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William Holman Hunt, The Escape of Madeline and Porphyro English, 1848 Liverpool, Walker Art Gallery |
“ST. AGNES’ Eve—Ah, bitter chill it was!
The owl, for all his feathers, was a-cold;
The hare limp’d trembling through the frozen grass,
And silent was the flock in woolly fold”
This is the opening stanza of “The Eve of Saint Agnes” by the English Romantic poet, John Keats. The complete poem tells the tale of a young girl who elopes from her home with a young man.1
The owl, for all his feathers, was a-cold;
The hare limp’d trembling through the frozen grass,
And silent was the flock in woolly fold”
This is the opening stanza of “The Eve of Saint Agnes” by the English Romantic poet, John Keats. The complete poem tells the tale of a young girl who elopes from her home with a young man.1
The poem begins with this evocation of a freezing January night and with references to the old superstition that on the night of January 20/21, if certain rules were fulfilled, a girl would dream of the man she would marry.
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John Everett Millais, The Eve of Saint Agnes English, 1863 Windsor, Royal Collection Trust |
The remainder of the poem tells a story (reminiscent of Romeo and Juliet) of a young man from an “enemy” family, who secretes himself in the girl’s room, spies on her as she prepares for bed and goes to sleep. After a time he wakes her and urges her to elope with him, which she does. Their escape is made easier because everyone in her family home had caroused late into the night and was in no condition to challenge them.
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| Arthur Hughes, The Eve of Saint Agnes English, 1856 London, Tate Britain |
Keats’ poem was the inspiration for the work of several of the Pre-Raphaelite painters, among them John Everett Millais, Arthur Hughes and William Holman Hunt. The poem’s mélange of sub-textual sexuality, detailed observation of the natural world and romanticized Medievalism exactly matched the guiding philosophy of the Pre-Raphaelites. 2
However, all this is very far from the Catholic view of Saint Agnes.
So, Who Is Agnes?
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| Procession of Female Martyrs Byzantine, Second Half of 6th Century Ravenna, Church of Sant' Appolinare Nuovo Saint Agnes is easily identified on the far left because of the lamb associated with her. |
Agnes Has a Lamb
Because of the close relationship between her name, “Agnes”, and the Latin word for lamb; “agnus”, her symbol has traditionally been a lamb. A popular saint in medieval and Renaissance art, she is easily identified by the proximity of the lamb (which, of course, is also a symbol for Christ, the Lamb of God.)
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| Saints Agnes and Barbara From the Livre d’images du Christ et les saincts Flemish (Hainaut), c. 1275-1300 Paris, Bibliotheque nationale de France MS Nouvelle acquisition francaise 16251, fol. 96r |
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| Saint Agnes, Stained Glass Window Austrian, c. 1340-1350 New York, Metropolitan Museum of Art, The Cloisters Collection |
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| Master of the Brussels Initials and Workshop, Saint Agnes From the Hours of Charles the Noble, King of Navarre French (Paris), c. 1405 Cleveland, Museum of Art MS 1964.40, fol. 2 |
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| Donato de' Bardi, Right Wing From the Triptych of the Madonna and Child with Saints Philip and Agnes Italian, c. 1425-1430 New York, Metropolitan Museum of Art |
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| Saint Agnes From a Book of Hours French (Anjou), 1440 New York, Pierpont Morgan Library MS M 157, fol. 200v |
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| Saint Agnes from February Calendar Page From the Hours of Louis of Savoy French (Savoy), c. 1445-1460 Paris, Bibliotheque nationale de France MS Latin 9473, fol. 3v |
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| ean le Tavernier and Follower, Saint Agnes From the Hours of Philip of Burgundy Flemish (Oudenaarde), c. 1450-1460 The Hague, Koninklijk Bibliotheek MS KB 76 F 2, fol. 275v |
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| Anonymous, Geertruy Haeck Kneeling Before Saint Agnes Dutch, c. 1465 Amsterdam, Rijksmuseum |
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| Adriaen van Wesel, Saint Agnes Dutch, c. 1470-1480 Amsterdam, Rijksmuseum |
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| Neri di Bicci, Saints Agnes and Clare of Assisi Italian, c. Mid-1470 Philadelphia, Museum of Art |
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| Hieronymous Bosch, Agneese de Gramme Protected by Saint Agnes Right Wing of the Triptych of the Adoration of the Magi Dutch, c. 1494 Madrid, Museo Nacional del Prado |
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| Bernhard Strigel, Saint Agnes, Wing of a Triptych German, c. 1510 Marburg, Museum für Kunst und Kulturgeschichte der Philipps-Universität Marburg |
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| Master of the Saint Marein Triptych, Saint Agnes German, c. 1510-1530 Detroit, Institute of Arts |
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| Diego de Tiedra, Saint Agnes Spanish, c. 1550 New York, Metropolitan Museum of Art |
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| Bowl with Saint Agnes and Her Lamb French (Limoges), 17th Century Paris, Musée du Louvre, Département des Objets d'art du Moyen Age, de la Renaissance et des temps modernes |
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| Dominichino, Saint Agnes Italian, c. 1620 London, Royal Collection Trust, Kensington Palace |
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| Vicente Carducho, Saint Agnes Spanish, 1637 Madrid, Museo Nacional del Prado |
More concretely, on her feast day two lambs are presented to the Pope during Mass. For the occasion they are bedded down in a basket each and decorated with red flowers, a reminder that they are symbolic of a martyr saint. When they are shorn, several months later, their wool is sent to the cloistered convent attached to the church of Santa Cecilia in Trastevere. There it is woven into the strips of woolen cloth from which are made the pallia (symbolic collars) that are presented by the Pope to newly elevated archbishops.
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| The presentation of the lambs blessed by Pope Francis on the feast of Saint Agnes, Jan. 21, 2016. Credit: L'Osservatore Romano |
Saint Agnes -- Buried Outside the Walls, But Never Out of Memory
Following her death at the hands of the executioners, the body of Agnes was buried in a catacomb outside the walls of Rome, on the via Nomentana. 4
These basilica-like buildings were not intended as churches, like St. John’s or St. Peter’s, but as covered cemeteries. 5 They were constructed near the graves of martyrs who were remembered by Roman Christians as having been important. Excavations have found that their floors were literally paved with graves and their walls also bore stacked rows of sarcophagi. One was built on the via Nomentana, near the grave of Agnes.
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| Plan showing the layout of the site off via Nomentana.
The Constantinian era cemetery basilica (parts of which still exist) is the largest structure.
The circular structure is Santa Costanza, the still existing mausoleum of Constantine's daughter.
The small basilica at the right (down a flight of steps) is the 7th century church of Sant' Agnese fuori le mura, built over the catacomb in which Agnes was buried, and that still exists. |
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| Interior, Church of Sant' Agnese fuori le mura Roman, 7th century Rome |
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| Church of Sant' Agnese fuori le mura, Floor level view Roman, 7th century Rome |
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| Saint Agnes with Popes Symmachus and Honorius Late Antique Apse Mosaic, 7th Century Rome, Church of Saint'Agnese fuori le Mura |
One feature of these large basilican cemeteries was that they were often the locations at which wealthy Christians chose to build their own tombs. Helena, Constantine’s mother, built her tomb adjacent to the cemetery basilica which adjoined the catacomb containing the graves of the martyrs Marcellinus and Peter off the via Labicana.6
Her granddaughter, Constantine’s daughter Constantina, built her mausoleum next to the cemetery basilica of Agnes (coemeterium Agnetis).7 It still stands next to the via Nomentana, although the adjoining cemetery basilica is now in ruins. Now called Santa Constanza (and converted into a church), it preserves some of the earliest mosaic decorations which incorporate Christianized classical images.
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| Exterior view of Santa Costanza showing remains of the 4th century cemetery basilica walls Roman, 4th century Rome, Church of Santa Costanza |
The vaulting famously includes images of classical putti (what today we would call “cherubs”) cavorting amid entwining grape vines during a grape harvest, a possible Eucharistic reference.
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Vault Mosaic Showing Putti Harvesting Grapes Roman, 4th Century Rome, Church of Santa Costanza |
Also decorating the vaults are images of birds, flowers, fruits and serving vessels. Again these are open to Christian interpretations, or they may simply be a continuation of Roman decorative wall paintings and mosaics.
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| Vault Decoration Roman, 4th Century Rome, Church of Santa Costanza |
In the two small apses are mosaics depicting the Tradito Legis and Christ as Pantocrator Giving the Keys to Saint Peter (Traditio Clavum).
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Traditio Legis Mosaic Roman, 4th century Rome, Church of Santa Costanza |
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Traditio Clavum Mosaic Roman, 4th century Rome, Church of Santa Costanza |
The nearby cemetery basilica of Saint Agnes is still partially standing as well.
All this for a young, but tenacious, teenager who could neither be dissuaded nor bullied into abandoning her faith.
© M. Duffy, 2012, pictures updated and new material added 2023, restructured with updated and new images 2024.
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1. Published in 1819. The full text can be read at http://www.bartleby.com/126/39.html2. For the Pre-Raphaelites see, http://www.victorianweb.org/painting/prb/1.html
3. The text of Eucharistic Prayer #1 can be accessed at http://old.usccb.org/romanmissal/samples-priest-prayer1.shtml
4. Butler, Rev. Alban. Lives of the Saints, New York, Benziger Brothers, 1894, pp. 43-44.
5. Krautheimer, Richard. “Mensa-Coemeterium-Martyrium” in Studies in Early Christian, Medieval and Renaissance Art, New York, New York University Press, 1969, pages 35-58. and Rome, Profile of a City, 312-1308, Princeton, NJ, Princeton University Press, 2000, p. 24-25. In ancient Rome (from pagan times onwards) no burials were allowed inside the walls.
6. Krautheimer, op cit.
7. Krautheimer, op cit.
* The basilica is a type of building we still have with us, though its purpose has been modified. Originally, basilicas were all-purpose civil buildings (as opposed to temples). They were basically plain structures on the outside, though they could be elaborate on the inside. They followed a basic plan, with usually a straight entrance wall, straight side walls and a rounded end, called an apse. They could serve various functions, often used as law courts, with the judges seated at the apsidal end. In the German city of Trier the basilica that was used as a throne room by the Roman Emperors when Trier was the second capital of the Empire in the West still survives, converted to a church. When Christians were able to build churches for the first time, the basilica offered a ready made plan that had no unwelcome associations with the temples of the pagan or even of the Jewish world. And it had the Imperial backing of Constantine, who ordered the construction of the first two great basilican churches, Saint John Lateran and Saint Peter on Vatican hill.
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