May 25, 1802 – THE TOMB IS REVEALED
Fr. Filippo Ludovici, Vatican overseer of the excavation was informed, and on the following day, May 25, 1802, Fr. Ludovici, accompanied by several observers, descended into the catacomb, and witnessed the full uncovering of the loculus, whereby with the removal of sand, three brick funeral tiles (the tiles were given to the Sanctuary on August 14, 1827 by Pope Leo XII) were revealed which bore an epitaph painted in red lead. Each tile measured approximately 50 cm long and having a total length of 1.74 cm (5 feet 9 inches).
The painted inscription on the three funeral tiles appeared as follows: tile one - LUMENA; tile two -- PAXTE; tile three -- cuм FI. The loculus was docuмented by Msgr. Ponzetti, Custodian of the Holy Relics, as bearing "FILUMENA,” an interpretation of the epitaph consistent with both the ancient custom of beginning inscriptions from the second tile and the logical etymological context. The result is a full reading of the epitaph as "PAX TEcuм FILUMENA."
This funereal inscription presents the distinctive characteristics of apostolic times, rarely found in other cemeteries more recent than the Priscilla.
The name of "Filumena" is officially granted to the sacred remains examined on May 25, 1802, as recorded in the docuмent issued by Ponzetti as Custodian of the Sacred Relics which released the remains of this Christian martyr to the Diocese of Nola on June 8, 1805:
8 Iunii 1805
Dono dedi Ven. Ecclesiae Archipresbyterali terrae Mugnano Dioecesis Nolanae corpus Sanctae Christi Martyris
FILUMENAE
Nominis proprii sic picti in tribus Tabulis laterariis cinabro
LUMENA PAXTE cuм FI
in pulverem et in fragmina redactum per me infrascriptum Custodem extractum cuм vasculo vitreo fracto ex Coemeterio Priscillae Via Salaria Nova die 25 maii 1802, quod collocavi in capsula lignea charta colorata cooperta et consignavi Illmo Dominico Caesari pro Illmo et Rmo D. Bartholomaeo de Caesare Epo Potentino.
HYACINTHUS PONZETTI, Custos.
In addition to the inscription, so eloquent in its simplicity, the sepulchral tiles exhibited certain symbols, including tokens of martyrdom. There were an anchor, and arrow pointing upwards, a palm, under the palm another anchor, a javelin pointing upwards, another arrow pointing downwards, and a lily.
Students of Christian symbols generally agree on the interpretation of these figures on the tiles. The emblems breathe the language of faith and hope.
In the anchor there is a resemblance to the cross, the sign of faith in Christ. In both Greek and Roman antiquity there is mention of the sacred anchor. The anchor also connotes hope, refuge, and preservation of life. In the legend of the martyred Philomena there is a passage about the Roman emperor's wrath when that anchor he had fastened to the girl's neck wedged in the mud of the Tiber River. Other saints, including Pope Clement, suffered martyrdom by having an anchor tied to the neck and being dropped into the sea. Emperor Trajan as well as Diocletian decreed this form of brutality. The two arrows pointing in opposite directions signify torment similar to that which Diocletian exercised on St. Sebastian.
On the removal of the tiles in the cavity behind, were disclosed the remains of an interment, which competent authority pronounced to be those of a young girl from thirteen to fifteen years of age. The head was small and very much fractured, but the principal bones were entire. Surgeons ascertained the type of wounds inflicted. Physicians examined the skeleton -- its small unbroken bones fractured skull, eye sockets. The maiden had been lanced.
At the end of the loculus was a small glass vial or vase with half-broken sides of which were encrusted within with a dust of blackish color indicating blood clinging to glass fragments, and with the lower portion of the vial still intact and firmly embedded in the cement. It was undoubtedly blood which had been collected at the death of the martyr, according to the custom of the Christian during the persecutions, and placed with the remains as a testimonial to her death by martyrdom. As early as 1668 the Congregation of Indulgences and Relics had decided that the genuineness of a true relic of a martyr hinged somewhat on the finding of the vial or vase filled with the martyr's blood. The same congregation renewed the decision in 1863.
This blood was loosened from the broken pieces of the vial to which it adhered, and was carefully placed in a crystal urn. Those present, among whom were men of great learning of the Court of Inquiry, were startled by a strange chemical reaction as these little particles of blood, as soon as they fell into the sun, glittered like burnished gold or silver, or shone like diamonds and precious Jєωels, or, again, were resplendent in all colors of the rainbow. The chemical change of the blood convinced the Church dignitaries that a new star had arisen among the blessed. Cardinal Ruffo Scilla, who renewed the seals on the new reliquary after the blood of the Saint, had been safeguarded in the crystal vial, and deposed in the authentication: "And we have seen her blood changed into several brilliant little precious stones of various colors; also into gold and silver."
This extraordinary phenomenon continues to the present day.
The precious remains were reverently placed in a wooden case, lined with silk and stuffed with fine cotton and transferred to the Custodia Generale, or treasury of sacred relics, where they remained there for three years
http://www.sacramentals.com/Images/Saint%20Philomena.html