The broad, main nave is separated from the dark side naves by eighteen granite columns, which are topped off with Corinthian capitols. The apse is a veritable artistic miracle, but also a propaganda manifesto. In the triumphal arch of the church, on a meadow filled with white and red flowers, there are apostles marching in an even row towards Christ seated on the globe, who is accompanied by two angels. Dressed in white tunics, they carry scrolls of text and books. On the apse itself there is a representation of the enthroned, seated on a scarlet cushion, Our Lady with the Christ Child in her lap. On both of her sides there are prophets blessing her – the bearded Moses and young Elijah, those who foretold the coming of the Lord. The throne of the Madonna, here almost a queen, is surrounded by countless hosts of praying archangels. And finally the onlooker’s gaze turns to the main hero in the background, although very important – Pope Paschal I (817-824), kneeling at Mary’s feet. The pose in which this dignitary was presented, suggests nothing of the piousness of a medieval donator, who is even unwilling to raise his eyes to look upon one of the surrounding saints. Paschal seems neither taken back with the saintly company in which he finds himself, nor does he pay any attention to the Virgin Mary (or the Child), who with a gesture of her hand points to him, Without fear, remorse or religious emphasis he looks straight into our eyes as if he is expecting applause. We may shudder to think what would have happened if he had arisen from his knees. Then, this at that time still living, not yet a saint, although pretending to the sainthood (which is testified to by his square halo) man, would be on equal footing with the archangels. If that was not enough Paschal holds the Virgin Mary by her slipper, however he does not kiss it, but rather fraternizes with her fully, as if he was holding proof of his status. The inscription placed below informs us, that the pope lifted from ruin the first church which had existed here, furnished it with various metal accessories (liturgical) and decorated so splendidly that it glows like a moon illuminating the night. This royal structure, as the inscription goes on to inform us, was built for the Virgin Mary by Bishop Paschal, which is additionally documented by the pope’s monogram placed above the Madonna’s head.

Pope Paschal I, was one of the most outstanding founders of medieval Rome. His artistic representation can be seen in the Eternal City several times – in the churches of Santa Cecilia and Santa Prassede. He is always shown assisting the saints in adoration. However, here he seems to be ahead of the line – he does not stand off to the side, but looking directly at us, clearly preaches his credo, as if he was saying: here in front of you, by the grace of God, kneels at the feet of the Virgin Mary, the pope – the deputy of Christ on Earth, lord and master of human souls and fate. Does he not deserve the company of the archangels and the protection of the Virgin Mary? The way of presenting Paschal in the Church of Santa Maria in Domnica is completely in line with information, which is known about him. On the walls of structures which he founded, he inscribed a cohesive program of his pontificate, focusing on the establishment of the primacy of Rome among other bishoprics of the old empire, and thus guaranteeing himself a position equal to that of the emperor residing in distant Constantinople.

The static and hierarchical method of depicting figures on mosaics points to Greek masters, who came to the city during the period of the iconoclasm which had spread throughout the Eastern Empire. These craftsmen were like a gift sent to Paschal from heaven. With their aid, he was able to match the Byzantine emperor in the field of art. Reportedly he also highly valued the courtly, fancy and ceremonial Byzantine traditions and splendor.

However, let us return to this place, in which we currently find ourselves, since its beginnings are a lot more distant. In the III century A.D., this was a location of barracks of the V Cohort of the Vigiles. In the VII century on their ruins an oratory was created, founded by Pope Leo III. During the pontificate of Pope Paschal I, around the year 820, it was expanded and embellished. A three-nave church was erected, ended with an apse decorated with the aforementioned mosaics. The church renovation and modernization took part in the XVI century with the aid of the de Medici family. Pope Leo X, still as Cardinal Giovanni de Medici renovated the nearly ruined church in 1513, thoroughly reconstructing it, in a new Renaissance style. Fortunately, the apse was left untouched, leaving it in its original state. Similarly, the façade, although decorated with pilasters and marbles did not lose its original, Roman structure, with a triangular top and a protruding column portico, despite the fact that Andrea Sansovino provided it with a new look. Another of the de Medicis – Ferdinando de Medici supplied the church with a new, wooden, coffer ceiling adorned with the family coat of arms. On the other hand, the Baroque frescoes located below the apse mosaic were completed in the XVII century, by a well-known although average painter Lazzaro Baldi. They are a reference to the responsibility of aiding the poor and the needy and depict the deeds of early-Christian saints – Lawrence and Cyriacus. The paintings therefore, show the church as a commune, which initially was to focus on aid for widows, orphans and the poor as well as on support of pilgrims coming to Rome.

The words “in Domnica” found in the church dedication is a reference to the ancient term “dominicum” meaning a place of cult, or more appropriately a House of God; “Navicella” – in the second name used for the church (Santa Maria alla Navicella) – referebces a marble sculpture, which is found in front of the church and is a copy of an ancient votive boat, whose remains were found nearby and which was designated for the goddess Isis.