The representations of St. Sebastian in the late XX^th Century can only be characterized as primarily groin centered. That is not to say that the paintings of the XV^th-XVIII^th Centuries did not emphasize the groin in greater or lesser degrees. The covering of the penis and scrotum was accomplished either by a tailored, tight fitting, brief undergarment--e.g., Antonello da Messina (1476-1477) (See: Figure 132). More often, however, the artists chose to employ a piece of material that either fluttered over the groin area or was tied either to the side or over the genitals. Sometimes the covering appeared so diaphanous, that if it wasn't for the shadows, the genitalia would be visible. A study by Bartolomeo Montagna (b. 1529) (See: Figure 135) shows a man of young maturity, pierced by four arrows and a piece of fabric about his hips. A flap in front appears more pouch than flap and does little to hide the form of the encased parts. The painting of the martyr-saint by an Anonymous Italian after Giuseppe Cesari aka il Cavalier d'Arpino (c. 1600) (See: Figure 157) with his hands bound over his head, his muscular body spirals and his left leg is flexed as if he is about to take a step sideways. The modesty covering is so thin as to be nearly transparent and the groin shadow appears to be more pubic hair than deep shadow. The treatment of the fabric and the crotch, centered in the composition inevitably draws the eye to that area. Similarly, Aniello Falcone (1600) (See: Figure 42) also presents a muscular St. Sebastian with his wrists bound over his head. Except here the martyr-saint is seated with his left leg tucked under his right. He is, for all intents and purposes, nude as he sits upon a voluminous cloth. One little piece of the cloth balloons up coyly, obscuring his genital area. Again the groin area is near the center of the composition, drawing the eye inexorably to that region. A third painting, this one portraying St. Irene and her companions ministering to St. Sebastian by Bartolomeo Schedoni (a. 1610) (See: Figure 100), presents a nude male figure, foreshortened from his head and his legs drawn up, casting a deep triangular shadow between his legs. Naturally, the genitals would be visible on the other side of his thighs and curiously, two of the attendants appears to be gazing in that direction as St. Irene carefully extracts an arrow from the martyr-saint's left hip. Although the genital region is not centered in this composition, the attention of the two attendants seem to be drawn there. Marcantonio Bassetti (c. 1620) (See: Figure 158) portrays a foreshortened St. Sebastian from his head as St. Irene pulls out an arrow from the martyr-saint's left leg. St. Sebastian is on his back with his knees drawn up and his legs parted, somewhat. Deep shadow and brilliant highlight play across the surface. St. Irene and St. Sebastian's face are partly shadowed. But the abdomen and his thighs as well as the groin are brilliantly spotlighted. A piece of cloth upon which the martyr-saint lays is carefully drawn between his legs as if not to offend the modesty of the ministering saint. Biagio Manzoni (1630) (See: Figure 53) presents one of the few compositions of St. Sebastian before he was pierced with arrows. In this painting the martyr-saint is standing squarely upon the ground--i.e., samabhangasana--in front of a large tree with his arms bound behind him. Two rather rough individuals are securing his feet as St. Sebastian placidly observes them. His physique, as shown, approaches being stout. A rather heavy band of fabric encircles his hips and scoops down emphasizing his belly. A flap of cloth appears and drops downward. It has the appearance of an athletic supporter and inevitably draws the eye to that region.