Room of the Immaculate Conception
Vatican City
Rome Italy
2016

https://www.museivaticani.va/content/museivaticani/en/collezioni/musei/sala-dell-immacolata/sala-dell-immacolata.html

Following the proclamation of the dogma of the Immaculate Conception by Pius IX, which took place on 8 December 1854, the pontiff decide to celebrate the event with a cycle of frescoes.
The large room adjacent to the Raphael's Rooms was chosen, and the task was assigned to Francis Podesti (1800-1895), a painter originally from Ancona but rooted in the Roman artistic and academic panorama. The artist, along with his team of workers, worked on the commission from 1856 to 1865, planning it and following its execution in all its aspects: the wooden doors and window frames and the inlaid marble work, as well as the installation of the Roman mosaic from Ostia Antica, purchased specifically for this space.
The pictorial decoration proceeds from the ceiling, with allegorical scenes alluding to the virtues of the Virgin; it continues along the northern wall with the homage of the continents to the Church enthroned; it continues on the west wall, devoted to the Discussion of dogma in St. Peter’s Basilica, and concludes on the east wall, with the Coronation of the Image of Mary, an event following the Proclamation, which took place in St. Peter’s. Podesti, who was present, included a self-portrait here.


https://www.walksinrome.com/blog/room-of-the-immaculate-conception-vatican-museums-rome

Following the proclamation of the dogma (Ineffabilis Deus) of the Immaculate Conception by Pius IX (r. 1846-78), which took place in St Peter's Basilica on December 8th, 1854, the pope decide to immortalise the event with a series of grand frescoes.

The frescoes (1856-65) in the Sala dell' Immacolata Concezione were executed by Francesco Podesti (1800-95), who had been present at the proclamation.

The fresco of the Proclamation of the Dogma of the Immaculate Conception occupies an entire wall in the room. Pius IX, by his own request, is depicted standing rather than seated. During the ceremony the pope had been obliged to stand up when a ray of sunlight unexpectedly shone in his face. As the day was overcast, the sunbeam was interpreted as heavenly confirmation of the dogma. In the fresco the sunbeam emanates from the cross in the top left corner.

Directly above the pope is the Virgin Mary and the Holy Trinity. Although Mary is in the centre, she is not on the same level as the Father and the Son, but a little lower. She may be the immaculate mother of God, but she is also human.

On the right-hand side of the fresco, Adam opens his arms to Mary, while Eve bows her head in shame. The faces of Eve and Mary are identical, for, according to the teaching of the Fathers of the Church, Mary is the new Eve.

The Immaculate Conception is the belief that the Virgin Mary was conceived free from the stain of original sin.