Of the nine or more settings of the Salve regina attributed to Giovanni Battista Pergolesi by various eighteenth-century sources, only the two presented here can be considered authentic; one in A minor for soprano, strings, and continuo, almost certainly from the earliest stages of his career; the other in C minor for the same forces, one of his most widely disseminated works and possibly his final work, one that is both stylistically and aesthetically on a par with his renowned Stabat Mater. The ninety-two known sources for the work transmit it in no fewer than six distinctly different versions and this publication presents the most striking of them in a series of appendices.