There appears a small number of variations in which St. Sebastian is bound to a tree, but elevated off the ground, often times standing upon the stump of a limb that has been partially removed. The usual representations finds the martyr-saint standing on the ground from which the tree springs. In particular the artists who employ this convention are: Giovanni del Biondo (act. 1356-1399) (See: Figure 13), Nicola di Maestro Antonio d'Ancona (c 1472) (See: Figure 180), Botticelli Sandro (1474) (See: Figure 9), Antonio Pollaiolo (1475) (See: Figure 35), Francesco Botticini (aka Francesco di Giovanni) (c. 1495) (See: Figure 181), Josse Lieferinxe (1497) (See: Figure 10), Vincenzo Foppa (1514) (See: Figure 55), among others. Iconographically, this mode of representing the martyr-saint not only elevates him, physically, but also lifts him above the mundane, spiritually. Further, it is a veiled reference to the martyr-saint's supposed ability to protect a supplicant from death, particularly by pestilence. Also, there is a physical parallel--i.e., elevated off the ground--with the representation of the Christ elevated off the ground on the cross. Benozzo Gozzoli's St. Sebastian (1465) (See: Figure 15) is also elevated, but in this case the martyr-saint stands on plinth, a pedestal. Benozzo treats him as a rare and precious object worthy of veneration. He is exhibited as one would display a rare Grecian vase. A similar presentation is found in the paintings of Filippino Lippi's (b. 1502) (See: Figure 182) and Vincenzo Foppa (b. 1514) (See: Figure 183), but in these presentations both the martyr-saint and the column upon which he is bound rest upon the pedestal.