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Piazza di Santa Maria Maggiore
Tel.
06- 48 31 95
Bus: 16, 70, 71, 714
Subway: Termini, Cavour
Open: 7am- 7pm daily
The church of Santa Maria Maggiore was originally constructed here in 356 by pope Liberius. Legend claims that he saw a Virgin in his dream who told him that snow will show him where to build a new church. On August 5th snow fell on Rome and the first place it covered was current location of the church. Hence to this day the Miracle of Snow is celebrated with thousands of white flowers and petals representing the August snow. Then it comes to architectural style Santa Maria Maggiore is truly a symbol of Rome. Old and new are so organically build into each other it is hard to distinguish which part belong to what period. Its colonnaded triple nave is that of the 5th century church that originally stood here. Additionally mosaics on triumphal arch and biblical scenes date to that time period. Bell Tower is a medieval. Renaissance gave church its beautiful ceiling and Baroque added its twin domes.
The building of the Basilica, including the external stairways,
constitutes an extraterritorial area in favor of the Holy See. The
basilica enjoys, together with other buildings and on the basis of
agreements between the Italian State and the Holy See, the privilege of
extraterritoriality and the exemption from expropriations and taxes, as
established by the Lateran Pacts and formalized in the Villa Madama
Agreement.
Liberian Chapter
The Liberian Chapter is chaired by
the cardinal archpriest and made up of canons, all of them by papal
appointment. This special priestly college is integrated by the
coadjutors, also of pontifical nomination and together represent the
clergy in charge of the liturgical and administrative care of the entire
papal basilica.
Pastoral care is entrusted to the homonymous and
adjacent parish in San Vito, whose clergy belong to the basilica and are
at the same time responsible for the sacristy as regards the celebration
of the sacraments.
The liturgical service is carried out by the
Almo Collegio Capranica, whose rector is an honorary canon during
munere.
Liberian Music Chapel
It is a direct descendant of the
Schola Cantorum, being formally constituted in 1545, under the authority
of the cardinal archpriest and the chapter.
It has the purpose of
liturgical animation of the Sunday chapter mass, as well as on the
occasion of solemnities, interpreting the musical texts provided for the
liturgy in Gregorian and polyphonic chant.
Fraternitas Mater Dei
et Ecclesiae
It is an organism established in 1974 by the cardinal
archpriest and dependent on the chapter, as an association-based
organism, wanting to represent an aggregation aimed at the moral and
material support of the basilica, as the first Marian center in the
world and around which the faithful converge, according to their own
state of life.
Foundation
Built, according to tradition, during the pontificate
of Liberius (352-366), it was rebuilt or restructured by Pope Sixtus III
(432-440), who dedicated it to the cult of the Madonna, whose divine
motherhood had just been recognized by the council of Ephesus (431).
According to tradition, the Madonna appeared in a dream to Pope
Liberius and the patrician John, suggesting that a basilica be erected
in a place that would be miraculously indicated. So when an unusual
snowfall whitened the Esquiline on the morning of 5 August, Liberio
would have traced the perimeter of the new basilica in the snow, which
was later built thanks to Giovanni's funding. The memory of this ancient
building remains only in a passage from the Liber Pontificalis which
states that Liberio «fecit basilicam nomini di lui iuxta Macellum
Liviae».
In any case, on August 5 of each year, in memory of Our
Lady of the Snow, the re-enactment of the so-called "miracle of the
snow" takes place: during the celebration of mass in the morning and
Vespers in the evening, it comes down from the center of the ceiling to
caissons at the crypt of the manger, a cascade of white petals.
The previous church was dedicated to the belief in the Creed proclaimed
by the First Council of Nicaea.
The basilica built by Sixtus III
starting from the year 432 had three naves, divided by 21 bare columns
on each side, surmounted by Ionic capitals, above which a continuous
architrave ran. The central nave was lit by 21 windows on each side
(half of which were subsequently plugged) and was surmounted by a wooden
roof with exposed trusses.
The mosaics
"Art tried new forms in
the triumphal arch of the basilica of Santa Maria Maggiore erected by
Sixtus III, where it seems to echo the prayer of Cyril at the Council of
Ephesus against the heresy of Nestorius:" Hello, O Mary, mother of God,
venerable treasure of the whole world, lamp that never goes out, shining
crown of virginity, indestructible temple, mother and virgin at the same
time ... Hello, oh you who have carried infinity in your womb ...
"(Adolfo Venturi )
The nave was always decorated in the Sistine
age with mosaics, within panels placed under the windows, originally
enclosed by aedicules, with a cycle of stories from the Old Testament:
stories of Abraham, Jacob, Isaac on the left side, Moses and Joshua on
the right. . Of the original forty-two panels, many of which featured
two superimposed scenes, 27 remain (12 on the left wall and 15 on the
right) after the destruction due to the eighteenth-century side
openings.
This is certainly the first figurative cycle to appear
in a Roman church. The Old Testament stories show undoubted stylistic
tangencies with the so-called "Vatican Virgil", a manuscript of the
Aeneid preserved in the Vatican Apostolic Library, and with the Bible
called Itala di Quedlinburg, but links with imperial iconography have
also been noted, according to a process of appropriation of the imperial
image and visual attributes typical of early Christian art. These
relationships, as well as the not always chronological arrangement of
the scenes and completely functional to each single episode and to
rhythmic correspondences within the series, underlie the use of a
specially designed figurative plan, perhaps even by the very young Leone
not yet pope.
These stories present stylistic characteristics
linked to late antique painting (a seventeenth-century tradition that
begins with Ciampini even wanted them to have been made in the fourth
century): shading, shades with gradual color transitions, realistic
depiction of space and volumes, splashes of color, background iridescent
in relation to the contrast with the figures.
More hieratic and
rhythmically dilated are the scenes of the mosaics of the triumphal
arch, representing some moments of the Childhood of Christ, some of
which are taken from apocryphal gospels (Annunciation, Presentation at
the Temple, Adoration of the Magi, Meeting with the governor Aphrodisio,
Massacre of the innocenti, Magi at Herod). In particular, the meeting
with the Egyptian governor Aphrodisio in front of the city of Sotine, in
addition to being a visual pendant to the adoration of the Magi on the
opposite side, is an episode attested only in Santa Maria Maggiore, and
taken from the apocryphal Gospels: Jesus, while fleeing to Egypt, he
enters the city of Sotine with his parents, the pagan idols immediately
fall to the ground and Aphrodisio greets the Child as Redeemer. At the
top of the arch, the Throne of Etymasia with a Cross, flanked by Saints
Peter and Paul, and surmounted by the Tetramorph. Below appears a panel,
with the inscription Xystus episcopus plebi Dei (Sixtus bishop to the
people of God), in gold letters on a blue background, which is the
dedication of the pope who founded the basilica. On the sides, the two
holy cities, Jerusalem and Bethlehem, inside which the colonnades of the
basilica extend illusionistically, indicating in it almost a prelude to
the heavenly Jerusalem.
The programmatic design of this Sistine
decoration therefore intended to reaffirm the divinity of Christ
incarnate in the Virgin, as reaffirmed in the recent Council of Ephesus
(431), and at the same time the primacy of the Roman Church in the
Christian ecumene. The very arrangement of the Old Testament scenes, the
choice of the episodes of the triumphal arch, the priority of the visual
correspondences over the chronological ones, all converge in the
identification of a sort of visual theology, of a figurative symbolic
manifesto, which represented a novelty in the context of Rome of those
crucial years of the fifth century.
The interventions from the
XII to the XIV century
New apse and mosaics
The Cosmatesque floor,
redone in the restorations of the Fuga, and a portico leaning against
the façade (remodeled under Pope Gregory XIII and then destroyed in the
eighteenth century to make room for the new baroque façade ).
The
basilica was the subject of important interventions in view of the first
jubilee of the year 1300; in particular during the pontificate of
Niccolò IV the transept was added and a new apse was created which was
decorated with rich mosaics made by Jacopo Torriti (Coronation of Mary
and Stories of Mary), dated 1295. This is the first Coronation of the
Virgin in the apse. Seated on the same sumptuous Throne and next to the
Redeemer, Mary is dressed in royal clothes, typical of the Byzantine
form of the time and also specific to the Marian cult in Rome. This
mosaic, a synthesis of orientalizing ways and Roman artistic spirit,
concludes a millenary season of Christian-Byzantine-Roman art.
The mosaics on the façade, the work of Filippo Rusuti, whose commission
is to be referred to Cardinal Pietro Colonna, and the construction of
the chapel of the Nativity by Arnolfo di Cambio (destroyed to make way
for the Sistine Chapel) date back to the same period. The surviving
figures of the nativity scene are now exhibited in the basilica museum.
Bell tower
The Romanesque bell tower is 75 meters high, the
highest in Rome. Built between 1375-1376, it was, over the centuries,
raised and completed under Cardinal Guglielmo d'Estouteville, archpriest
of the basilica between 1445 and 1483, who was also responsible, for
static purposes, for the large cross vault of division between the lower
part and the first floor. In the early nineteenth century it was
equipped with a clock. We find orders of double single-light windows
and, in the subsequent floors, mullioned windows.
The bell tower
hosts a concert of 5 ancient bells cast by various founders and
different eras, the 1st refused by Lucenti in ??, the 2nd by Guidotto
Pisano in 1289 and the other 3 from the 16th-19th centuries
The
notes of them are:
1st C3 waning
2ºDo♯3
3º Re3
4ºFa♯3
5th
Sol3
The bell tower also kept the bell donated by Alfano, chamberlain of
Callisto II (1119-1124), which, removed under Leo XIII, is kept today in
the Vatican Museums.
The main bell is called "La Sperduta" and it
rings just after 9pm, recalling a legend that dates back to the 16th
century. In fact, it is said that a shepherdess, according to some
versions blind, was lost in the meadows that at that time surrounded the
Esquiline, grazing her flock. By now the evening had fallen, the bells
of the Basilica of Santa Maria Maggiore were made to ring so that the
tolling would guide her home. It then seems that she never actually came
back, but the bells keep calling her. Hence the evening ritual called
the "Lost". According to another tradition, instead of a shepherdess, it
was a pilgrim (or a distinguished traveler, according to other sources)
who, coming to Rome on foot, lost her way and had therefore prayed to
the Virgin asking for her help. She immediately heard the tolling of the
bell, following which she reached the Basilica and therefore salvation.
In memory of the fact, the pilgrim left an income so that at 2 am
(transformed at 9 pm in recent times) the bell would be perpetually
rung.
The interventions of the fifteenth century: the golden
ceiling of the nave
In the fifteenth century, Cardinal Guglielmo
d'Estouteville (1403-1483) had the side aisles covered with vaults,
while the central nave was decorated with a rich coffered ceiling built
on a project attributed to the architect Giuliano da Sangallo,
commissioned by Cardinal Rodrigo Borgia , ascended to the papal throne
with the name of Alexander VI. The coffered ceiling, richly carved, has
the heraldic coat of arms of the pontiff in the center, recognizable by
the presence of the bull. Each carved element has gold leaf gilding
which, according to tradition, was made with the first gold that came
from the Americas (Peru) and donated by the Spanish sovereign to the
Church.
The interventions of the sixteenth century: the Sistine
chapel
Sixtus V, a great protagonist of the urban transformation of
Rome at the end of the sixteenth century, chose the basilica as a
sumptuous burial site for himself, for his family and for his great
protector Pope Pius V. For this purpose he commissioned his architect
Domenico Fontana, in 1585, to erect a new monumental chapel, dedicated
to the Blessed Sacrament, memorable - as well as for the furnishings and
materials used - because it integrated the ancient oratory of the
Nativity, with the sculptures of Arnolfo, the connected relics of the
manger and the reliefs made by the sculptor Niccolò Fiammingo.
The entire small room was thus moved from its original position (as an
annex to the right aisle) in the center of the new chapel under the
altar, in a new crypt with an ambulatory, like a real confession. For
the ornamentation of the chapel, among other things, polychrome marbles
and columns from the Septizonium were used, while the Cosmatesque
decoration of the ancient chapel was transferred to cover the altar of
the new confession under the papal altar, which is surmounted by a
precious ciborium, in which four angels in gilded bronze are sculpted
(by Sebastiano Torrigiani) which support the model of the chapel itself.
Sixtus V also had a cycle of frescoes painted on the walls that covered
some of the early Christian windows.
At the end of the century
the Sforza Chapel dates back to a design by Michelangelo Buonarroti.
The interventions of the seventeenth century: the Pauline chapel
In June 1605 Pope Paul V Borghese decided to build the family chapel in
the basilica, shaped like a Greek cross and the size of a small church.
The architectural part was entrusted to Flaminio Ponzio, bound in the
plan by the mirror chapel of Pope Sixtus V. Completed the structure in
1611, the decorative part, with colored marble, gold and precious
stones, was finished at the end of 1616. The side walls are placed the
two tombs of popes Clement VIII and Paul V, enclosed in a triumphal arch
architecture with their statue and pictorial bas-reliefs in the center.
The sculptural part was created between 1608 and 1615 by a
heterogeneous group of artists: Silla Longhi, who had the major part of
the work creating the two papal statues, Ambrogio Buonvicino, Giovanni
Antonio Paracca known as Valsoldo, Cristoforo Stati, Nicolas Cordier,
Ippolito Buzio, Camillo Mariani, Pietro Bernini, Stefano Maderno and
Francesco Mochi.
The direction of the pictorial work was entrusted to the Cavalier
d'Arpino who created the pendentives of the dome and the lunette above
the altar. Ludovico Cigoli built the dome while Guido Reni was the main
author of the individual figures of saints which were also handled by
Passignano, Giovanni Baglione and Baldassare Croce; subsequently
Lanfranco, according to Bellori, intervened by transforming an angel
into the Virgin.
On the altar of the chapel is the icon of the
Salus populi romani, a painted image of the Virgin of the Roman
orientalizing type (12th-13th centuries).
The exterior of the
apse, facing Piazza dell'Esquilino, is the work of Carlo Rainaldi, who
presented Pope Clement IX with a less expensive project than that of the
contemporary Gian Lorenzo Bernini. Among other things, this would have
involved the destruction of the mosaics of the apse, which in the new
layout would have reached almost the height of the obelisk behind it.
Interventions from the 18th century to the present day
The last
major interventions on the outside of the basilica were carried out
during the pontificate of Benedict XIV, who commissioned Ferdinando Fuga
to rebuild the main facade, characterized by a portico and a loggia for
blessings, which was carried out between 1741 and 1743. The canopy of
the confession is also owed to the Fuga, erected on porphyry columns.
The Confession under the high altar was commissioned by Pope Pius IX
and carried out by Virginio Vespignani. Here, the relics of the cradle
of the nativity were placed in a crystal reliquary made by Luigi
Valadier.
The Sacristy of the Canons and the Chapter Hall were
restored under the direction of the Chapter architect Giovanni Battista
Benedetti between 1863 and 1864.
The central doors of the
Basilica were modeled by Ludovico Pogliaghi and cast by the Ferdinando
Marinelli Artistic Foundry of Florence
The blessing of the Holy
Door by Pope John Paul II, the work of the contemporary sculptor Luigi
Enzo Mattei, dates back to 2001.
Gian Lorenzo Bernini is buried
in the family tomb in Santa Maria Maggiore.
Museum of the
basilica
In the museum of the basilica of Santa Maria Maggiore is
currently preserved the sculptural work that for a long time was
considered the oldest crib made with statues. It is an Adoration of the
Magi in stone, including the partial figures of the ox and the donkey.
However, a careful observation of the sculptural groups indicates
that in reality they are not real statues in the round, but high reliefs
carved from blocks of stone, the back of which has visibly remained
flat, except for the figure of the kneeling Magician, which appears to
have been subsequently completed in the round (i.e. also sculpting the
back) by a later author than Arnolfo di Cambio, as happened to the
figure of the Virgin and Child, which is not the original sculpted by
Arnolfo. The most recent investigations, in fact, have shown that it
would have been modified in the Renaissance period, by sculpting and
modifying the original figure of the Virgin of Arnolfo.
It was
Pope Nicholas IV who in 1288 commissioned Arnolfo di Cambio to make a
representation of the "Nativity", which he finished sculpting in stone
in 1291. The tradition of this sacred representation dates back to 432
when Pope Sixtus III (432-440) he created in the primitive basilica a
"grotto of the Nativity" similar to Bethlehem. The basilica took the
name of Santa Maria ad praesepem (from the Latin: praesepium = manger).
The numerous pilgrims who returned to Rome from the Holy Land brought as
a gift precious fragments of the wood of the Sacred Cradle (cunabulum)
today kept in the golden reliquary of the Confession.
After a
closure in 2017, on 7 March 2022 the visits to the Loggia delle
Benedizioni, the Sala dei Papi and the annexed Bernini's Staircase
resumed, thanks to new internal staff of the Basilica taken from the
Fraternitas del Capitolo, so that the aforementioned environments have
become part of a path defined in a new structure of the Museum as a
Liberian Museum Center, under the guidance of a new director.
Archaeological excavations
Between 1966 and 1971, to solve humidity
problems, an excavation campaign was carried out under the floor of the
basilica, conducted exclusively along the side aisles. Removed the
underground that filled them, numerous rooms of the second and third
century were found, currently in museum and accessible from the museum
of the basilica.
The complex, on whose original destination various hypotheses have
been made, but nothing that had any bearing on the Liberian basilica, is
presumed to be private and therefore not to be identified with the
Macellum Liviae, in whose proximity sources attest to the primitive
Liberian basilica. It consists of many rooms divided around a large
courtyard, at various levels and not easy to interpret, also because
they can be ascribed to different periods and variously obliterated by
successive walls built at different times. Along the way you will
encounter: traces of a small spa, with mosaics and cavities for heating;
the exposure of the ancient tiles; well-preserved traces of decorative
geometric frescoes; traces of frescoes relating to an agricultural
calendar (which are perhaps the best known find of the site); a small
semicircular room with niches, remains of frescoes and a floor in opus
sectile su suspensura, presumably belonging to the thermal plant.
Pipe organs
In the basilica there are five pipe organs:
the
main organ was built in 1955 on commission of Pope Pius XII by the
Mascioni firm (opus 720) and replaces an older instrument, built in 1716
by Cesare Catarinozzi which was relocated in the parish of Aliforni
(fraction of San Severino Marche, MC) , where it still is. The Mascioni
organ is divided into two bodies on the choirs of the transept, on the
sides of the presbytery, and has 71 registers on three manuals and a
pedal.
The choral organ, located on the floor in the terminal section
of the left aisle, is the work of Giuseppe Migliorini and dates back to
1932; it has 7 stops on a single manual and pedal, it is entirely
enclosed in an expressive box and is electrically driven.
The organ
of the Pauline chapel is located in the right choir of the entrance arm;
it was built in 1910 by Natale Balbiani and is pneumatic transmission,
with 7 registers on a single manual and pedal.
In the Sistine chapel
there is a positive mechanical organ from the Mayer company on the
floor, dating back to 1980 and installed in 2017; it has 6 registers on
a single manual and pedal.
The organ of the Sforza chapel was built
by Anneessens & Ruyssers in 1900 and rebuilt by Francesco Zanin in 2005;
it is electrically driven, with 7 registers on a single manual and
pedal, and is located in an elevated niche along the right side of the
room.
Works already in Santa Maria Maggiore
Masolino da
Panicale and Masaccio, Pala Colonna (1423 or 1428), now in various
museums.
Matthew † (1153 - 1166? Died)
...
Paolo Scolari † (1176-?)
...
Cardinal Rolando Paparoni † (1187 - 1189? Died)
...
Cardinal Pietro Capocci † (1225? -?)
Cardinal Ottobono Fieschi †
(1259 - 11 July 1276 elected pope)
...
Cardinal Giacomo
Colonna † (1278 - May 10, 1297 resigned)
Cardinal Francesco Napoleone
Orsini † (1297 - 1312 died)
Cardinal Giacomo Colonna (for the second
time) † (1312 - 14 August 1318 died)
Cardinal Pietro Colonna † (1318
- 14 August 1326 died)
Cardinal Niccolò Capocci † (1351? -?)
Cardinal Pierre Roger de Beaufort † (1368 - 30 December 1370 elected
pope)
Cardinal Marino del Giudice † (1383 - 11 January 1386 died)
Cardinal Marino Vulcano † (1385 - 8 August 1394 died)
Cardinal
Stefano Palosti de Verayneris † (1390 - 24 April 1396 died)
Cardinal
Enrico Minutolo † (1396 - June 17, 1412 died)
Cardinal Rinaldo
Brancaccio † (1412 - 27 March 1427 died)
Pseudocardinal Francesco
Lando † (October 1427 - December 26, 1427 died)
Cardinal Jean de la
Rochetaillée † (January 1428 - March 24, 1437 died)
Cardinal Antonio
Casini † (March 1437 - February 4, 1439 died)
Cardinal Giovanni Maria
Vitelleschi † (1439 - 2 April 1440 died)
Blessed Cardinal Niccolò
Albergati, O. Cart. † (1440 - May 9, 1443 died)
Cardinal Guillaume
d'Estouteville, O.S.B. Clun. † (1443 -?)
Cardinal Prospero Colonna †
(1462 - 24 March 1463 died)
Cardinal Giuliano della Rovere, O.F.M. †
(August 1477 - August 11, 1483 resigned)
Cardinal Rodrigo de Borja y
Borja † (1483 - 11 August 1492 elected pope)
Cardinal Giovanni
Battista Savelli † (September 1492 - September 18, 1498 died)
Cardinal Giovanni Battista Orsini † (September 1498 - February 22, 1502
died)
Cardinal Giuliano Cesarini † (5 March 1503 - 1 May 1510 died)
Cardinal Pedro Luis de Borja Llançol de Romaní, O.S.Io.Hieros. † (June
1510 - October 4, 1511 died)
Cardinal Francisco de Remolins † (1511 -
5 February 1518 died)
Cardinal Robert Guibé † (4 October 1511 - 9
November 1513 died)
Cardinal Leonardo Grosso della Rovere † (February
1518 - September 17, 1520 died)
Cardinal Andrea della Valle † (1520 -
3 August 1534 died)
Cardinal Paolo Emilio Cesi † (1534 - 5 August
1537 died)
Cardinal Alessandro Farnese the Younger † (1537 - 1543
appointed archpriest of St. Peter's Basilica in the Vatican)
Cardinal
Giovanni Domenico De Cupis † (1549? - 10 December 1553 died)
Cardinal
Guido Ascanio Sforza of Santa Fiora † (1553 - 6 October 1564 died)
Cardinal Carlo Borromeo † (October 1564 - November 3, 1572 resigned)
Cardinal Alessandro Sforza of Santa Fiora † (1573? - 16 May 1581 died)
Cardinal Filippo Boncompagni † (1581 - June 9, 1586 died)
Cardinal
Decio Azzolino senior † (June 1586? - October 9, 1587 died)
Cardinal
Domenico Pinelli † (October 1587? - August 9, 1611 died)
Cardinal
Michelangelo Tonti † (August 1611 - April 21, 1622 died)
Cardinal
Giambattista Leni † (April 1622 - November 3, 1627 died)
Cardinal
Giovanni Garzia Mellini † (November 1627 - October 2, 1629 died)
Cardinal Francesco Barberini † (resigned October 1629 - 1630)
Cardinal Antonio Barberini, O.B.E. † (1630 - 3 August 1671 died)
Cardinal Giacomo Rospigliosi † (August 1671 - February 2, 1684 died)
Cardinal Felice Rospigliosi † (1686? - died May 9, 1688)
Cardinal
Philip Thomas Howard O.P. † (1689 - June 17, 1694 died)
Cardinal
Benedetto Pamphilj, O.S.Io.Hieros. † (1 November 1694 - 20 April 1699
appointed archpriest of the Basilica of San Giovanni in Laterano)
Cardinal Jacopo Antonio Morigia, B. † (20 April 1699 - 1701 resigned)
Cardinal Pietro Ottoboni † (1702 - 1730 appointed archpriest of the
Basilica of San Giovanni in Laterano)
Cardinal Lodovico Pico della
Mirandola † (July 1730 - August 10, 1743 died)
Cardinal Girolamo
Colonna di Sciarra † (1743 - 18 January 1763 died)
Cardinal
Marcantonio Colonna † (1763 - December 4, 1793 died)
Cardinal
Giovanni Francesco Albani † (1793 - 15 September 1803 died)
Cardinal
Antonio Despuig y Dameto † (28 December 1803 - 2 May 1813 died)
Cardinal Giovanni Filippo Gallarati Scotti † (1814 - 6 October 1819
died)
Cardinal Antonio Maria Doria Pamphilj † (10 October 1819 - 31
January 1821 died)
Cardinal Annibale Francesco Clemente Melchiorre
Girolamo Nicola della Genga † (10 February 1821 - 28 September 1823
elected pope)
Cardinal Benedetto Naro † (1 January 1824 - 6 October
1832 died)
Cardinal Carlo Odescalchi, S.I. † (1832 - November 21,
1834 resigned)
Cardinal Giuseppe Antonio Sala † (11 December 1838 -
23 June 1839 died)
Cardinal Luigi Del Drago † (29 August 1839 - 18
April 1845 died)
Cardinal Costantino Patrizi Naro † (24 April 1845 -
21 September 1867 appointed archpriest of the Basilica of San Giovanni
in Laterano)
Cardinal Luigi Amat of San Filippo and Sorso † (1867 - 30 March 1878
died)
Cardinal Gustav Adolf von Hohenlohe-Schillingsfürst † (15 July
1878 - 30 October 1896 died)
Cardinal Vincenzo Vannutelli † (December
16, 1896 - July 9, 1930 died)
Cardinal Bonaventura Cerretti † (16
July 1930 - 8 May 1933 died)
Cardinal Angelo Maria Dolci † (May 22,
1933 - September 13, 1939 died)
Cardinal Alessandro Verde † (11
October 1939 - 29 March 1958 died)
Cardinal Carlo Confalonieri † (16
November 1959 - 25 February 1973 retired)
Cardinal Luigi Dadaglio †
(15 December 1986 - 22 August 1990 died)
Cardinal Ugo Poletti † (17
January 1991 - 25 February 1997 died)
Cardinal Carlo Furno † (29
September 1997 - 27 May 2004 retired)
Cardinal Bernard Francis Law †
(May 27, 2004 - November 21, 2011 retired)
Cardinal Santos Abril y
Castelló (21 November 2011 - 28 December 2016 retired)
Cardinal
Stanisław Ryłko, since 28 December 2016
Connections
It can be
reached from the Napoleon III stop of tram 5
It can be reached from
the Napoleon III stop of tram 14