By mid-XV^th Century St. Sebastian became the subject of choice for many artists. The semi-nude representations ultimately wins out over the clothed figures in preference for the depiction of the martyr-saint. The artists focused upon the lone, scantily clad physique of the martyr-saint and the figure often filled the composition--e.g., Andrea Mantegna (1459) (See: Figure 5), Marco Zoppo (a. 1455) (See: Figure 4), Cosimo Tura (c. 1470) (See: Figure 8), Antonello da Messina (1475-1477) (See: Figure 132), Antonio Maineri (b. 1495) (See: Figure 134), Sandro Botticelli (1474) (See: Figure 9), Andrea Mantegna (1480) (See: Figure 6), and again Andrea Mantegna (1506) (See: Figure 7). Later, Antonio Bazzi (Il Sodoma) (1525) (See: Figure 140), Domenikos Theotokopoulos (El Greco) (1580) (See: Figure 153) and Aniello Falcone (1600) (See: Figure 42), portrayed the lone semi-nude figure. Generally the figures were painted with a brief under garment or cloth which was wrapped and loosely tied 'bout the hips. However, Antonello da Messina employed a finely tailored garment, resembling a modern, skimpy, brief "Speedo" bathing suit. Antonio Maineri went a step further. The genitals are encased in a form-fitting pouch which clearly delineates the genitalia within. Nonetheless, liturgical tradition reigned and the hallowed martyr-saint was not portrayed frontally nude until the XVIII^th Century and then only in the rarest instances in painting. However, both Giulio Cesare Procaccini (c. 1610) (See: Figure 111) and Marcantonio Bassetti (c. 1620) (See: Figure 20) painted the martyr-saint nude, but the body was so arranged as to obscure the genitals. On the other hand, Sebastiano Luciani (Sebastiano Piombo) (c. 1507) (See: Figure 17) and Jacopo Chimenti (aka Il Jacopo da Empoli) (b. 1640) (See: Figure 142), Francesco Furini (b. 1646) (See: Figure 143) had the temerity to portray St. Sebastian as a frontal nude, but, these depictions were meant as private studies and were not transferred, per se, into like paintings.