Petition, Prostration, and Tears: Painting and Prayer in Roman Catacombs

This article examines the evidence for performative prayer in early Roman catacomb painting from the perspective of an art historian. Praying (orant) figures are a dominant theme of third-century painting. Although the orant pose is generally regarded as symbolic, strong evidence connects at least one of the figures with the intercessory prayers offered by the order of widows. Following the “Constantinian turn” in the fourth century, a different form of performative prayer prevailed at the tombs of martyrs, with worshippers lying in prostration (proskynesis) pouring out copious tears. Two much-discussed poems by Prudentius (Peristephanon IX and XI) describe this form of prayer in conjunction with paintings of the gruesome martyrdoms of St. Cassian of Imola and St. Hippolytus. Arguments that the paintings inspired the weeping are incompatible with the nature of catacomb painting at the time, and with testimonies to the power of the tomb itself to compel such displays. The more fruitful suggestion that the ekphrasis in Peristephanon XI reflects a painting of the death of the mythical Hippolytus leads to a grove in the Temple of Diana at Nemi and the legend that the hero was resurrected by Aesculapius.