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181:"candlelight" style fashionable in the first half of the 17th century. All the versions by or attributed to de La Tour and Bigot are candlelit. With a few exceptions with a large vertical "altarpiece" size, the paintings are mostly horizontal in format and the main figures occupy most of the picture space, giving an intimate and intense depiction of the scene. Sebastian is often given an elaborately contorted pose, with limbs reaching the edge of the picture space. Very often at least one wrist remains tied to the tree. In particular he often has a straight raised arm running diagonally across the picture space, a motif that has been traced through the works of various artists spreading from Italy to the Netherlands.
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to which he is tied or when he has been found a bed and his wounds are being treated. In both scenes Irene is usually shown pulling out one of the arrows. Sometimes she is shown putting ointment on the wounds; a jar of ointment was her attribute. Both scenes are often shown taking place in darkness, and the treatment scene typically seems to take place in one of the
269:) to get artists to follow the traditional legend, and early medieval depictions considered authoritative, and show Sebastian as a mature if not elderly man. But almost invariably artists continued to show the saint as a young man, rather sensuously depicted, and with as little clothing as in the earlier paintings. Irene, the widow of a mature
258:), were presumably intending to depict only the anonymous "Christian woman" of the medieval tradition. Now, as vernacular versions of Baronius' account appeared (including a translation into Dutch/Flemish), artists soon began to paint it as a distinct subject, with the added attraction of the possibilities for
85:
some time later; these ordeals are sometimes called his "first" and "second martyrdom". The tending by Saint Irene takes place between these, after the archery, when she, normally accompanied by her maid, enters the story. She is shown either taking an unconscious
Sebastian down from the tree or post
315:
1581. In both of these the hero is wounded in battle, and nursed by his lover; the scene from Tasso was especially popular as a subject, often as part of a cycle. In both the heroes are usually shown sprawled and largely unclothed, their armour often being shown discarded near them, which is also a
360:
professionalises Irene, showing
Sebastian sitting up in bed, and Irene in the habit of a nun working in the hospital. The actions of Irene (and her unnamed maid) also reflect the continuing injunction of both the Catholic church and Protestant denominations that people should not flee places with
238:
merely say "The night after came a
Christian woman for to take his body and to bury it, but she found him alive and brought him to her house, and took charge of him till he was all whole." Identifying the "Christian woman" as the hitherto very obscure Irene came later, and was popularised by
351:
One aspect of the new images was that they firmly endorsed medical treatment; one strand of medieval thinking had been that attempts to flee or treat the plague, seen as partly an expression of divine displeasure, were both useless and "presumption" in the face of God's wrath. A painting by
93:
Devotion to Saint
Sebastian was driven by his reputation as a protector from the plague, which was still a very dangerous disease in 17th-century cities. Many of these images can be interpreted in the light of contemporary beliefs and practices around plague. They also reflect
106:
ideas, which encouraged saintly female role models who went beyond the largely passive victimhood of medieval depictions of female martyrs, expressing "the
Counter-Reformatory desire to project Catholicism as a caring faith, with a visible dimension of social responsibility".
615:
320:, who died in 1599, but most treatments of both subjects come from the same broad period after about 1620 as those of Sebastian and Irene. The compositions where Sebastian remains semi-upright as the women untie him inevitably recall the subject of the
635:
184:
Sebastian's death was firmly located in Rome, where he was the third patron saint, and churches dedicated to him were built on the supposed locations of the events. The subject was mainly painted by artists in Italy, and also by a number in the
101:
The subject gives emphasis to courageous initiative and useful activity by women, though of a type considered appropriate to their sex. Sebastian is either unconscious or helpless in nearly all depictions. This is very much in line with
391:
665:
There are variant
English phrasings of the translated titles of works, most often "cured by" or "healed by". The usual title in French is "Saint Sébastien soigné par Sainte Irène". In Italian and Spanish the standard title uses
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that mark the full onset of bubonic plague, forcing the patient to adopt such a pose. In at least the ter
Brugghen painting, the appearance of Sebastian appears to be that of a plague victim in several points of detail.
251:, published in 1592. Irene had been named in a 5th-century source, but the name had been forgotten. Both Sebastian and Irene appear in fairly early Christian literature, but details of their lives are essentially legend.
166:) and many others. The subject appears to have been a deliberate attempt by the Church to get away from the traditional depiction of the standing almost-nude Sebastian being shot with arrows. This is already recorded in
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The raised arm motif seen in many versions can be related to a characteristic gesture of plague patients, as the armpit and adjacent areas of the torso and upper arms are common sites for the swollen and sensitive
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146:), but the subject was rare until the 17th century, and treated as part of a series of Sebastian's life. It is first found as an independent subject in the 17th century, when it was painted by
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The subject, especially in the depictions where
Sebastian has been got clear of his post or tree, has clear similarities to two other scenes from secular Italian epic romances:
1026:
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until the late
Renaissance, and is hardly seen in art before then. As an artistic subject, normally in painting, it suddenly became popular from the 1610s, though found in
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189:. By the 18th century the subject becomes less common, as Irene and her maid are often replaced by angels, or become nameless "women", as those by
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de
Voragine, p. 108: "Then Diocletian made him to be brought into prison into his palace, and to beat him so sore with stones till he died"
1145:. London: Temple Classics (compiled 1275, first published 1470, Temple Classics edition published 1900). Retrieved 23 February 2019 – via
194:
706:
Hedquist, §30–34, 43–50; Oberlin (quoted); Stechow, W. (1954). Terbrugghen's 'Saint Sebastian'. The Burlington Magazine, 96(612), p. 70,
213:
63:
891:
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243:(1538–1607), a leading historian of the church, and one of the writers telling Catholic artists what treatments were appropriate in
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406:, c. 1649 (a later version of the Berlin composition). He is attributed with another painting, with a different composition, in
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Though Sebastian is famously tied to a tree or post and shot with many arrows, in his story he always survives this, only to be
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Baroque artists often treated the new scene as nocturnal, illuminated by a single candle, torch or lantern, in the
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The few scenes before this point, probably all from altarpiece series on the life of Sebastian (there is one by
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1262:, exhibition catalogue Washington, DC, National Gallery of Art; Fort Worth, Kimbell Art Museum 1996, pp.13-147.
1220:
The Arts of 17th-Century Science: Representations of the Natural World in European and North American Culture
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244:
321:
74:
1258:
Conisbee, Philip. “An Introduction to the Life and Art of Georges de La Tour,” in Philip Conisbee (ed.),
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197:, Vienna, 1746) are called by the gallery. Late treatments include two paintings by
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in November 1629, at around the age of 40, four years after he painted his version.
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in her legend, also tends to be painted as young and beautiful, with the version by
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scenes as early as the 15th century, and was most popular until about the 1670s.
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1216:"The Politics of Morbidity: Plague Symbolism in Martyrdom and Medical Anatomy"
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feature of some Sebastians. There is a painting of the Ariosto subject by
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174:) as sometimes arousing inappropriate thoughts among female churchgoers.
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356:(c. 1616) for a hospital named after Sebastian and run by a religious
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425:, 1628. He also painted several traditional "first martyrdom" scenes.
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offered by both the usual points in the story chosen for depiction.
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For examples, the Giordano, van Baburen and de Bellis shown here.
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Sebastian had always been a popular saint to invoke against the
441:, Hull; also different compositions in Rouen and (attrib.) the
130:
One of the earliest paintings of Sebastian being nursed is by
1111:
Images of Plague and Pestilence: Iconography and Iconology
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Slive, Seymour, Dutch Painting, 1600–1800, Yale UP, 1995,
1166:(pp. 93ff, in Italian), Milano: Il Saggiatore, 2010
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the plague, as many doctors advised individual patients.
344:, was hit by plague, and it was probably what killed
1024:"Saint Sebastian Tended by Saint Irene and Her Maid"
806:
where the "first martyrdom" with arrows took place,
719:"Collections Object: Saint Sebastian Cured by Irene"
265:
Baronius had also tried (later followed by Cardinal
1222:, eds. Claire Jowitt, Diane Watt, 2002, Routledge,
737:, Musée des beaux-arts, with other versions in the
1114:(pp. 76–80). Truman State University, 2000,
1063:"Collections Object: St. Sebastian and St. Irene"
810:where his body was recovered from the sewer, and
1267:Georges de La Tour and the Enigma of the Visible
1178:Hall's Dictionary of Subjects and Symbols in Art
1088:Piety and Plague: from Byzantium to the Baroque
627:Real Academia de Bellas Artes de San Fernando
8:
1269:, New York, Fordham University Press, 2018.
828:"St. Sebastian with St. Irene and Attendant"
1037:, 14 July 2018. Retrieved 21 February 2019
247:. His account appeared in volume 3 of his
1201:Journal of Historians of Netherlandish Art
287:, 1795–1800, a rather late Spanish version
932:Careri, 93–94, and generally on the Tasso
232:Standard redactions of the Late medieval
1134:The Golden Legend or Lives of the Saints
890:Hedquist, § 10, 21, 24; she illustrates
25:One of three versions of the subject by
1086:, ch. 4 (pp. 114–7 especially) in
1047:"St Sebastian tended by the Holy Irene"
917:"Saint Sebastian Tended by Saint Irene"
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134:in about 1497, part of a cycle from an
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601:Saint Sebastian Tended by Saint Irene
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402:Saint Sebastian Tended by Saint Irene
393:Saint Sebastian Tended by Saint Irene
384:Saint Sebastian Tended by Saint Irene
305:(1516) and Erminia and Tancredi from
34:Saint Sebastian Tended by Saint Irene
7:
395:(Georges de La Tour, Gemäldegalerie)
340:, the main Dutch centre of Catholic
1246:Oberlin College & Conservatory
872:Hedquist, §8–9; Hall, 162, 276–277
16:Subject of many religious artworks
14:
1098:, Truman State University, 2007,
767:Barker, 115–117; Hedquist, §17–24
531:, c. 1620s, (private collection)
195:Ă–sterreichische Galerie Belvedere
36:is an incident in the legends of
1260:Georges de La Tour and His World
1180:, 1996 (2nd edn.), John Murray,
832:Los Angeles County Museum of Art
646:Los Angeles County Museum of Art
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64:Musée des Beaux-Arts de Bordeaux
1236:Saint Sebastian Tended by Irene
1194:Saint Sebastian Tended by Irene
98:ideas about the role of women.
1248:. Retrieved 24 February 2019.
1160:La fabbrica degli affetti. La
1084:"The Making of a Plague Saint"
170:(in relation to a painting by
44:. It was not prominent in the
1:
1069:. Retrieved 23 February 2019
1053:. Retrieved 21 February 2019
1011:. Retrieved 21 February 2019
923:. Retrieved 21 February 2019
776:Strozzi and Lana for example.
679:Boeckl, 77; Hedquist, § 28–29
1329:Paintings of Saint Sebastian
1285:. Pp. 11, 94-103, plate 24.
834:. Retrieved 21 February 2019
814:over his burial site in the
812:San Sebastiano fuori le mura
741:and two in the United States
725:. Retrieved 21 February 2019
603:(Georges de La Tour, Louvre)
404:(Georges de La Tour, Louvre)
124:National Gallery of Victoria
1035:Museum of Fine Arts, Boston
816:Catacombs of San Sebastiano
808:San Sebastiano de Via Papae
585:Museum of Fine Arts of Lyon
567:Museum of Fine Arts, Boston
461:St. Sebastian and St. Irene
224:, Madrid, one of the first
1355:
1067:Philadelphia Museum of Art
968:Mitchell; Hedquist, §49–50
804:San Sebastiano al Palatino
723:Philadelphia Museum of Art
469:Philadelphia Museum of Art
144:Philadelphia Museum of Art
1242:Allen Memorial Art Museum
1240:, Dutch and Flemish Art,
510:Allen Memorial Art Museum
397:, Berlin, c. 1634 – 1643
222:Thyssen-Bornemisza Museum
46:hagiographical literature
1234:"Hendrick ter Brugghen,
1156:"Il corpo degli affetti"
1149:'s Medieval Sourcebooks.
1029:11 December 2018 at the
854:de Voragine, pp. 104-109
785:Hedquist, § 7, figs. 2–6
1232:Wieseman, M. E. (n.d.)
1210:10.5092/jhna.2017.9.2.3
1129:"The Life of Sebastian"
1005:"Light in the Darkness"
550:, Vatican Museums, Rome
506:(Hendrick ter Brugghen)
488:Bilbao Fine Arts Museum
386:(Hendrick ter Brugghen)
245:Counter-Reformation art
164:perhaps his masterpiece
1324:Saint Sebastian in art
1164:dai Carracci a Tiepolo
1131:(pp. 104–109) in
421:, Bilbao, c. 1621 and
322:Descent from the Cross
288:
229:
127:
78:
75:Marco Antonio Bassetti
67:
30:
1304:Christian iconography
1108:Boeckl, Christine M.
907:Hedquist, § 18–22, 24
896:San Pietro in Vincoli
818:. See Hedquist, 9–10
346:Hendrick ter Brugghen
285:Vicente López Portaña
283:
275:Hendrick ter Brugghen
249:Annales Ecclesiastici
216:
160:Hendrick ter Brugghen
118:
73:
58:
24:
1162:Gerusalemme liberata
1141:(ed), translated by
1125:de Voragine, Jacobus
921:J. Paul Getty Museum
892:a 7th-century mosaic
431:, 1631–1636, Boston.
308:Gerusalemme liberata
1190:Hedquist, Valerie,
293:Angelica and Medoro
104:Counter-Reformation
96:Counter-Reformation
1204:9:2 (Summer 2017)
1147:Fordham University
1051:Ferens Art Gallery
1009:Seattle Art Museum
739:Vatican Pinacoteca
621:A rare sculpture,
548:Vatican Pinacoteca
452:Crocker Art Museum
439:Ferens Art Gallery
289:
256:Albrecht Altdorfer
230:
148:Georges de La Tour
128:
83:killed with stones
79:
68:
31:
1265:Judovitz, Dalia.
1214:Mitchell, Peter,
1137:, volume II, Ed.
1104:978-1-931112-73-4
881:Hedquist, § 25–28
581:Antonio de Bellis
448:Felice Ficherelli
354:Francisco Pacheco
267:Federico Borromeo
218:Dirck van Baburen
88:catacombs of Rome
1346:
1334:Epidemics in art
1309:Baroque painting
1192:"Ter Brugghen’s
1153:Careri, Giovanni
1096:Thomas Worcester
1082:Barker, Sheila,
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419:Jusepe de Ribera
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303:Ludovico Ariosto
277:one exception.
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449:
446:
444:
440:
436:
433:
430:
427:
424:
420:
417:
416:
415:
409:
405:
403:
399:
396:
394:
390:
387:
385:
381:
380:
379:
373:
371:
368:
362:
359:
358:confraternity
355:
349:
347:
343:
339:
335:
327:
325:
323:
319:
314:
310:
309:
304:
300:
299:
294:
286:
282:
278:
276:
272:
268:
263:
261:
257:
252:
250:
246:
242:
237:
236:
235:Golden Legend
227:
223:
219:
215:
208:
206:
204:
200:
196:
192:
188:
187:Low Countries
182:
180:
175:
173:
169:
165:
161:
157:
153:
149:
145:
141:
137:
133:
125:
121:
120:Luca Giordano
117:
110:
108:
105:
99:
97:
91:
89:
84:
76:
72:
65:
62:, 1620–1634,
61:
57:
53:
51:
47:
43:
42:Irene of Rome
39:
35:
28:
23:
19:
1319:Women in art
1266:
1259:
1235:
1219:
1199:
1193:
1177:
1163:
1159:
1132:
1109:
1087:
1058:
1042:
1000:
991:
982:
973:
964:
955:
946:
937:
928:
912:
903:
886:
877:
868:
859:
850:
839:
823:
799:
794:Hedquist, §9
790:
781:
772:
763:
746:
730:
714:
702:
693:
684:
675:
667:
661:
600:
503:
460:
413:
401:
392:
383:
377:
363:
350:
331:
306:
296:
290:
264:
253:
248:
233:
231:
183:
176:
129:
100:
92:
80:
33:
32:
18:
605:, c. 1649,
443:Mauritshuis
324:of Christ.
260:chiaroscuro
220:, c. 1615,
191:Paul Troger
179:chiaroscuro
122:, c. 1653.
1298:Categories
1186:0719541476
1172:8865760303
1139:F.S. Ellis
1077:References
756:0300074514
463:(etching,
228:depictions
205:, France.
140:Marseilles
136:altarpiece
66:, Bordeaux
40:and Saint
697:Hall, 162
623:alabaster
490:, Bilbao
374:Paintings
239:Cardinal
77:, c. 1620
29:, c. 1625
1027:Archived
735:Bordeaux
644:, 1858,
629:, Madrid
625:, 1763,
508:, 1625,
486:, 1621,
450:, 1650,
226:northern
50:predella
1339:Nursing
1238:, 1625"
950:Oberlin
758:, p. 22
609:, Paris
514:Oberlin
408:Seattle
338:Utrecht
209:Subject
158:twice,
1281:
1273:
1226:
1184:
1170:
1118:
1102:
1090:, Ed.
898:, Rome
754:
607:Louvre
587:, Lyon
516:, Ohio
465:Modena
414:Also:
388:, 1625
367:buboes
334:plague
271:martyr
203:Nantua
168:Vasari
111:In art
1218:, in
844:Image
708:JSTOR
653:Notes
295:from
142:(now
1279:ISBN
1271:ISBN
1224:ISBN
1182:ISBN
1168:ISBN
1116:ISBN
1100:ISBN
752:ISBN
162:(in
1206:doi
894:in
311:by
301:by
138:in
1300::
1277:;
1244:,
1198:,
1158:,
1127:,
1094:,
1065:,
1049:,
1033:,
1016:^
1007:,
919:,
830:,
721:,
512:,
459:,
437:,
1208::
1196:"
410:.
193:(
126:.
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