Two exceptions are the characters of Fabiola and of the blind beggar girl Caecilia, Syra's friend and fellow Christian; though they do bear saints' names, are not identical with Saint Fabiola (who lived later) and Saint Cecilia (whose legend is very different from Caecilia's story in the novel). Wiseman wrote "Fabiola" in part as an answer to the book "Hypatia", written by the Anglican Charles Kingsley. The novel was mainly aimed at the embattled Catholic minority in England, who had recently emerged from a half-illegal status (the Catholic hierarchy in England had been re-established only in 1850). The story thus constantly stresses the close-knit community of the early Christians, their love for each other, their solidarity strong sense of communion. At the same time, direct references to the present situation of Catholics in England are relatively rare, especially when compared to John Henry Newman's "Callista" (1855), which was commissioned as a sort of "prequel" to "Fabiola". Still, the heroic language in which the tales of the martyrs are told obviously aims at strengthening the courage and determination of Catholics in England. The educational side of the book is also important: several chapters digress on historical information about worship and burial in the catacombs. However the novel followed the understanding of contemporary historians and greatly exaggerated the role the catacombs played in Early Christian life. A film version was produced in 1918 in Italy directed by Enrico Guazzoni. Also, a lavish Franco-Italian film version was released in 1949. (It reached the USA only in 1951 in a dubbed and drastically cut version.) The second film bears little resemblance to its ostensible source. A third "peplum" film version called "La Rivolta degli schiavi" was produced in 1960. It takes more elements from the novel than the second, such as including both St. Agnes and St. Sebastian, but strays from the novel in many ways.