Cavour is a station on Line B of the Rome Metro, opened on 10 February 1955. It is located on via Cavour, in the Monti rione of Rome, midway between Santa Maria Maggiore and via dei Fori Imperiali.

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Santa Maria Maggiore in the context of Giovanni Pierluigi da Palestrina

Giovanni Pierluigi da Palestrina (between 3 February 1525 and 2 February 1526 – 2 February 1594) was an Italian composer of late Renaissance music. The central representative of the Roman School, with Orlande de Lassus and Tomás Luis de Victoria, Palestrina is considered the leading composer of late 16th-century Europe. Palestrina was one of the few Renaissance composers never entirely forgotten, but it was the so-called "Palestrinian style" of counterpoint—especially as codified by Johann Joseph Fux—rather than his individual compositions that exerted the greatest influence.

Born in the town of Palestrina in the Papal States, Palestrina moved to Rome as a child and underwent musical studies there. In 1551, Pope Julius III appointed him maestro di cappella of the Cappella Giulia at St. Peter's Basilica. He left the post four years later, unable to continue as a layman under the papacy of Paul IV, and held similar positions at St. John Lateran and Santa Maria Maggiore in the following decade. Palestrina returned to the Cappella Giulia in 1571 and remained at St Peter's until his death in 1594.

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Santa Maria Maggiore in the context of Salus Populi Romani

Salus Populi Romani (English: Protectress of the Roman people, also known as the Salvific Health of the Roman people) is a Roman Catholic title associated with the venerated image of the Blessed Virgin Mary in Rome. This Byzantine icon of the Madonna and Child Jesus holding a Gospel book on a gold ground, now heavily overpainted, is kept in the Borghese (Pauline) Chapel of the Basilica of Saint Mary Major.

The image arrived in Rome in 590 A.D. during the reign of Pope Gregory I. Pope Gregory XVI granted the image a canonical coronation on 15 August 1838 through the Papal bull Cælestis Regina Maxima. Pope Pius XII crowned the image again for the secondary time and ordered a public religious procession during the Marian year of 1 November 1954. The image was cleaned and restored by the Vatican Museum, then given a Pontifical Mass on 28 January 2018.

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Santa Maria Maggiore in the context of Via Cavour, Rome

Via Cavour is a street in the Castro Pretorio and Monti rioni of Rome, named after Camillo Cavour. It is served by the Rome Metro stations Cavour and Termini. The facade of the original permanent Roma Termini railway station reached this street, though it is now 200 metres further back towards the Esquiline. It runs from the Piazza del Cinquecento north of Termini Station, near the Baths of Diocletian, south-westward past the basilicas of Santa Maria Maggiore and San Pietro in Vincoli, and concludes at the Roman Forum, a total distance of 1.3 kilometres (1316 mi). The street houses a large number of hotels and restaurants.

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Santa Maria Maggiore in the context of Death and funeral of Pope Francis

On 21 April 2025 (Easter Monday), at 07:35 CEST (UTC+2), Pope Francis died at the age of 88 at Domus Sanctae Marthae in Vatican City. His death was announced by Cardinal Kevin Farrell, the Camerlengo, in a broadcast by Vatican Media and in a video statement at 09:45 on the same day. Francis had served as pope, the head of the Catholic Church, for twelve years since his election on 13 March 2013. He was the second pope to die in office in the 21st century, after John Paul II in 2005.

Francis's death followed a five-week stay in hospital a month earlier, where he suffered from a respiratory tract infection and double pneumonia. The cause of his death was officially registered as a stroke followed by irreversible cardiac arrest. Francis's Requiem Mass was celebrated on 26 April, five days after his death, and he was buried at Santa Maria Maggiore. The consequent conclave, which began on 7 May, elected Robert Francis Prevost as Francis's successor, who took the papal name Leo XIV, and was inaugurated on 18 May.

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Santa Maria Maggiore in the context of Catholic Marian church buildings

Catholic Marian churches are religious buildings dedicated to the veneration of the Blessed Virgin Mary. These churches were built throughout the history of the Catholic Church, and today they can be found on every continent including Antarctica. The history of Marian church architecture tells the unfolding story of the development of Catholic Mariology.

The construction and dedication of Marian churches is often indicative of the Mariological trends within a period, such as a papal reign. For instance, the 1955 rededication by Pope Pius XII of the church of Saint James the Great in Montreal, with the new title Mary, Queen of the World, Cathedral, was a reflection of his being called "the most Marian pope". A year earlier, Pius had proclaimed that title for the Virgin Mary in his 1954 encyclical Ad Caeli Reginam. This encyclical on the Queen of Heaven is an example of how the interplay between churches and Marian art reinforces the effect of Marian devotions.

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