This painting dates from the second half of the 17th century, a period during which tenebrism and chiaroscuro techniques flourished in Portugal, both clearly evident here. Alongside characteristics of Mannerism, such as the perfect round arch in the background and some symmetry in the composition, the work already shows strong signs of Baroque painting, more specifically proto-Baroque. This is particularly noticeable in the main figure, Saint Agatha, crowned with flowers by two angels. Her free and graceful silhouette contrasts with the rigidity typical of Mannerist posture, suggesting the dynamic movement inherent to Baroque art.
Saint Agatha was martyred and executed by Emperor Trajan Decius in Catania during the persecutions of Christians, between 250 and 253 A.D. She is invoked as a protector against earthquakes, volcanic eruptions, fires, and breast diseases—the latter being symbolized by the tongs with which her breasts were said to have been torn off, her principal attribute.
In this depiction, the veil emanating from a garland alludes to a miracle attributed to her: on the first anniversary of her death, lava from the erupting Mount Etna was halted when this relic was spread on the ground by faithful worshippers in prayer.
The painting belongs to the Fine Arts Management Unit of the Museum of Angra do Heroísmo.
