ALL SAINTS: ⛪ Our Lady of Perpetual Help

⛪ Saint of the Day: June 27

Our Lady of Perpetual Help, Pray for us!

Our Lady of Perpetual Help, also known as Our Mother of Perpetual Succour, holds a significant place in Catholic devotion, centered around a 15th-century Byzantine icon associated with both spiritual grace and historical reverence. Originally enshrined in the Church of San Matteo in Via Merulana since 1499, the icon now permanently resides in the Church of Saint Alphonsus of Liguori in Rome. Pope Pius IX formalized its title as Nostra Mater de Perpetuo Succursu and granted a pontifical decree of canonical coronation on 5 May 1866. The rite of coronation was executed by Cardinal Ruggero Luigi Emidio Antici Mattei on 23 June 1867.

Custodianship of the icon belongs to the Congregation of the Most Holy Redeemer, who oversee its veneration and the weekly novena prayers held in its honor. In Eastern Orthodoxy, the icon is alternatively known as "The Virgin of the Passion." Devotion to Our Lady of Perpetual Help is marked by an annual feast day on 27 June, accompanied by widespread popularity among Roman and Eastern Catholics due to promotion by Redemptorist priests. Modern reproductions of the icon are commonly displayed in homes, businesses, and public spaces, reflecting its enduring influence and spiritual significance across cultures and generations.

"The Evolution of the Marian Title 'Our Lady of Perpetual Help'"

The title of Our Lady of Perpetual Help has its origins in the tympanum of the current church in Via Merulana, Rome. Originally, it was an Eastern Orthodox icon called Amolyntos, showing the Madonna and Child with two angels carrying the Holy Instruments of Jesus Christ's Passion.

The title we know today comes from the tympanum of the Augustinian Church of San Matteo in Via Merulana. An inscription from 1579 read:

"Deiparæ Mater et Virginis Succursu Perpetui" (Latin for 'Virginal Mother who bore God, May always Assist us')

The Order of Saint Augustine had a deep devotion to this title, based on their monastery "Our Lady of Help" (Madonna del Soccorso) in Corleone, Sicily.

Pope Pius IX officially recognized this title, based on the icon's history in the older church, naming it "Holy Mother of Perpetual Succour" (Latin: Sancta Mater de Perpetuo Succursu). The icon's original style is faithfully preserved in its current shrine.

"The Origin and Legend of the Icon of Our Lady of Perpetual Help"

"Theotokos Amolyntos," by Andreas
Rizo de Candia (1421—1492).
Tempera on wood.
Princeton University Art Museum.

Claims of origin state that the icon, originally known as the "Theotokos Amolyntos," was painted by the Cretan iconographer Andreas Rizo de Candia (1421—1492). Rizo, who lived and worked in Rome during that era, is credited with creating several artworks that bear striking similarities to the icon in question. This attribution places the creation of the icon within the cultural milieu of Renaissance Rome, influenced by Byzantine artistic traditions.

A popular tale surrounding the icon emerged later, propagated by the account of Jesuit priest Father Concezio di Carroci. According to this narrative, the image was allegedly stolen from Lasithi, Crete, by an anonymous Roman merchant. This story gained further traction through a sensationalized account of a Marian apparition to a young maiden, purportedly connected to the icon's eventual placement in the Church of San Matteo in Via Merulana.

Cardinal Francesco Nerli Jr., former Archpriest of Saint Peter's Basilica, also endorsed the icon, acknowledging its reputed miraculous qualities described with the Latin phrase "Miraculorum Gloria Insignis," meaning remarkable glory of miracles. These endorsements and legends contribute to the icon's mystique and significance within both religious and artistic contexts, reflecting its enduring appeal and the devotion it inspires among believers.

The Monastery of Kardiotissa and the Icon of Our Lady of Perpetual Help

The icon of Our Lady of Perpetual Help is steeped in rich history and tradition, with origins linked to the Keras Kardiotissas Monastery. According to the monastery, the icon was painted by Lazarus Zographos (810—865 AD) and was known as the Panagia Kardiotissa (Greek: Παναγίας Καρδιώτισσας), named for the depiction of the Mother of God holding the Child Jesus near her heart. Historian Stergios Spanakis argued that the miraculous nature of the icon was the inspiration for the founding of the monastery.

Italian Franciscan priest and traveler Cristoforo Buondelmonti, who visited Crete in 1415, documented a similar icon, noting its miraculous reputation:

"Βαδίζαµε ανάµεσα σε πυκνοδασωµένα πετρώδη βουνά µέχρι που φθάσαµε στην εκκλησία της Καρδιώτισσας, που πολλές φορές είχε φανερωθή στους πιστούς µε θαύµατα." (Greek for 'We walked between densely forested stony mountains until we reached the church of Kardiotissa, which had appeared to the faithful many times with miracles.')

It is believed that this miraculous icon was stolen from the monastery in 1498. The earliest written account following its abduction is found on a Latin and Italian plaque in the Church of San Matteo in Via Merulana, where the icon was publicly venerated for the first time in 1499. According to a parchment attached to the painting, the icon was taken by a merchant sailing to Rome from Crete. The icon remained in the private possession of this Roman merchant and his family until 27 March 1499, when it was transferred to the Church of San Matteo. For 300 years, the image, then known as the "Madonna di San Matteo," was venerated by the faithful in this church.

The Journey of the Icon According to the Redemptorist Order

Official publication of the
venerated image by the Order
of the Redemptorists

The Congregation of the Most Holy Redeemer, commonly known as the Redemptorists, have maintained a comprehensive account of the journey of the venerated icon of Our Lady of Perpetual Help. Their records detail its passage from the private ownership of a merchant family in Rome to its current location at Sant'Alfonso di Liguori on the Esquiline Hill in Rome.

According to this account, a merchant brought the icon from Crete to Rome in the late 15th century. The merchant's six-year-old daughter reportedly had a dream in which the Virgin Mary appeared to her, instructing her to tell her mother and grandmother that the icon should be placed in the Church of Saint Matthew the Apostle, located between the basilicas of Saint Mary Major and Saint John Lateran. The icon was subsequently moved to Saint Matthew's, where it remained for three centuries.

During the final 60 years of the 18th century, the Augustinian Order of the Catholic Church occupied Saint Matthew's. However, in 1798, war broke out in Rome, prompting the icon to be relocated to the Church of Saint Mary in Posterula, near the "Umberto I" bridge that crosses the Tiber River. The icon remained hidden there until Pope Pius IX issued a Pontifical decree in 1865, granting its possession to the Redemptorists. The Church of Saint Mary in Posterula was later demolished in 1880.

In January 1866, Fathers Michael Marchi and Ernest Bresciani from the Redemptorist Order went to Saint Mary's in Posterula to receive the icon from the Augustinians. The Redemptorists had acquired the property where Saint Matthew's once stood and had established the modern Sant'Alfonso di Liguori Church in honor of their founder. Thus, the icon returned to the location described by the Virgin Mary in the merchant's daughter's dream, between Saint Mary Major and Saint John Lateran.

Redemptorist tradition holds that in 1866, Pope Pius IX instructed the Redemptorists to make the icon known worldwide. As a result, several copies were made and sent to Redemptorist parishes around the globe, spreading the devotion to Our Lady of Perpetual Help far and wide.

Saint Alphonsus Mary Liguori and other Redemptorist saints adore the
Blessed Sacrament and venerate Our Lady of Perpetual Help.

The Journey of the Icon: From Saint Matthew's to Saint Alphonsus of Liguori

In 1798, French troops under Prince Louis-Alexandre Berthier occupied Rome during the French Revolutionary Wars, establishing the short-lived Roman Republic and taking Pope Pius VI prisoner. During the French occupation, several churches were demolished, including San Matteo in Via Merulana, which housed the icon. The Augustinian friars who rescued the icon first took it to the nearby Church of Saint Eusebius, then later placed it on a side altar in the Church of Santa Maria in Posterula.

In January 1855, the Redemptorist priests purchased Villa Caserta in Rome along Via Merulana and converted it into their headquarters. Decades later, Pope Pius IX invited the Redemptorist Fathers to establish a Marian house of veneration in Rome. In response, the Redemptorists built the church of Sant'Alfonso di Liguori at that location. Unbeknownst to them, this site had once been the location of the Church of San Matteo and the shrine of the famed icon.

The memorialization of the 27th Feast Day commemorates the official date of the icon's translation to the former Church of Saint Matthew on March 27, 1499. Pope Pius IX selected this date in conjunction with the canonical coronation of the image for the Feast of Our Lady of Perpetual Help on June 27, as proposed by the Order of the Augustinians, who were the legal custodians of the image at that time.

The icon remained damaged and unrestored in the chapel at the back of the Church of Saint Matthew. An Augustinian monk, Agostino Orsetti, complained that the icon did not receive sufficient veneration because another image, "The Madonna of Grace," was venerated at the main altar. Seeing an opportunity, Redemptorist missionary Michael Marchi proposed that the Redemptorists, who were planning to build a new church on the Esquiline Hill, take custodianship of the icon. This proposal was brought to Father-General Nicholas Mauron, who then petitioned Pope Pius IX for a papal dispensation to transfer custodianship of the original image.

On December 11, 1865, Pope Pius IX sent a letter to Father-General Nicholas Mauron, ordering that the Marian image be publicly venerated once again in Via Merulana, at the new Church of Saint Alphonsus of Liguori. The Pope directed the Augustinian friars to surrender the original icon to the Redemptorist priests, on the condition that the Redemptorists provide the Augustinians with another adequate picture in exchange as a gesture of goodwill.

Pope Pius IX's instructions to the Redemptorists were:

"The Prefect of Propaganda, Cardinal Alessandro Barnabò, shall call the Superior of the community of Sancta Maria in Posterula and will tell him that it is Our desire that the image of Most Holy Mary, referred to in this petition, be again placed between Saint John the Lateran and Saint Mary Major; the Redemptorists shall replace it with another adequate picture." — Pope Pius IX

The original icon remains under the care of the Redemptorist Fathers at the Church of St. Alphonsus of Liguori, with the latest restoration of the icon having taken place in 1990.

Restoration and Historical Analysis of the Icon of Our Lady of Perpetual Help

Pope Pius IX commissioned Dean Costantino Patrizi Naro of the College of Cardinals to restore the worn and damaged icon on April 26, 1866. The Polish painter Leopold Nowotny (1822—1870) undertook the restoration process.

In 1990, the icon was temporarily removed from its altar for new photography and restoration commissioned by the General Government of the Redemptorists. The Redemptorist Order collaborated with the Technical Department at the Vatican Museum for this restoration, aimed at preserving the icon and addressing fungal damage. The restoration involved X-ray, infrared scanning, technical paint analysis, ultraviolet testing, and a carbon-14 test, dating the icon to between the years 1325–1480.

Artistic analysis of the icon revealed that its facial structure had been altered due to previous overpainting, resulting in a blend of "oriental and occidental" features in the image.

Composition and Appearance

Click Image

Physical Characteristics:

The original icon measures approximately 17" × 21" inches and is painted on a wooden panel. It is set against a backdrop of gold leaf, a hallmark of Byzantine and Eastern Orthodox iconography, symbolizing the heavenly and divine nature of the figures depicted. Crafted from walnut, a material revered for its durability and symbolism in religious art, the panel lends a sense of permanence and sacredness to the icon.

Iconography:

The Blessed Virgin Mary: She is portrayed wearing a dark red dress, a color associated with royalty and dignity in Byzantine tradition. This attire underscores her role as the Theotokos, the Mother of God, and also reflects her humility as she holds the divine Child.
Child Jesus: Depicted as a young child with a solemn expression, Jesus gazes towards the faithful while clutching Mary's hand. This gesture symbolizes their intimate bond and mutual support, emphasizing Mary's role as the nurturer and protector of her Son.
Angelic Figures:
- Saint Michael Archangel: Positioned on Mary's left, Saint Michael carries the lance and sponge used during Jesus's crucifixion. His presence signifies protection and divine intervention, offering comfort and assurance to the viewer.
- Saint Gabriel Archangel: Positioned on Mary's right, Saint Gabriel holds a 3-bar cross and nails, prefiguring Jesus's impending sacrifice. As the messenger of God, Gabriel heralds the pivotal role of Jesus in humanity's salvation.

Symbolism:

Star on Mary's Forehead: Placed prominently on Mary's forehead, the star symbolizes her as the "Star of the Sea," guiding believers towards spiritual illumination and salvation through her Son, Jesus Christ.
Cross: Adjacent to the figures, the cross serves as a potent reminder of Christ's sacrifice and redemption. It links the icon to its origins in a Greek monastery, imbuing it with historical and theological significance.

Greek Inscriptions:

The icon features Greek inscriptions that carry profound theological meanings:
- MP-ΘΥ: Abbreviation for "Mother of God" (Μήτηρ Θεοῦ), affirming Mary's divine motherhood and her central role in Christian faith.
- ΟΑΜ (Michael) and ΟΑΓ (Gabriel): Identifies the archangels Michael and Gabriel, underscoring their celestial roles as protectors and messengers in the divine plan.
- IC-XC: Abbreviation for "Jesus Christ" (Ἰησοῦς Χριστός), encapsulating the essence of Christian faith and the redemptive mission of Jesus Christ for humanity.

Deeper Messages and Spiritual Significance

Maternal Love and Protection: Mary's gentle gaze and protective posture towards Jesus convey maternal love and care, offering solace and hope to believers facing trials and challenges.
Divine Intervention and Salvation: The presence of Saint Michael and Saint Gabriel symbolizes divine intervention and the unfolding of God's plan for salvation through Jesus Christ.
Universal Guidance and Redemption: The star on Mary's forehead signifies her universal role as the guide to salvation, leading believers towards the eternal light and grace found in Jesus Christ.
Historical and Theological Context: Rooted in Byzantine tradition and enriched by centuries of devotion, the icon embodies the theological richness of Eastern Christian spirituality, inviting contemplation and prayerful reflection on the mysteries of faith.

In essence, the icon of Our Lady of Perpetual Help is a profound visual narrative that speaks volumes about faith, salvation, and the enduring love of Mary and Jesus Christ. Its intricate details and symbolism continue to inspire and deepen the spiritual lives of believers across the world.