Category Archives: Saints

St. Mary Major and the Miracle of the Snow

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The mosaics found in Santa Maria Maggiore (St. Mary Major) are among the oldest representations of the Virgin Mary. One scholar writes that “… 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 ecumenical Council of Ephesus in AD 431.”
Under the high altar of the basilica is the Crypt of the Nativity or Bethlehem Crypt, with a crystal reliquary said to contain wood from the Holy Crib (manger) of the nativity of Jesus in Bethlehem. In the crypt is also the burial place of St. Jerome who translated the Bible into Latin in the 4th century.

Who doesn’t need a miracle right about now? Although the miracle of St. Mary Major and the snow occurred in Rome during early August, I don’t think we need to wait until August to appreciate it.

According to the story, a rich Roman and his wife wanted to leave their estate to the Church in order to build a new church but they were uncertain where it should be built. They were promised in a dream that a miracle would show them the place to have the church built. A few days later, on August 5 in the mid-late 4th century, a miraculous snowfall occurred atop one of the hills of Rome. The couple understood this to be the miracle they had been told to expect. (Other versions of the story say that the Pope had chosen the site for a new church but his decision met with resistance; he marked the area to be excavated for the church foundations and had the dream promising a miracle to vindicate his choice of location. The next day the snow fell exactly–and only!–within the area he had marked for excavation.)

The legend is still commemorated by dropping white rose petals from the dome of the church during the celebration of the Mass on August 5th, similar to the red roses that are dropped from the dome of the Pantheon at Pentecost.

The mosaics in the church are among the most stunning examples of early Christian art and iconography. They illustrate events in the life of the Mother of God and of Christ and events from the Old Testament that are understood to be allusions or anticipations (types) of the events in the life of Christ and His mother.

The church is known as St. Mary Major because it is the most important of all the churches in Rome dedicated to the Mother of God; it is also sometimes called Saint Mary of the Crib (Sancta Maria ad Praesepe), a name it was given because of the relic of the crib or manger of the Nativity of Christ: four boards of sycamore wood believed to have been brought to the church, in AD 640–649. The Pope traditionally celebrates the Mass three times on Christmas Day; one of these celebrations is held at St. Mary Major because of the relic there.

Mary, Pentecostal Teacher of the Church

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17th century Icon of Pentecost (from the border of Russia and Finland)

Some icons of Pentecost show Mary the Mother of God in the centre, occupying the “Teacher’s Seat.” Mary was present at Pentecost; she is the ultimate exemplar of a Christian. With Jesus Christ ascended into Heaven, the Holy Spirit acts within people, and through the saints, Christ is manifest in the world. Mary is therefore shown in the “teacher’s seat” as the best example we have, and the person on earth who most resembled Jesus Christ (both physically, as His mother, and spiritually as His disciple).

By the 9th century the Church came to recognize Mary as the Stella Maris, the Star of the Sea, an image reminiscent of sailors who would chart their course by the stars. Mary points the way to Christ.

The presence of the Apostle Paul in the icon, even though at that time he had not yet converted on the road to Damascus, hints that this icon is more than a purely historical picture. Sometimes, the evangelists Luke and Mark are also shown, despite also not having been present in the upper chamber at Pentecost. The gathering, then, is a representation of the Church. The Apostles are shown as equals, with no individual among them taking the central seat of authority. They are seated in a semi-circle, representing a unity and harmony similar to that found in Icons of the Holy Trinity. As in icons of the Holy Trinity, a semi-circle, rather than a full circle, is used so that we as observers are drawn into the unity.

See a Pentecost sermon that includes the role of the Mother of God here, preached at St. Matthew’s, Sheffield (a Church of England parish).

When the Mother of God Went to Hell

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Icon of the enthroned Virgin and Child with SS. George, Theodore and angels, 6th century, Saint Catherine’s Monastery. An antiphon from the Saltair Mhuire, attributed to Domhnall Albannach Ó Troighthigh, in a manuscript dated 1477, reads, “Ave Marie mater Domini nostri Iesus Christi regina celi domina mundi imperatrix inferni misere mei & totius populi Christiani Amen.” (“Hail, Mary — mother of our Lord Jesus Christ, Queen of heaven and Lady of the world, Empress of hell: have mercy on me and on all Christian people. Amen.”)
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There was an early Christian folktale that the damned in Hell got a short reprieve every year: their suffering was reduced–or stopped altogether–for the fifty days between Easter and Whitsunday (Pentecost) or Trinity Sunday. Around the year AD 1000, this reprieve was said to be the result of the prayer of the Mother of God who was said to have gone to Hell to see the suffering of the damned. Escorted by St. Michael the Archangel, she went on a tour of the Underworld and was moved to tears at what she saw. She pleaded with her Son to spare the damned as much of their suffering as possible. So it became common practice in the Middle Ages to offer special prayers for the dead at Pentecost as the punishment of the damned began again.

In one story, a man makes a deal with the devil and sells his soul in exchange for special favors from the devil during life. As the man was dying, he is sorry about his decision and begs the Mother of God to help him. Mary is infinitely merciful, so she does. She girds her loins for battle, descends into hell, and steals back the contract giving the man’s soul to the devil!

In this story, Mary’s mission to hell is portrayed as warfare. The tale evokes the devil’s anger, and uses the language of violence and theft to describe Mary’s actions. In her guise as empress of hell–that is, more powerful even than Satan–she is not the mother of mercy, she is the “queen of vengeance” against the devil and the powers of Hell.

I think these stories are all trying to express an intuition about the power of the Mother of God to save us from ourselves and our own worst choices and behavior. They also show the inability of Hell to confine anyone who really wants to escape, underlining the original understanding that when Christ smashed down the gates of Death and Hell, everyone who wanted to escape did and now only those who choose to remain in Hell–unable to accept responsibility for their actions and thus unable to accept forgiveness–are there.

Curious about these stories? Read more here and here. This is another good one to read. See how many of them there are?