‘Our Lady,’ renewed Leaning against ancient Servian walls near the Arch of Gallienus in Rome sits the Church of St. Vito. Hanging within is a treasure familiar to the Marian Congregation and to Marian Helpers: a painting entitled “Our Lady, Immaculately Conceived.” For decades, the Marian Fathers have reproduced the lovely image on prayer cards and pamphlets. However, it turns out that the extreme golden hue of the painting was not original, but rather caused by centuries of age and neglect. Heartbreaking disrepair Seeing that this incredible artwork had fallen into heartbreaking disrepair, St. Vito’s pastor, Fr. Pasquale Magagnini, a diocesan priest, spearheaded the restoration of the painting, with the support of his parishioners and the Marian Fathers in the United States. It was completed earlier this year, and unveiled at a special dedication Mass celebrated by His Excellency, Daniele Libanori, auxiliary bishop of the Diocese of Rome. “The image is part of our rule of life,” says Fr. Joe Roesch, MIC, vicar general. “It’s a visual expression of our Marian charism.” Saint Vito’s is uniquely connected to the Marian Fathers. In 1776, during the General Chapter meeting held in Marijampole, Lithuania, Marian Fathers Candide Spourny and John Niezabitowski were charged with finding a home for their Marian brethren in Rome. Arriving in 1777, they went house-hunting, purchasing St. Vito’s and its adjoining monastery, the sale of which was approved by Pope Pius IV in 1779. Only two decades later, they were forced to move out. During Napoleon Bonaparte’s occupation of Rome in 1789, he extradited all foreigners from the Eternal City. What the Marians had hoped would be their permanent residence was lost and never restored to them. But there is one remaining vestige of the community’s presence in St. Vito: the painting they had commissioned of their patroness above the altarpiece. Polish artist The Marians turned to a Polish artist living in Rome, Francis Smuglewicz. He came from a long line of prominent painters and was even granted an annual scholarship from Poland’s King Stanislaus August Poniatowski towards his artistic education and work. As a favor to the Marian Fathers, Smuglewicz completed the masterpiece in 1782 for a modest salary. Smuglewicz painted using oil on a canvas that measures 49-by-67-inches, in a stucco frame covered in gold leaf. The golden background denotes Mary’s glory and holiness, juxtaposed with her royal blue robe. Clearly depicted as the Queen of Heaven, she steps victoriously on the serpent, Satan, whose influence she, through God’s grace, is free from in her immaculate nature. Above A Marian icon is finally ready for her close-up By Dr. Veronica Szczygiel ‘The image is part of our rule of life. It’s a visual expression of our Marian charism.’ 10 Marian Helper • Summer 2022 • Marian.org
RkJQdWJsaXNoZXIy MjI2Mw==