Saint Agnes martyr before the Trinity

The use of figures of saints as means to stimulate the devotion of the faithful and spread a model of behavior was one of the regulations of the Council of Trent (1545-1563). The iconography of holy characters had considerable importance since it represented values typical of colonial society. This oil painting harbored by Colonial Museum exemplifies such a function.

This saint was one of the first Christian female martyrs, a fact that makes her a figure of great importance in the Church. She was also one of the first to receive an iconographic attribute: the lamb. The similarity between the Latin name of the saint, Agnes, and the Latin word for “lamb”, agnus, partly explains the attribution of this animal to the saint. The lamb symbolizes both her purity and chastity, as well as Jesus Christ, her heavenly husband, who is also usually called the Lamb of God.

Because of her relationship with Jesus and her Christian faith, she is depicted kneeled in front of an altar on which a crucifix stands. The palm of martyrdom is another of her attributes, a symbol that honors her death in defense of the Catholic faith.

Agnes was a saint of widespread devotion in Italy, where numerous images about her life were made and churches were erected in her name. The opposite was the case in New Granada, where its representations were scarce, so that the presence of this image in Santafé stands out.

In the upper section of the image, separated from the earthly realm by a cluster of clouds, we see the Trinity represented according to its traditional iconography: seated on the left side, God the Father carries a scepter and pontifical vestments; the Holy Spirit, in the form of a white dove, occupies the center of the triad, while Jesus, seated on the right side, carries a staff and a red cloak. Right under the Holy Spirit, we see the terrestrial orb, which symbolizes the power of these holy figures over the earthly world.

One of the peculiarities of this image is its support: a mirror. During the 16th and 17th centuries, this material was considered in the secular sphere as a luxury. However, on a religious level, it was associated with purity and virginity, a value strongly associated with the figure of Saint Agnes.   

The mirror was also frequently used in altarpieces dedicated to the Immaculate Conception of the Virgin, holder herself of these same virtues. Thus, it is probable that the painting in the Museum was part of a set of images in the same material, present in a colonial altarpiece dedicated to this advocation.

A detail to highlight is that in the lower right corner, under the image of the lamb, we can read “fernández de heredia pintava año 1676”, which translated into English would be “fernández de Heredia painted year 1676”. Heredia is an artist who has been scarcely studied until now. Linked to the renowned Figueroa workshop, he is believed to have been a contemporary of Gregorio Vásquez de Arce y Ceballos. His signature on this piece is important, especially because, in the colonial period artworks were not usually signed.