The Oratory of Ss Cecilia and Valerian in Bologna

Since at least the last decades of 8th century, April 14 has been kept in the Roman Rite as the feast of three martyrs named Tiburtius, Valerian and Maximus. Valerian is said to have been the fiancé of St Cecilia, converted by her, after which he in turn converted his brother Tiburtius; Maximus was a soldier, one of several who witnessed the other two first beaten and then beheaded for the Faith, and was himself rewarded the crown of martyrdom after converting. Their legend has long been known to be historically unreliable; in a Roman breviary printed in 1529, their office has three fairly lengthy hagiographical lessons, excerpted in part from the legend of St Cecilia, but in St Pius V’s edition, these are reduced to two very short ones.

In the heart Bologna, less than half a mile from the cathedral, stands a small oratory dedicated to Cecilia and Valerian, commissioned for the use of a confraternity by the city’s de facto ruler, a nobleman called Giovanni Bentivoglio. Beginning in 1505, a group of several painters who worked in his court were commissioned to fresco the walls with pictures of the main stories of the martyrs’ legend. (The series was completed within a year, just in time for an army led by Pope Julius II to invade Bologna and drive the Bentivoglios out of it; Giovanni died in Milan two years later as a prisoner of the French king.) The frescos, which are in a fairly good state of preservation, show the strong influence of the school of Perugino, from which emerged the most important painter of that period, Raphael. Some of the attributions given below are not very certain.

The Betrothal of Cecilia and Vaerian, by Francesco Raibolini, (generally known and Francesco Francia, or just il Francia in Italian.) 

According to the story, on their wedding night, Cecilia informs Valerian that she is a Christian, and has vowed to God to remain a virgin, and furthermore, that she is protected by an angel who will defend her if necessary. This inspires Valerian to inquire from her about the Faith, after which she sends him to Pope St Urban I, who is hiding from persecution in the region of the catacombs, to be baptized. (Urban was Pope from 222-230. Painting by Lorenzo Costa.)

The baptism of Valerian, by Giovanni Maria Chiodarolo and Cesare Tamaroccio.

When he returns to Cecilia, Valerian is able to see the angel, who then crowns them both with wreathes of flowers. (Painting by Bartolomeo Ramnghi, known as Bagnacavallo, and Biagio Pupini.)

Valerian converts his brother Tiburtius, after which they are both arrest, tortured, and then taken out of the city and beheaded. (Painting by Amico Aspertini.)

The burial of Valerian and Tiburtius, also by Aspertini.

Cecilia stands before the prefect of Rome, a man named Almachius, and disputes with him over the truth of the Christian faith. (By Bagnacavallo and Pupini.)

The (attempted) martyrdom of Cecilia by beheading; “attempted” because, as the legend tells it, the inept executioner was unable to do his job properly, and thus wounded her horribly by striking her with the sword three times without killing her. Roman law forbade a fourth blow, and she was thus free to go, and would die of her wounds several days later... (by Chiodarolo and Tamaroccio)

during which time she gave all her wealth and possessions to the poor. (This is represented by Costa very unrealistically, as if she were unwounded.)

The burial of Cecilia, by Francia.