2) a more common depiction shows the martyr-saint's hands bound together behind him, feet unbound and his body resting against a column or stake or tree--e.g., Rogier van der Weyden (1446) (See: Figure 29), Giovanni Bellini (1464) (See: Figure 30), Francesco Galli (called Francesco Napoletano) (c. 1490) (See: Figure 31), and Giovanni Buonconsiglio (1500) (See: Figure 32) among a number,
A study of selected paintings, prints and drawings of St. Sebastian and the attendant iconography of this saint from 527 C.E. to the present.
Saturday, August 13, 2011
3) a third variation is seen with the martyr-saint's hands bound together behind him, his feet bound and his body also bound and resting against a column or stake or tree--.e.g., Anonymous Rhone Master (XVth Century) (See: Figure 33), Anonymous Nuremberg Master (1437) (See: Figure 34), Andrea Mantegna (1459) (See: Figure 5), Antonio Pollaiolo (1475) (See: Figure 35), among others,

33. Master of the Rhone School (XVth C.), Martyrdom of St. Sebastian, Sarah Campbell Blaffer Foundation,Houston.
34. Anonymous Nuremberg Master (XVth C.), St. Sebastian (1437), Albertina Library,Vienna. Woodcut.
35. Antonio Pollaiolo (1433-1498), Martyrdom of St Sebastian (c. 1475). National Gallery,London. In collaboration with brother Piero.
Friday, August 12, 2011
4) a fourth variation finds the martyr-saint's hands bound separately, his feet unbound and his body leaning against or pulling away from a column or stake or tree--e.g., Marco Zoppo (c. 1453) (See: Figure 4), Hans Memling (a. 1470) (See: Figure 36), Master of San Pellegrino (1476) (See: Figure 37), Evangelista di Piandimeleto (b. 1499) (See: Figure 38) and Luca Signorelli (1508) (See: Figure 39) among many,