On This Day in History: Caravaggio’s The Burial of St Lucy Unveiled

On 13 December 1608, the Church of Santa Lucia al Sepolcro in Siracusa, Sicily unveiled Michelangelo Merisi da Caravaggio’s The Burial of St Lucy. This poignant masterpiece, commissioned to honour Syracuse’s patron saint, is a striking example of the artist’s mature style, blending realism, raw emotion, and dramatic chiaroscuro.

Caravaggio arrived in Sicily under the shadow of controversy. Fleeing Rome after killing a man in 1606, his tumultuous journey took him to Naples and Malta before he sought refuge on the island.

By the time of this commission, Caravaggio had already cultivated a reputation for both his brilliance and his volatile temperament. Sicily offered him sanctuary and inspiration.

Also read: On this day in history: Caravaggio commits murder

The Legend of Saint Lucy

Saint Lucy, revered as the protector of the blind, was martyred during the persecutions of Emperor Diocletian in 304 CE. According to The Golden Legend, Lucy was a young Christian woman who devoted her wealth to the poor after her mother was miraculously healed. Her suitor, wrongly suspecting her of infidelity, denounced her as a Christian. When Lucy refused to renounce her faith, she was sentenced to be dragged to a brothel. Miraculously, she could not be moved from where she stood. In a final act of brutality, she was pierced by a knife in the throat.

Where she fell, the Church of Santa Lucia al Sepolcro was built, and it was within this sacred space that Caravaggio’s masterpiece found its home.

A Painting of Tragedy and Transformation

The Burial of St Lucy is a monumental work, measuring 4.08 x 3 metres. At the centre, Lucy’s lifeless body lies on the ground, her pallor stark against the earthy tones of the grave diggers who dominate the foreground. The figures, muscular and monumental, seem out of proportion to Lucy’s fragile form, but this contrast amplifies the tragedy of her martyrdom. Above her, mourners – cloaked in shadow – display grief palpable, yet restrained.

X-rays of the painting have revealed that Caravaggio initially depicted Lucy beheaded, following the Greek version of her hagiography. However, he later revised the image to show only a cut in her throat, aligning with the Latin tradition.

The theme of beheading recurs throughout Caravaggio’s oeuvre, appearing in works such as Judith Beheading Holofernes, The Beheading of Saint John the Baptist, David with the Head of Goliath, and Medusa.

In The Burial of St Lucy, however, Caravaggio chose to focus not on the act of violence but on its aftermath, emphasising the dignity and sanctity of the saint even in death.

A Mixed Reception

At its unveiling, The Burial of St Lucy was met with mixed reactions. Some criticised the starkness of its composition, particularly the prominence of the grave diggers, which they felt detracted from the sanctity of the subject. Others, however, recognised its emotional depth and praised Caravaggio’s masterful use of light and shadow.

Today, the painting remains a highlight of Caravaggio’s Sicilian period and a powerful tribute to St Lucy. It resides in the Basilica Santuario di Santa Lucia al Sepolcro in Siracusa.