Not only were St. Sebastian and St. Roch secondary figures within a composition, there are a number of works which feature this pair--e.g., Antonio Aleotti, St. Christopher, St. Sebastian and St. Roch (a. 1495) (See: Figure 248); Maestro di Tavarnelle, St. Sebastian with St. Anthony Abbot and St. Roch (c. 1510) (See: Figure 249); Giovanni Battista Benvenuti (aka l'Ortolano), St. Sebastian with St. Roch and St. Demitrius (1516) (See: Figure 138); Joos van Cleve, St. Sebastian and St. Roch (c. 1520) (See: Figure 250); Cesare da Sesto, Polyptych of St Roch (1523) (See: Figure 251); and Emilian Painter, Virgin and Child with St. Sebastian and St. Roch (late XVI C) (See: Figure 252), among others. One of the more interesting representations is Jean Duvet's St Sebastian, St Anthony and St Roch (c. 1510) (See: Figure 253). In this composition, noted above for the obvious inclusion of what appears to be pubic hair, St. Sebastian is centered, St. Anthony is to the left of the composition and St. Roch is on the right. St. Roch is lifting his outer garment, exposing both thighs, both stockings have fallen to mid-calf. In front of him is a small angel, a putti. The putti is strange! It has been rendered with the face of a grown man. The man-putti is reaching towards St. Roch's groin with clenched fists. The 'angel's' left fist has apparently been reworked and is ambiguous in its execution. But, his attention and the movement of his left hand is neither ambiguous nor subtle. Of final interest, this area--i.e., the man-putti--presented the artist with problems as the body and the clothing were left unfinished.