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Carlo Saraceni, Saint Cecilia and the Angel Italian, ca. 1610 Rome, Galleria Nazionale d'Arte Antica |
"Saint Cecilia kept the Gospel of Christ ever near her heart; day and night she never ceased praying and speaking with God."
Antiphon for Evening Prayer on the Feast of Saint Cecilia
Although we have few concrete details about her life and martyrdom, Cecilia of Rome has been one of the most popular saints of the Church in all the centuries since the 4th.
The date of her martyrdom is uncertain. It may be as early as the time of Marcus Aurelius in the mid-2nd century or as late as the time of Diocletian in the early 4th, only about 10 years before the Edict of Milan gave recognition to the Christian Church.
What we do know is that, as early as the years immediately after the Edict of Milan, she was one of the most respected of the Roman martyrs. What was probably her home was one of the early Roman “house churches”, called tituli. And, by the 5th century her name is among the list of martyrs cited in the Roman Canon, the principal Eucharistic Prayer of the Mass, along with other male and female saints, such as Lawrence, Clement, Sixtus, Cornelius, Agnes, Anastasia, Felicity and Perpetua. 1
Although we have few concrete details about her life and martyrdom, Cecilia of Rome has been one of the most popular saints of the Church in all the centuries since the 4th.
The date of her martyrdom is uncertain. It may be as early as the time of Marcus Aurelius in the mid-2nd century or as late as the time of Diocletian in the early 4th, only about 10 years before the Edict of Milan gave recognition to the Christian Church.
What we do know is that, as early as the years immediately after the Edict of Milan, she was one of the most respected of the Roman martyrs. What was probably her home was one of the early Roman “house churches”, called tituli. And, by the 5th century her name is among the list of martyrs cited in the Roman Canon, the principal Eucharistic Prayer of the Mass, along with other male and female saints, such as Lawrence, Clement, Sixtus, Cornelius, Agnes, Anastasia, Felicity and Perpetua. 1
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Carlo Saraceni, Execution of Saint Cecilia
Italian, ca. 1610
Los Angeles, Los Angeles County Museum of Art
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Her name, Cecilia, derives (as the names of Roman women always did) from her family name, in this case the Caecilii (for a male family member the form would be Caecilius, which survives in the English given name, Cecil). Presumably, Saint Cecilia was a member of this prominent, noble, old Roman family. She undoubtedly also had another, personal name, which is now lost.
Legends surround her life and death, although it is entirely possible that some of them may, in fact, be true. We simply don’t have the documentation to know for sure. The best-known tale is that as a young bride, vowed to perpetual virginity, she converted both her husband and brother-in-law, themselves prominent Romans, to the Christian faith and that, for this reason, both they and she suffered martyrdom.
Legends surround her life and death, although it is entirely possible that some of them may, in fact, be true. We simply don’t have the documentation to know for sure. The best-known tale is that as a young bride, vowed to perpetual virginity, she converted both her husband and brother-in-law, themselves prominent Romans, to the Christian faith and that, for this reason, both they and she suffered martyrdom.
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| Master of the Pesaro Crucifix, Saint Cecilia of Rome and Her Husband, Valerian, Being Crowned by an Angel Italian, c. 1375-1380 Philadelphia, Museum of Art |
By tradition the first attempt at killing her was to suffocate her in a hot bath. I had always thought this was a weird way to kill someone until I learned that the Empress Fausta, Constantine’s second wife, was reported to have been killed by this technique. Perhaps it was a Roman way to execute high born women. However, while it may have succeeded with Fausta, in Cecilia’s case it failed. Instead, she was killed by a more conventional manner, beheading.
The chosen executioner must have been incompetent because, according to tradition, he hacked at her neck three times, wounding her, but leaving her still alive. Such an incomplete beheading might well have left her alive and conscious, though probably at least partly paralyzed, for some time.
According to the story, she lived for three days, giving her enough time to make gifts to the poor of Rome and to donate her residence to the Church. It is certainly possible that this event may actually have happened, although the three days may be more a reference to the Passion and Resurrection of Christ than to a real time span. However, a slow death lasting from several hours to one or two days could be reasonable. Legend has it that she also sang hymns during this time, which, while remotely possible, is unlikely. 2
Her body was buried in a place of honor in the catacomb of Saint Callistus.
According to the story, she lived for three days, giving her enough time to make gifts to the poor of Rome and to donate her residence to the Church. It is certainly possible that this event may actually have happened, although the three days may be more a reference to the Passion and Resurrection of Christ than to a real time span. However, a slow death lasting from several hours to one or two days could be reasonable. Legend has it that she also sang hymns during this time, which, while remotely possible, is unlikely. 2
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| Luc Olivier Merson, The Dying Saint Cecilia Distributing Her Wealth to the Poor of Rome Design for a Window French, 1886 Paris, Musée d'Orsay |
Her body was buried in a place of honor in the catacomb of Saint Callistus.
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| Luis de Madrazo y Kuntz, Burial of Saint Cecilia in the Catacomb of Saint Callistus Spanish, 1852 Madrid, Museo Nacional del Prado |
In the 4th century a church was constructed above what probably had been her home, the titulus Caeciliae, now known as Santa Cecilia in Trastevere. Remains of the original Roman buildings have been found under the church foundations and can be visited.
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| Facade, Santa Cecilia in Trastevere Italian, 5th through 19th centuries Rome, Piazza Santa Cecilia |
In the 9th century, coinciding with the renovation of the church, her body was removed from the catacomb and placed in the church.
The church has been renovated several times, most recently in the 19th century.
In connection with one of these renovations, in 1599, her remains were examined and found to be intact. The sculptor Stefano Maderno was commissioned to carve a statue recording how it looked. He engraved a marble plaque testifying that he had reproduced exactly what he had seen. In translation it reads:
"Behold the body of the most holy virgin Cecilia, whom I myself saw lying incorrupt in the tomb. I have in this marble expressed for you the same saint in the very same posture".
The church has been renovated several times, most recently in the 19th century.
In connection with one of these renovations, in 1599, her remains were examined and found to be intact. The sculptor Stefano Maderno was commissioned to carve a statue recording how it looked. He engraved a marble plaque testifying that he had reproduced exactly what he had seen. In translation it reads:
"Behold the body of the most holy virgin Cecilia, whom I myself saw lying incorrupt in the tomb. I have in this marble expressed for you the same saint in the very same posture".
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| Stefano Maderno, Tomb of Saint Cecilia Italian, 1600 Rome, Santa Cecilia in Trastevere |
Maderno’s white marble figure lies in front of the main altar of the church (which is crowned with a beautiful baldachino by Arnolfo da Cambio, which dates to around 1290). It gives dramatic testimony to Cecilia’s death. She lies, face down, on her right side. Her hair is thrown forward, revealing the deep cuts in her neck. Her fingers have been arranged to deliver a message. Three fingers of her right hand are extended, as is one finger of her left. She is signaling belief in the mystery of the Trinity, of the Three in One.
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| Stefano Maderno, Saint Cecilia (detail) |
This elegant and moving white sculpture is strikingly set into a stone framework of brilliant blue lapis lazuli, with gilded decorations of angels and the figures of other, related, saints. It stands at the beginning of the Baroque period, with its emphasis on presenting the reality of the suffering of the martyrs. 3
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| Stefano Maderno, St. Cecilia Rome, Santa Cecilia in Trastevere |
However, it is her association with singing and, by extension with all music, for which she is chiefly remembered. It has made her the patron saint of music and musicians and one of the best known subjects in the history of art.
Her connection to music is very old. However, many early pictures depicted the scenes of her life, without any reference to music.
Her connection to music is very old. However, many early pictures depicted the scenes of her life, without any reference to music.
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| Master of Saint Cecilia, Saint Cecilia Altarpiece Italian, c. 1304 Florence, Galleria degli Uffizi
The smaller pictures on the sides depict the life of Saint Cecilia and her first martyrdom (execution by hot bath). There are no references to music.
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A series of pictures in the fifteenth century depict her with a bird, probably reflecting that by this time she was associated with singing.
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| Masters of Zweder van Culenborg, Saint Cecilia with a Bird From a Book of Hours Dutch (Utrecht), c. 1430-1435 The Hague, Koninklijk Bibliotheek MS KB 79 K 2, fol. 264v |
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| Master of Catherine of Cleves, Saints Agnes of Rome and Cecilia of Rome From a Prayer Book Dutch (Utrecht), 1438 The Hague, Museum Meermano MS RMMW 10 E 1, fol. 89v |
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| Attributed to the Painter of the Brunswick Diptych, Saint Cecilia Dutch, c. 1490-1500 Amsterdam, Rijksmuseum |
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| Saints Agnes of Rome and Cecilia of Rome From a Prayer Book Flemish (Malines), c. 1500-1510 The Hague, Koninklijk Bibliotheek MS KB 71 G 53, fol. 96v |
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| Cornelis Engebrechtszoon, Saint Cecilia and Her Fiance Dutch, c. 1518-1520 Budapest, Szépmûvészeti Múzeum |
However, by the sixteenth century, the principle attribute of Saint Cecilia is a musical instrument. Organs have prime place, first as small portative organs and later, as the organ developed, case instruments. But, unlike Maderno’s simply clad figure, or the simple image of the early pictures, most of these turn her into a fantasy figure. She appears in various headgear and dress, often very elaborate and exotic.
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| Master of the Saint Bartholemew Altar, Saints Agnes, Bartholomew and Cecilia German, c. 1500-1505 Munich, Alte Pinakothek |
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| Raphael. Saint Cecilia Altarpiece Italian, 1514 Bologna, Pinacoteca Nazionale |
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| Saint Cecilia Flemish, c. 1550-1560 Antwerp, Museum Mayer van den Bergh |
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| Jacopo Vignali, Saint Cecilia Italian, 1562 Dublin, National Gallery of Ireland
Here what appear to be two ladies of Cecilia's own class, turn out, on second look, to be two angels. |
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| Michiel Coxie, Saint Cecilia Flemish, 1569 Madrid, Museo Nacional del Prado |
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| Antiveduto della Grammatica, Saint Cecilia Italian, After 1611 Madrid, Museo Nacional del Prado |
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| Orazio Gentileschi and Giovanni Lanfranco, Saint Cecilia and an Angel Italian, c. 1617-1618 and c. 1621-1627 Washington, National Gallery of Art |
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| Guercino, Saint Cecilia Italian, c. 1620-1640 Paris, Musée du Louvre
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| Pietro da Cortona, Saint Cecilia Italian, c. 1620-1626 London, National Gallery |
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| *Simon Vouet, Saint Cecilia French, 1626 Austin, TX, Blanton Museum of Art |
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| Jacques Stella, Saint Cecilia French, 1626 Rennes, Musée des Beaux-Arts |
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| Nicolas Poussin, Saint Cecilia French, c. 1635 Madrid, Museo Nacional del Prado |
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| Peter Paul Rubens, Saint Cecilia Flemish, c. 1639-1640 Berlin, Gemäldegalerie der Staatliche Museen zu Berlin |
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Jacques Blanchard, Saint Cecilia
French, 1630s
St. Petersburg, Hermitage Museum
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Jacques Stella, Saint Cecilia Playing the Organ
French, c. 1640
Paris, Musée du Louvre
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| Arnould de Vuez, Saint Cecilia Flemish, c. 1700-1720 Lille, Palais des Beaux-Arts |
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| Paul Delaroche, Saint Cecilia and the Angels French, 1836 London, Victoria and Albert Museum |
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| Edward Burne-Jones, Saint Cecilia English, 1890s Private Collection |
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| John Melhuish Strudwick, Saint Cecilia English, 1896 Liverpool (UK), Sudley House |
Numerous other paintings also honor her, depicting her with a variety of instruments. .Here too she appears as an exotic. An angel or angels may be in attendance as well.
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Guido Reni, Saint Cecilia
Italian, 1606
Pasadena, Norton Simon Museum |
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Artemisia Gentileschi, Saint Cecilia
Italian, ca. 1616
Rome, Galleria Spada
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| Domenichino, Saint Cecilia with an Angel Holding a Musical Score Italian, c. 1617-1618 Paris, Musée de Louvre |
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| Bernardo Cavallino, Saint Cecilia Italian, c. 1645 Boston, Musseum of Fine Arts |
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| Francesco Solimena, Saint Cecilia Italian, c. 1740 Pommersfelden (DE), Schloss Weissenstein |
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| Luigi Vanvitelli, Saint Cecilia Italian, c. 1750 Bradford (UK), Cartwright Hall Art Gallery |
Occasionally scenes from her life, especially of her martyrdom were depicted. Sometimes her husband and fellow martyr, Valerianus, and his brother, Tiburtius, also martyred, appear with her.
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| Domenichino, Saint Cecilia Before the Judge Refuses to Sacrifice to Idols Italian, c. 1612-1615 Rome, San Luigi dei Francesi, Cappella Polet |
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| Martyrdom of Saint Cecilia From a Book of Hours Spanish, 17th Century Paris, Bibliotheque nationale de France MS Latin 10565, fol. 92v |
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| Orazio Gentileschi, Sts. Cecilia, Valerianus and Tiburtius Italian, ca. 1620 Milan, Brera Gallery |
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| Claude Michel, known as Clodion, Death of Saint Cecilia French, c. 1776-1777 Rouen, Cathedral of Notre-Dame, Chapel of Saint Nicolas |
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| Johann Evangelist Scheffer von Leonharshoff, Death of Saint Cecilia Austrian, 1820-1822 Vienna, Belvedere Museum |
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| Etienne Gautier, Dead Saint Cecilia French, c. 1878 Paris, Musée d'Orsay |
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| Francesco Francia, Burial of Saint Cecilia Italian, c. 1504-1506 Bologna, Church of San Giacomo Maggiore, Oratory of Saint Cecilia, |
Hail! Bright Cecilia, Hail to thee!
Great Patroness of Us and Harmony!
Who, whilst among the Choir above
Thou dost thy former Skill improve,
With Rapture of Delight dost see
Thy Favourite Art
Make up a Part
Of infinite Felicity.
Hail! Bright Cecilia, Hail to thee!
Great Patroness of Us and Harmony!
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1. Kirsch, Johann Peter. "St. Cecilia." The Catholic Encyclopedia. Vol. 3. New York: Robert Appleton Company, 1908. http://www.newadvent.org/cathen/03471b.htm
3. Wittkower, Rudolf. Art and Architecture in Italy, 1600 to 1750, Pelican History of Art, Baltimore, Penguin Books, 1965, p. 84.
© M. Duffy, 2011, updated 2017
2024 Selected images updated and new image added.
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