One of the many beautiful basilicas in Rome has a very unusual miraculous history. On August 5, around the year 352, the citizens of the city were startled by an unusual brightness on Mount Esquiline’s summit. There, on this hot summer morning, had fallen a blanket of snow! Rushing to the place, they saw that the snow had fallen in the precise shape and dimensions to lay out the foundation of a church. The miraculous snow did not melt under the August sun.

That same morning, two men - a wealthy nobleman named John and Pope Liberius- both awoke from mystical dreams, informing them of Our Lady’s desires for this place. When the people learned that a church was to be built there, they set up a perimeter to work. The snow disappeared once it was no longer needed.

The nobleman and his wife, being without an heir to their vast fortune, generously covered all the expenses of the project. They had prayed fervently to Our Lady for guidance as to their wealth, and they saw in this miracle the answer to their prayers.

In two years, the church was completed. Over time, it was expanded to a basilica of such size and beauty as to be named "St. Mary the Greater" or "St. Mary Major". Due to its miraculous origin, it is also known as "the Church of St. Mary of the Snows".

Pope Liberius wanted a beautiful image of the Blessed Mother to inspire the people who came to Her new church. He chose a painting from the pontifical oratory. This image of Mother and Child was painted directly on a thick slab of cedar wood, measuring almost five feet high, and a little over three feet wide.

This Greek style painting depicts Our Lady in a dark blue mantle with golden edging, and holding Her Son in Her arm. The Child Jesus looks up toward Her, with His right hand raised in blessing, and His left holding a book.

More than two centuries after the basilica was built, Rome was stricken by a horrible plague that wiped out entire families. During the Easter festivals, Pope St. Gregory the Great carried the holy image of Mother and Child in procession through the city, praying fervently for Our Lady’s help.

When the procession reached Hadrian’s Mausoleum, the people were surprised to suddenly hear a beautiful sound. The joyous Easter hymn resounded in the air, sung by a choir of angels:

Regina caeli, laetare, alleluia; [Queen of heaven, rejoice, alleluia.]
Quia quem meruisti portare, alleluia [For He Whom you merited to bear, alleluia,]
Resurrexit, sicut dixit, alleluia: [Has risen as He said, alleluia.]

The saintly pope prayerfully intoned the final verse:

Ora pro nobis Deum, alleluia. [Pray to God for us, alleluia.]

Once he uttered these words, the crowd gazed in wonder toward the Mausoleum. At the top of the building was an angel, sheathing his sword, thus signifying an answer to their prayers. The plague left the city.

In memory of this extraordinary event, a beautiful statue was later designed and placed at the top of the building, which is now known as Castel Sant’Angelo.

St. Gregory the Great had a special love for the basilica of St. Mary Major, and delighted in offering the Holy Sacrifice of the Mass there. One Easter Sunday, he chanted the words of Mass, "Pax Domini sit semper vobiscum. [Peace of the Lord be always with you.]". To his surprise and joy, a heavenly voice sang the response, "Et cum spiritu tuo. [And with your spirit.]"

This second instance of celestial singing has since been honored by a cherished tradition of future Popes. When they, like St. Gregory the Great, have offered the Pontifical Mass in this church, the choir sings all the usual responses… except for one time. All are silent for the one sentence sung by a voice from Heaven that one Easter Mass.