"Tertius Eugenius Romanus Papa benignus
Obtulit hoc munus, Virgo Maria, tibi,
Quæ Mater Christi fieri merito meruisti,
Salva perpetua Virginitate tibi.
Es Via, Vita, Salus, totius Gloria Mundi,
Da veniam culpis, Virginitatis Honos."
In this portico is a statue of Philip IV. of Spain by Lucenti. In the upper story are preserved the mosaics which once decorated the old façade, some of them representing the miracle which led to the foundation of the church.
"To 1300 belong the mosaics on the upper part of the façade of Sta. Maria Maggiore (now inserted in the loggia), in which, in two rows, framed in architectural decorations, may be seen Christ in the act of benediction, and several saints above, and the legend of the founding of the church below—both well-arranged compositions. An inscription gives the name of the otherwise unknown master, 'Philippus Rusuti.' This work was formerly attributed to the Florentine mosaicist Gaddo Gaddi, who died 1312."—Kugler.
Five doors, if we include the walled-up Porta Santa, lead into the magnificent nave (280 feet long, 60 broad), lined by an avenue of white marble columns, surmounted by a frieze of mosaic pictures from the Old Testament, of A.D. 440—unbroken, except where six of the subjects have been cut away to make room for arches in front of the two great side chapels. The mosaics increase in splendour as they approach the tribune, in front of which is a grand baldacchino by Fuga, erected by Benedict XIV., supported by four porphyry columns wreathed with gilt leaves, and surmounted by four marble angels by Pietro Bracci. The pavement is of the most glorious opus-alexandrinum, and its crimson and violet hues temper the white and gold on the walls. The flat roof (by Sangallo), panelled and carved, is gilt with the first gold brought to Spain from South America, and presented to Alexander VI. by Ferdinand and Isabella.
"The mosaics above the chancel arch are valuable for the illustration of Christian doctrine: the throne of the Lamb as described in the Apocalypse, SS. Peter and Paul beside it (the earliest instance of their being thus represented); and the four symbols of the Evangelists above; the Annunciation; the Angel appearing to Zacharias; the Massacre of the Innocents; the Presentation in the Temple; the Adoration of the Magi; Herod receiving the head of St. John the Baptist; and, below these groups, a flock of sheep, type of the faithful, issuing from the mystic cities, Bethlehem and Jerusalem. We see here one curious example of the nimbus, round the head of Herod, as a symbol of power, apart from sanctity. In certain details these mosaics have been altered, with a view to adapting them to modern devotional bias, in a manner that deserves reprobation; but Ciampini (Monumenta Vetera) shows us in engraving what the originals were before this alteration, effected under Benedict XIV. In the group of the Adoration the child alone occupied the throne, while opposite (in the original work) was seated, on another chair, an elderly person in a long blue mantle veiling the head—concluded by Ciampini to be the senior among the Magi; the two others, younger, and both in the usual Oriental dress, with trousers and Phrygian caps, being seen to approach at the same side, whilst the mother stood beside the throne of the child,—her figure recognisable from its resemblance to others in scenes where she appears in the same series. As this group is now before us, the erect figure is left out; the seated one is converted into that of Mary, with a halo round the head, though in the original even such attribute (alike given to the Saviour and to all the angels introduced) is not assigned to her."—Hemans' Ancient Christian Art.
The vault of the tribune is covered with mosaics by Jacopo da Turrita, the same who executed those at the Lateran basilica.
"A general affinity with the style of Cimabue is observable in some mosaics executed by contemporary artists. Those in Sta. Maria Maggiore are inscribed with the name of Jacobus Torriti, and executed between 1287 and 1292. They are surpassed by no contemporary work in dignity, grace, and decorative beauty of arrangement. In a blue, gold-starred circle is seen Christ enthroned with the Virgin; on each side are adoring angels, kneeling and flying, on a gold ground, with St. Peter and St. Paul, the two St. Johns, St. Francis, and St. Anthony (the same in size and position as at St. J. Lateran), advancing devoutly along. The upper part is filled with graceful vine-branches, with symbolical animals among them. Below is Jordan, with small river gods, boats, and figures of men and animals. Further below are scenes from the life of Christ in animated arrangement. The group in the centre of the circle, of Christ enthroned with the Virgin, is especially fine: while the Saviour is placing the crown on His mother's head, she lifts up her hands with the expression both of admiration and of modest remonstrance.[275] The forms are very pure and noble; the execution careful, and very different from the Roman mosaics of the twelfth century."—Kugler.
In front of and beneath the high altar Pius IX. has lately been preparing his own monument, by constructing a splendid chamber approached by staircases, and lined with the most precious alabaster and marbles.
On the right of the western entrance is the tomb of the Rospigliosi pope, Clement IX. (1667—69), the work of Ercole Ferrata, a pupil of Bernini. His body rests before the high altar, surrounded by a number of the members of his family. Left of the entrance is the tomb of Nicholas IV., Masci (1288-92), erected to his memory three hundred years after his death by Sixtus V. while still a cardinal. He is represented giving benediction, between two allegorical figures of Justice and Religion,—a fine work of Leonardo da Sarzana.
"It is well to know that this pope, a mere upstart from the dust, sought to support himself through the mighty family of Colonna, by raising them too high. His friend, the Cardinal Giacomo Colonna, contributed with him to the renewal of the mosaics which are in the tribune of Sta. Maria Maggiore, and one can see their two figures there to this day. It was in this reign that Ptolemais, the last possession of the Christians in Asia, fell into the hands of the Mohammedans; thus ended the era of the Crusades."—Gregorovius.