In a number of paintings revolving around this particular subject, there is a hint of indecision indicated on the part of St. Irene in her impending action. It appears as though she is not quite sure of what to do with the nude or semi nude, injured martyr-saint. This is particularly evident in the following compositions: Matthias Stomer (a. 1640) (See: Figure 95), Georges de la Tour (c. 1649) (See: Figure 89), and Pietro Rotari (1725) (See: Figure 91), among others. It is as if St. Irene is not quite sure of what to do, or possibly too shy to come in contact with the semi-nude, wounded male form of the martyr-saint, a stranger, a man who is not her husband or her son. On the other hand there are paintings which indicate a decisive role, an active role on the part of St. Irene. In each of these works St. Irene is removing arrows and/or ministering to the wounds of the young St. Sebastian with care and decisiveness. The attention she pays to the semi-nude, Apollo-like body of the martyr-saint is intense, direct and meaningful. In many representations she appears as a concerned mother with an injured son! In a number of these representations, St. Irene is up close and personal, inches from the injured body. Her face is drawn close to the figure of St. Sebastian--e.g., Cassarino (1600) (See: Figure 230), Bartolomeo Schedoni (a. 1610) (See: Figure 100), Jasper van Baburen Dirck (1615) (See: Figure 94), Marcantonio Bassetti (c. 1620) (See: Figure 158), Hendrich Terbrugghen (1625) (See: Figure 74), Bernardo Strozzi (1631) (See: Figure 234), Francesco Cairo (b. 1665) (See: Figure 232), Luca Giordano (1665) (See: Figure 207), Giovanni Antonio Pellegrini (1713) (See: Figure 236), and Antonio Zanchi (c. 1665) (See: Figure 237), among others. In these paintings St. Irene and St. Sebastian, both martyrs, both associated with arrows, both venerated become a vision of Attis and Cybele!