The same date and place are recorded by the Calendar of Carthage, the Hieronymian Martyrology, the Gelasian and Gregorian Sacramentaries (the Leonian is defective at this point), and the Itineraries. His cult spread rapidly in the Church and until modern times he was greatly venerated, especially as a protector against the plague (cf. B. Pesci, op. cit. in bibl., p. 191). Even today the memory of St. Sebastian is vivid in the minds of the faithful because of his reputation as a defender of the Church (the Passio states that Pope Caius would have appointed him, while still alive, as defender of the Church).
St. Ambrose, in a discourse (CSEL, 62, p. 466), affirms that he was a native of Milan and perished in the persecution of Diocletian. This chronological notice appears confirmed by the place of his sepulchre in the catacombs, which cannot certainly be earlier than the second half of the 3rd century.
The Passio, a true hagiographic romance falsely attributed to St. Ambrose but certainly later, was probably compiled in the first half of the 5th century by a monk of the monastery that Pope Sixtus III built in the catacombs (Lib. Pont., I, p. 234), with the aim of extending his cult. Around the figure of St. Sebastian many other authentic martyrs are grouped, though they have nothing in common with him, and unknown personages, born of the author’s imagination; it recounts miracles and conversions with long and tedious speeches—all devices dear to hagiographers of the time to make their narrative more attractive.
According to the Passio, he would have been an officer in the army, condemned for the faith to be pierced by arrows from his comrades, and taken up by the matron Lucina, who buried him “in Catacumbas in initio cryptae iuxta vestigia Apostolorum.”
St. Sebastian — Present state of the crypt of St. Sebastian in the cemetery ad catacumbas. The altar is placed over the remains of the loculus where the relics of the Saint were deposited. Rome.
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H. Delehaye, Cinq leçons sur la méthode hagiographique, Brussels 1934, pp. 33-37; P. Styger, Römische Märtyrergrüfte, I, Berlin 1935, pp. 139-48; Martyr. Hieronymianum, p. 50 sq.; Martyr. Romanum, p. 29; R. Valentini-G. Zucchetti, Codice topografico della città di Roma, II, Rome 1942, p. 17; B. Pesci, Il culto di s. S. a Roma nell'antichità e nel medioevo, in Misc. hist. Oliger, ibid. 1945, pp. 177-200. Agostino Amore
ART. — The vast iconography of St. Sebastian begins in Early Christian art, from which we have his representations from the 5th century, with identifying inscriptions, frescoed both in the catacombs of St. Callistus and in those of St. Sebastian on the Via Appia. Notable is the 7th-century museum above a side altar of the church of St. Peter in Chains in Rome, where St. Sebastian is presented as an elderly, bearded Roman warrior. Depictions of St. Sebastian dressed as a soldier and without arrows persist until the late Middle Ages: as examples of greater importance one may cite the 13th-century apse fresco in the church of St. George in Velabro in Rome and a magnificent 14th-century Gothic stained-glass window in the cathedral of Strasbourg.
In Italian Gothic art St. Sebastian was sometimes depicted as a graceful young man dressed, holding an arrow in his hand; a typical representation of this kind is found among the saints of the polyptych by Antonio Vivarini of Murano, now in the Vatican Pinacoteca.
Renaissance art generally depicted St. Sebastian as a young man dressed, pierced by several arrows; however, during the Renaissance he was also depicted in the company of other plague saints, namely St. Roch and St. Anthony the Hermit. Nevertheless, the vast iconography of St. Sebastian in the 15th and 16th centuries is certainly due not only to his role as a protector of the plague-stricken but also to the way his youthful, nude torso lent itself to clear classical allusions. Among Renaissance works in which St. Sebastian is exceptionally shown clothed, one may note the 1464 fresco by Benozzo Gozzoli in the church of St. Augustine in San Gimignano, which depicts the Saint according to the iconographic scheme of the Madonna della Misericordia, sheltering the praying people beneath her protective mantle.
His role as intercessor for the plague-stricken led to St. Sebastian appearing in some representations of the Madonna della Misericordia painted on three confraternity gonfalons from the workshop of Benedetto Bonfigli in Umbria; the figure of St. Sebastian, pierced by arrows, appears in these gonfalons in the foreground among the praying people beneath the Virgin’s mantle (Gonfalon of the church of Civitella Benzoziana, that of the church of Corciano, and that of the church of St. Francis in Montone; the latter, dated 1482, is considered by some scholars to be the work of Bartolomeo Caporali).
The innumerable representations of St. Sebastian left to us by Renaissance art can be grouped into three principal generic types, namely: 1) scenes of the Saint’s martyrdom; 2) depictions of the Saint alone, in a statue-like, isolated manner; 3) enthroned Madonnas venerated by saints, “sacred conversations” and other sacred scenes, in which the Saint has been depicted or added.
a) To the first type belong the fresco by Vincenzo Foppa, now in the Brera in Milan; the fresco by Benozzo Gozzoli in the collegiate church of San Gimignano; the panel by Antonio and Piero del Pollaiuolo in the National Gallery in London; the panel by Luca Signorelli in the Pinacoteca of Città di Castello; the panel attributed to Girolamo Genga in the Uffizi; and the grand fresco by Pinturicchio in the Borgia Apartments of the Vatican Palace. Several masterpieces of contemporary transalpine art, in a Gothic style, have also presented the scene of the martyrdom of St. Sebastian, often framing it in triptychs and polyptychs. Among these transalpine works, the most important are: the triptych by Hans Memling in the Louvre in Paris; a panel by the same master in the Museum of Brussels; and the triptych by Hans Holbein the Elder in the Pinacoteca of Munich.
b) The second type is so numerous that it may be considered a distinct type of Italian art between 1450 and 1550, and it particularly illustrates the Renaissance taste for beauty conceived according to the ideals of classical antiquity and for anatomical virtuosity. Among these countless depictions of St. Sebastian alone, either leaning against or bound to a column or a tree, it will suffice to cite as examples a few of the highest artistic value, such as the panel by Antonello da Messina in the Dresden Gallery, those by Francesco Buonsignori and Botticelli in the Museum of Emperor Frederick in Berlin; those by Liberale da Verona, one of which is also in the Berlin Museum and the other in the Brera in Milan; the panel by Fiorenzo di Lorenzo in the Pinacoteca of Perugia, a compartment of the polyptych by Piero della Francesca in Borgo San Sepolcro, the painting by Pietro Perugino in the Louvre, that by Sodoma in the Pitti Gallery, made at its inception to serve as a gonfalon; and finally that by Dosso Dossi in the Brera. Andrea Mantegna depicted St. Sebastian three times, namely in the fresco now preserved in the Louvre, in the panel of the Vienna Gallery, and in the painting of tragic representation in the Ca’ d’Oro in Venice. Even the pictorial vision realized in Titian’s St. Sebastian, now in the Hermitage in Leningrad, derives from this figurative type, a study to which Raphael also devoted himself in his youth, as shown by a pen drawing of his preserved in the Accademia in Venice. Sometimes, too, the half-figure of the saint, unclothed, was painted.
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**SERASTIANO, santo - The martyr St. Sebastian holding a crown. Museum of the late 7th century - Rome, Basilica of St. Peter in Chains.**
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**SEROSTIANO, santo - The Martyr St. Sebastian receiving the crown. Museum of the late 7th century - Rome, Basilica of St. Peter in Chains.**
sebastiano, santo - martyrdom of St. S. Painting by H. Memling (15th century) - Brussels, Museum of Fine Arts.
Depictions of the wounded saint (e.g., in the panel by Antonello in the Städel Collection in Frankfurt and in that by Lorenzo Costa in the Brera). Giorgione, exceptionally, painted a half-figure of St. Sebastian, dressed, holding an arrow (Venice, Accademia).
c) The third type of Renaissance depictions of St. Sebastian is that in which he appears among the saints grouped around the throne of the Madonna in sacred conversations; this type is represented above all by works of Venetian painting, among which the most notable are: the large altarpiece with the Virgin in Majesty by Giovanni Bellini, now in the Accademia in Venice, that by Cima da Conegliano also in the Accademia in Venice, and another by the same artist in the Brera in Milan; the altarpiece by Alvise Vivarini in the Museum of Emperor Frederick in Berlin, that by Bartolomeo Montagna in the Brera in Milan, and the two altarpieces by Lorenzo Lotto in Bergamo, one in the church of St. Bartholomew and the other in the church of Santo Spirito. Among the Madonnas adored by saints, by non-Venetian masters, mention should be made of that by Perugino in the Uffizi and that by Correggio, known as the St. Sebastian, in the Dresden Gallery. Among the sacred conversations in which St. Sebastian appears, one should first note two by Titian: one in Venice in the church of Santa Maria della Salute, where St. Mark is depicted enthroned, and another, known as the St. Nicholas of the Frari, preserved in the Vatican Pinacoteca; then the panel by Giovanni Mansueti in which St. Sebastian, bound to a column, occupies the central position in a group of five saints (Venice, Accademia), and the panel by Bartolomeo Montagna (Venice, Accademia) where Christ is adored by St. Sebastian and St. Roch. Also worthy of mention is the idyllic panel by Giovanni Bellini in the Uffizi, called Allegory of the Church, where before the Madonna enthroned silently stand two unclothed saints: the old St. Jerome, his body consumed by penance, and the young St. Sebastian of ideal beauty, wounded by arrows. Finally, the following paintings with St. Sebastian are closely linked to the concept of the “sacred conversations”: Giorgione’s Holy Family in the Louvre; Correggio’s Mystic Marriage of St. Catherine also in the Louvre; the Virgin of the Casio Family by Boltraffio, also in the Louvre; and the Madonna between St. Roch and St. Sebastian by Lorenzo Lotto, now in the Contini Bonacossi collection in Florence. It should be noted that Michelangelo also painted St. Sebastian in the Sistine Last Judgment, depicting him as a naked young man kneeling and holding an arrow, placed among the group of martyr saints.
As final examples of Renaissance works of art with St. Sebastian, one may recall: the altarpiece by Paolo Veronese in the church of the Santo in Venice, whose vast image conveys more the glory of St. Sebastian than his isolated depiction, and the large canvas by Tintoretto in the Sala dei Pregadi in the Doge’s Palace in Venice, where the Saint is depicted among the patrons of Doge Pietro Lando. Paolo Veronese is also responsible for two scenes from the legend of St. Sebastian, never before or after depicted by any other master. These scenes, grandly conceived and frescoed in the church of San Sebastiano in Venice, represent the Saint exhorting Saints Marcellus and Marcellinus, and the death of the Saint under the blows of the praetorians.
In Baroque art, depictions of St. Sebastian become much less frequent. His isolated images, conceived as statues, disappear. They are only partially replaced either by half-figures, as seen in the paintings by Guido Reni (one in the Louvre, another in the Capitoline Pinacoteca in Rome), by Domenichino (Capitoline Pinacoteca), by Ribera (Madrid, Prado), and by Nicola Regnier (formerly attributed to Caravaggio, Dresden Gallery), or by depictions of the dead Saint pierced by arrows, as shown in a painting by Ribera in the possession of the Museum of Emperor Frederick in Berlin and the marble statue preserved in the Basilica of St. Sebastian in Rome, a work by the sculptor Antonio Giorgetti, executed from a design by Gian Lorenzo Bernini. In compensation, Baroque art sees the emergence of paintings depicting the scene in which St. Sebastian, having fainted after his martyrdom, is tended by St. Irene and two other women who remove the arrows from his body. Fine depictions of this scene were painted by Eustache Le Sueur (Museum of Tours) and Gian Domenico Cerrini (Rome, Corsini Gallery); it also constitutes the subject of a painting from the school of the Carracci, preserved in the Museum of Frankfurt. In the 19th century, this scene was painted in a very well-known work by Jean-Jacques Henner, preserved in the Luxembourg Museum in Paris. To P. P. Rubens (Rome, Corsini Gallery) and to Anthony van Dyck (a painting in the Museum of Antwerp and another in the Louvre) we owe a different interpretation of the scene, in which the fainting St. Sebastian is tended by angels. A reference to the sacred conversations was made by Giovanni Battista Tiepolo in his painting with Saints Sebastian and Roch, in the parish church of Noventa Vicentina. The Baroque masters also employed highly individual figurative forms to depict the martyrdom of St. Sebastian, entirely different from the Renaissance scheme, as can be seen in the altarpiece by Domenichino, painted in 1627 for St. Peter’s Basilica, now replaced there by a copy in mosaic (the original is in Santa Maria degli Angeli in Rome).
sebastiano, santo - martyrdom of St. S. Painting by H. Memling (15th century) - Brussels, Museum of Fine Arts.
(Nota Anderson)
(Nota Anderson)
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1682. 1683. 1684. 1685. 1686. 1687. 1688. 1689. 1690. 1691. 1692. 1693. 1694. 1695. 1696. 1697. 1698. 1699. 1700. 1701. 1702. 1703. 1704. 1705. 1706. 1707. 1708. 1709. 1710. 1711. 1712. 1713. 1714. 1715. 1716. 1717. 1718. 1719. 1720. 1721. 1722. 1723. 1724. 1725. 1726. 1727. 1728. 1729. 1730. 1731. 1732. 1733. 1734. 1735. 1736. 1737. 1738. 1739. 1740. 1741. 1742. 1743. 1744. 1745. 1746. 1747. 1748. 1749. 1750. 1751. 1752. 1753. 1754. 1755. 1756. 1757. 1758. 1759. 1760. 1761. 1762. 1763. 1764. 1765. 1766. 1767. 1768. 1769. 1770. 1771. 1772. 1773. 1774. 1775. 1776. 1777. 1778. 1779. 1780. 1781. 1782. 1783. 1784. 1785. 1786. 1787. 1788. 1789. 1790. 1791. 1792. 1793. 1794. 1795. 1796. 1797. 1798. 1799. 1800. 1801. 1802. 1803. 1804. 1805. 1806. 1807. 1808. 1809. 1810. 1811. 1812. 1813. 1814. 1815. 1816. 1817. 1818. 1819. 1820. 1821. 1822. 1823. 1824. 1825. 1826. 1827. 1828. 1829. 1830. 1831. 1832. 1833. 1834. 1835. 1836. 1837. 1838. 1839. 1840. 1841. 1842. 1843. 1844. 1845. 1846. 1847. 1848. 1849. 1850. 1851. 1852. 1853. 1854. 1855. 1856. 1857. 1858. 1859. 1860. 1861. 1862. 1863. 1864. 1865. 1866. 1867. 1868. 1869. 1870. 1871. 1872. 1873. 1874. 1875. 1876. 1877. 1878. 1879. 1880. 1881. 1882. 1883. 1884. 1885. 1886. 1887. 1888. 1889. 1890. 1891. 1892. 1893. 1894. 1895. 1896. 1897. 1898. 1899. 1900. 1901. 1902. 1903. 1904. 1905. 1906. 1907. 1908. 1909. 1910. 1911. 1912. 1913. 1914. 1915. 1916. 1917. 1918. 1919. 1920. 1921. 1922. 1923. 1924. 1925. 1926. 1927. 1928. 1929. 1930. 1931. 1932. 1933. 1934. 1935. 1936. 1937. 1938. 1939. 1940. 1941. 1942. 1943. 1944. 1945. 1946. 1947. 1948. 1949. 1950. 1951. 1952. 1953. 1954. 1955. 1956. 1957. 1958. 1959. 1960. 1961. 1962. 1963. 1964. 1965. 1966. 1967. 1968. 1969. 1970. 1971. 1972. 1973. 1974. 1975. 1976. 1977. 1978. 1979. 1980. 1981. 1982. 1983. 1984. 1985. 1986. 1987. 1988. 1989. 1990. 1991. 1992. 1993. 1994. 1995. 1996. 1997. 1998. 1999. 2000. 2001. 2002. 2003. 2004. 2005. 2006. 2007. 2008. 2009. 2010. 2011. 2012. 2013. 2014. 2015. 2016. 2017. 2018. 2019. 2020. 2021. 2022. 2023. 2024. 2025. 2026. 2027. 2028. 2029. 2030. 2031. 2032. 2033. 2034. 2035. 2036. 2037. 2038. 2039. 2040. 2041. 2042. 2043. 2044. 2045. 2046. 2047. 2048. 2049. 2050. 2051. 2052. 2053. 2054. 2055. 2056. 2057. 2058. 2059. 2060. 2061. 2062. 2063. 2064. 2065. 2066. 2067. 2068. 2069. 2070. 2071.