Becoming the Face of St. Augustine
We Know St. Augustine.
We know Augustine's life and spirituality from his 5-million plus words of religious writings, homilies, reflections, and contemplations. We know him through his Rule that guides religious life in community, used by Augustinians and other orders, like Dominicans, Servites, and Norbertines. And we know his heart, restless and yearning to rest in God.
But there is one thing we don’t know about St. Augustine: we don’t know what he looked like.
St. Augustine’s influence on Catholic theology and philosophy cannot be overstated (he is a Doctor of the Church, after all) and his way of living a restless faith in the everyday has influenced generations of Catholics.
Throughout the history of the Church across time and across geographies, those faithful have shared a devotion to St. Augustine, connecting on a personal level with Augustine the man, on an intellectual level with Augustine the scholar, and on a spiritual level with Augustine the saint.
As a reflection of that connection, artists have depicted and personified St. Augustine in paintings, stained glass windows, frescos, statues, and altarpieces. Depictions through which we come to know Augustine and his stories and works to inspire our worship.
These diverse faces and scenes of Augustine served as ways for the artists and their audiences to connect in faith and learn from the wisdom of Augustine. And while certainly none of these depictions are accurate, they serve to help us, as modern day observers, to learn about the society, the time, and the state of the Catholic Church.
And, these many faces of St. Augustine challenge us, as members of the Augustinian community, to consider: to whom am I the face of Christ and St. Augustine?
Augustine was born in the Roman province of Numidia, now present-day Algeria, in A.D. 354. His family was ethnically Berber but were heavily Romanized and primarily spoke Latin as a result. Although his father was a pagan Roman official, his mother, Saint Monica, was a devout Christian. Despite her influence, Augustine was not dedicated to Christianity until he met Saint Ambrose in Milan much later in his life. His childhood spent in diverse Roman cities such as Tagaste and Carthage laid the groundwork for his ability to serve many types of people later in his life.
An icon of St. Monica by Sr. Hannah of the Holy Assumption Russian Orthodox Monastery in California.
The earliest known depiction of St. Augustine, a 6th-century fresco, Lateran, Rome.
One of the earliest known depictions of Augustine is from a 6th century Italian fresco in Rome. The medieval tradition portrayed idealized versions of saints that were often highly symbolic; they are less about individual likeness and are more focused on conveying status and virtues. Typical to this artistic period, here Augustine is shown seated, pen in hand, symbolizing his work as a scholar, teacher, and writer. His portrayal as a contemplative figure with a book represents his status as a Doctor of the Church. Limited literacy in the early Middle Ages meant that a greater importance was placed on visual depictions of the faith to portray important distinctions between saints. Like many disciples of the church, Augustine found a renewed loyalty to Christ later in life and was baptized in Milan in his early thirties. Saint Ambrose, Augustine’s mentor, influenced Augustine’s spiritual journey; in his Confessions, Augustine writes, "That man of God received me as a father would, and welcomed my coming as a good bishop should."
Above: "Augustine and Ambrose, Doctors of the Church" painted by Filippo Lippi, likely in the 1440s.
Below: "Saints Ambrose and Augustine" by Pedro Berruguete, 1495-1500, Spain
These saints are frequently depicted together, although the nature of the art varies by period; in Baroque and Renaissance representations, for example, they are shown as equals and serve as a testament to the unity of the Church’s leaders and theologians from different geographical regions. In later works, their mentor-mentee relationship is featured to emphasize Ambrose's pivotal role on Augustine’s spiritual journey, which can also serve as a broader metaphor for the idea that faith can be transmitted through human guidance.
Many altarpieces also feature Augustine; in contrast to the more personable depictions with Ambrose, altarpieces show saints as divine interpreters of God’s will. As one of the most influential theologians in Christian history, Augustine’s presence on an altarpiece highlights specific aspects of his legacy—his intellectual contributions, his role as a bishop, and his theological focus on grace and salvation. When included in altarpieces, Augustine is frequently depicted among other Church Fathers or Doctors of the Church, emphasizing the unity and continuity of the Church’s theological tradition. The presence of Augustine among these figures represents the collective wisdom and authority of the Church’s greatest contributors.
Saint Augustine Altarpiece by Jaume Huguet and Pau Vergós made between 1462 and 1475 to be placed on the altar of the Augustinian friary of Sant Agustí Vell ("Old St Augustine") in Barcelona, Spain.
During the Renaissance, the style of art that depicted Saint Augustine began to vary as well. Stylistically, works like these from Botticelli were more interested in displaying specific teachings and rules, instead of displaying Augustine within a broader Biblical scene; with greater importance on realism, they place greater emphasis on Augustine’s human qualities.
One of the most famous depictions of Saint Augustine from this period is the painting by Sandro Botticelli, Saint Augustine in His Study (1480). In this artwork, Augustine is shown in a richly detailed study, surrounded by books, symbolizing his role as a scholar. His facial expression is introspective, emphasizing his internal spiritual journey and intellectual rigor. Renaissance artists, like Botticelli and Carpaccio, focused on Augustine’s intellectual and philosophical contributions, depicting him as a saint who bridged faith and reason.
Saint Augustine in His Study, Fresco by Sandro Botticelli
Modern artistic depictions of Augustine show changing societal values; they attempt historical accuracy of Augustine’s ethnicity and accessibility of the Saint’s human nature. This reflects broader discussions around representation, diversity, and the intersection of race and faith. Augustine's traditional depictions in European art have largely followed Western aesthetic norms and show the saint with European features.
In contrast, other depictions emphasize Augustine's African heritage, including a stained-glass window in a church in Washington D.C. of Augustine and his mother, St. Monica. Religious art is often a powerful medium for shaping perceptions of saints, and depictions of Augustine as African enable African Christians to see one of Christianity’s greatest theologians as part of their own heritage.
Stained Glass Depiction of St. Augustine and St. Monica in St. Augustine Catholic Church in Washington D.C.
An Unlikely Aquilegia: North African Saint Augustine of Hippo by Vernon Adams
Notably, Villanova University commissioned a painting of Saint Augustine in 2022 as part of its ongoing anti-racism efforts and continue the order’s commitment to an artistic legacy inclusion and education. This painting, created by artist Vernon Adams from Texas, highlights Augustine’s ethnic heritage and status as a bishop. This painting also features Augustine’s flaming heart, which is symbolic of Augustine’s love and passion for God and for his community.
Since his death almost 1600 years ago, Augustine’s evolving image reflects broader cultural and theological shifts in Catholicism. Saint Augustine is universally loved and has been given many faces, showing the ongoing impact of his devotion to God on diverse people and communities.
These many faces of St. Augustine also challenge and encourage all of us – as members of the Augustinian community – to ask ourselves how we will be the face of Christ and the face of St. Augustine to those we meet on the everyday restless journey toward eternal life.