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{{short description|Subject of many religious artworks}}
{{Use dmy dates|date=February 2019}}
], c. 1625]] ], c. 1625]]
'''Saint Sebastian Tended by Saint Irene''' is an incident in the lives of ] and Saint ].<ref>There are variant English phrasings of the translated titles of works, most often "cured by" or "healed by". The usual title in French is "Saint Sébastien soigné par Sainte Irène". In Italian and Spanish the standard title uses ''curato/curado'', which are sometimes wrongly translated to English as "cured" rather than "cared for" etc.</ref> It was not prominent in the ] until the late Renaissance, and is hardly seen in art before then. As an artistic subject, normally in painting, it suddenly became popular from the 1610s, though found in ] scenes as early as the 15th century,<ref>Boeckl, 77; Hedquist, § 28–29</ref> and was most popular until about the 1670s. '''Saint Sebastian Tended by Saint Irene''' is an incident in the legends of ] and Saint ].<ref>There are variant English phrasings of the translated titles of works, most often "cured by" or "healed by". The usual title in French is "Saint Sébastien soigné par Sainte Irène". In Italian and Spanish the standard title uses ''curato/curado'', which are sometimes wrongly translated to English as "cured" rather than "cared for" etc.</ref> It was not prominent in the ] until the late Renaissance, and is hardly seen in art before then. As an artistic subject, normally in painting, it suddenly became popular from the 1610s, though found in ] scenes as early as the 15th century,<ref>Boeckl, 77; Hedquist, § 28–29</ref> and was most popular until about the 1670s.
], 1620–1634, Bordeaux]] ], 1620–1634, ], Bordeaux]]
], c. 1620]] ], c. 1620]]


Though Sebastian is famously tied to a tree or post and shot with many arrows, in his story he had he always survived this, to be killed with stones some time later;<ref>"Then Diocletian made him to be brought into prison into his palace, and to beat him so sore with stones till he died" </ref> these are sometimes called his "second" and "first martyrdom". This episode takes place between them, when after the archery, Irene, who is normally accompanied by her maid, is shown either taking an unconscious Sebastian down from the tree or post he was tied to, or when they have got him to a bed and are treating his wounds. In both scenes Irene is usually shown pulling out one of the arrows. Sometimes she is putting ointment on the wounds; a jar of ointment was her attribute.<ref>Hall, 162</ref> Both scenes are often shown taking place in darkness, and the treatment scene typically seems to take place in one of the ], whose rediscovery was ongoing during this period (although the literary story specifies Irene's house). Though Sebastian is famously tied to a tree or post and shot with many arrows, in his story he always survives this, only to be ] some time later;<ref>de Voragine, p. 108: "Then Diocletian made him to be brought into prison into his palace, and to beat him so sore with stones till he died"</ref> these ordeals are sometimes called his "first" and "second martyrdom". The tending by Saint Irene takes place between these, after the archery, when she, normally accompanied by her maid, enters the story. She is shown either taking an unconscious Sebastian down from the tree or post to which he is tied or when he has been found a bed and his wounds are being treated. In both scenes Irene is usually shown pulling out one of the arrows. Sometimes she is shown putting ointment on the wounds; a jar of ointment was her attribute.<ref>Hall, 162</ref> Both scenes are often shown taking place in darkness, and the treatment scene typically seems to take place in one of the ], whose rediscovery was ongoing around 1600 (although the literary story specifies Irene's house).


Devotion to Saint Sebastian was driven by his reputation as a protector from the plague, which was still a very dangerous disease in 17th-century cities. Many of these images can be interpreted in the light of contemporary beliefs and practices around plague. They also reflect ] ideas about the role of women. Devotion to Saint Sebastian was driven by his reputation as a protector from the plague, which was still a very dangerous disease in 17th-century cities. Many of these images can be interpreted in the light of contemporary beliefs and practices around plague. They also reflect ] ideas about the role of women.

⚫ The subject gives emphasis to courageous initiative and useful activity by women, though of a type considered appropriate to their sex. Sebastian is either unconscious or helpless in nearly all depictions. This is very much in line with ] ideas, which encouraged saintly female role models who went beyond the largely passive victimhood of medieval depictions of female martyrs, expressing "the Counter-Reformatory desire to project Catholicism as a caring faith, with a visible dimension of social responsibility".<ref>Hedquist, §30–34, 43–50; Oberlin (quoted); Stechow, W. (1954). Terbrugghen's 'Saint Sebastian'. The Burlington Magazine, 96(612), p. 70, </ref>


==In art== ==In art==
], c. 1653. ].]] ], c. 1653. ].]]
One of the earliest paintings of Sebastian being nursed is by ] in about 1497, part of a cycle from an ] in ] (now ]),<ref></ref> but the subject was rare until the 17th century, and treated as part of a series of Sebastian's life. It is first found as an independent subject in the 17th century, when it was painted by ] at least twice, ] (four times),<ref>], Musée des beaux-arts, with other versions in the ] and two in the United States</ref> ] twice, ] (in ])<ref>Slive, Seymour, Dutch Painting, 1600–1800, Yale UP, 1995, {{ISBN|0300074514}}, p.22</ref> and many others. The subject appears to have been a deliberate attempt by the Church to get away from the traditional depiction of the standing almost-nude Sebastian being shot with arrows. This is already recorded in ] (in relation to a painting by ]) as sometimes arousing inappropriate thoughts among female churchgoers.<ref>Barker, 115–117; Hedquist, §17–24</ref> One of the earliest paintings of Sebastian being nursed is by ] in about 1497, part of a cycle from an ] in ] (now ]),<ref>, ]. Retrieved 21 February 2019</ref> but the subject was rare until the 17th century, and treated as part of a series of Sebastian's life. It is first found as an independent subject in the 17th century, when it was painted by ] at least twice, ] (four times),<ref>], Musée des beaux-arts, with other versions in the ] and two in the United States</ref> ] twice, ] (in ])<ref>Slive, Seymour, Dutch Painting, 1600–1800, Yale UP, 1995, {{ISBN|0300074514}}, p. 22</ref> and many others. The subject appears to have been a deliberate attempt by the Church to get away from the traditional depiction of the standing almost-nude Sebastian being shot with arrows. This is already recorded in ] (in relation to a painting by ]) as sometimes arousing inappropriate thoughts among female churchgoers.<ref>Barker, 115–117; Hedquist, §17–24</ref>


Baroque artists often treated the new scene as nocturnal, illuminated by a single candle, torch or lantern, in the ] "candlelight" style fashionable in the first half of the 17th century. All the versions by or attributed to de La Tour and Bigot are candlelit. With a few exceptions with a large vertical "altarpiece" size,<ref>Strozzi and Lana for example.</ref> the paintings are mostly horizontal in format and the main figures occupy most of the picture space, giving an intimate and intense depiction of the scene. Sebastian is often given an elaborately contorted pose, with limbs reaching the edge of the picture space. Very often at least one wrist remains tied to the tree. In particular he often has an straight raised arm running diagonally across the picture space, a motif that has been traced through the works of various artists spreading from Italy to the Netherlands.<ref>Hedquist, § 7, figs. 2–6</ref> Baroque artists often treated the new scene as nocturnal, illuminated by a single candle, torch or lantern, in the ] "candlelight" style fashionable in the first half of the 17th century. All the versions by or attributed to de La Tour and Bigot are candlelit. With a few exceptions with a large vertical "altarpiece" size,<ref>Strozzi and Lana for example.</ref> the paintings are mostly horizontal in format and the main figures occupy most of the picture space, giving an intimate and intense depiction of the scene. Sebastian is often given an elaborately contorted pose, with limbs reaching the edge of the picture space. Very often at least one wrist remains tied to the tree. In particular he often has a straight raised arm running diagonally across the picture space, a motif that has been traced through the works of various artists spreading from Italy to the Netherlands.<ref>Hedquist, § 7, figs. 2–6</ref>


Sebastian's death was firmly located in Rome, where he was the third patron saint,<ref>Hedquist, §9</ref> and churches dedicated to him were built on the supposed locations of the events,<ref>] where the "first martyrdom" with arrows took place, ] where his body was recovered from the sewer, and ] over his burial site in the ]. See Hedquist, 9–10</ref> The subject was mainly painted by artists in Italy, and also by a number in the ]. By the 18th century the subject becomes less common, as Irene and her maid are often replaced by angels, or become nameless "women", as those by ] (], Vienna, 1746) are called by the gallery. Late treatments include two paintings by ], one of 1858 (LACMA, Los Angeles),<ref></ref> and one exhibited in 1836, now Église Saint-Michel, ], France.<ref>]</ref> Sebastian's death was firmly located in Rome, where he was the third patron saint,<ref>Hedquist, §9</ref> and churches dedicated to him were built on the supposed locations of the events.<ref>] where the "first martyrdom" with arrows took place, ] where his body was recovered from the sewer, and ] over his burial site in the ]. See Hedquist, 9–10</ref> The subject was mainly painted by artists in Italy, and also by a number in the ]. By the 18th century the subject becomes less common, as Irene and her maid are often replaced by angels, or become nameless "women", as those by ] (], Vienna, 1746) are called by the gallery. Late treatments include two paintings by ], one of 1858 (LACMA, Los Angeles),<ref>, ]. Retrieved 21 February 2019</ref> and one exhibited in 1836, now Église Saint-Michel, ], France.<ref>]</ref>


==The subject== ==Subject==
], c. 1615, ], Madrid, one of the first northern depictions]] ], c. 1615, ], Madrid, one of the first ] depictions]]
Standard redactions of the Late medieval '']'' merely say "The night after came a Christian woman for to take his body and to bury it, but she found him alive and brought him to her house, and took charge of him till he was all whole."<ref></ref> Identifying the "Christian woman" as the hitherto very obscure Irene came later, and was popularized by Cardinal ] (1538–1607), a leading historian of the church, and one of the writers telling Catholic artists what treatments were appropriate in ]. His account appeared in volume 3 of his ''Annales Ecclesiastici'', published in 1592. Irene had been named in a 5th-century source, but the name had been forgotten.<ref>Hedquist, §24–26</ref> Both Sebastian and Irene appear in fairly early Christian literature, but details of their lives are essentially legend.<ref>Hedquist, §8–9; Hall, 162, 276–277</ref> Standard redactions of the Late medieval '']'' merely say "The night after came a Christian woman for to take his body and to bury it, but she found him alive and brought him to her house, and took charge of him till he was all whole."<ref>de Voragine, pp. 104-109</ref> Identifying the "Christian woman" as the hitherto very obscure Irene came later, and was popularised by Cardinal ] (1538–1607), a leading historian of the church, and one of the writers telling Catholic artists what treatments were appropriate in ]. His account appeared in volume 3 of his ''Annales Ecclesiastici'', published in 1592. Irene had been named in a 5th-century source, but the name had been forgotten.<ref>Hedquist, §24–26</ref> Both Sebastian and Irene appear in fairly early Christian literature, but details of their lives are essentially legend.<ref>Hedquist, §8–9; Hall, 162, 276–277</ref>


The few scenes before this point, probably all from altarpiece series on the life of Sebastian (there is one by ]), were presumably intending to depict only the anonymous "Christian woman" of the medieval tradition. Now, as vernacular versions of Baronius' account appeared (including a translation into Dutch/Flemish), artists soon began to paint it as a distinct subject,<ref>Hedquist, § 25–28</ref> with the added attraction of the possibilities for ] offered by both the usual points in the story chosen for depiction. The few scenes before this point, probably all from altarpiece series on the life of Sebastian (there is one by ]), were presumably intending to depict only the anonymous "Christian woman" of the medieval tradition. Now, as vernacular versions of Baronius' account appeared (including a translation into Dutch/Flemish), artists soon began to paint it as a distinct subject,<ref>Hedquist, § 25–28</ref> with the added attraction of the possibilities for ] offered by both the usual points in the story chosen for depiction.


Baronius had also tried (later followed by Cardinal ]) to get artists to follow the traditional legend, and early medieval depictions considered authoritative, and show Sebastian as a mature if not elderly man.<ref>Hedquist, § 10, 21, 24; she illustrates ] in ], Rome</ref> But almost invariably artists continued to show the saint as a young man, rather sensuously depicted, and with as little clothing as in the earlier paintings. Irene, the widow of a mature ] in her legend, also tends to be painted as young and beautiful. Baronius had also tried (later followed by Cardinal ]) to get artists to follow the traditional legend, and early medieval depictions considered authoritative, and show Sebastian as a mature if not elderly man.<ref>Hedquist, § 10, 21, 24; she illustrates ] in ], Rome</ref> But almost invariably artists continued to show the saint as a young man, rather sensuously depicted, and with as little clothing as in the earlier paintings.<ref>Hedquist, § 18–22, 24</ref> Irene, the widow of a mature ] in her legend, also tends to be painted as young and beautiful,{{original research inline|date=February 2019}} with the version by ] one exception.
], 1795–1800, a rather late Spanish version<ref></ref>]] ], 1795–1800, a rather late Spanish version<ref>, ]. Retrieved 21 February 2019</ref>]]


The subject, especially in the depictions where Sebastian has been got clear of his post or tree, has clear similarities to two other scenes from secular Italian epic romances: ] from '']'' by ] (1516) and Erminia and Tancredi from '']'' by ] 1581. In both of these the hero is wounded in battle, and nursed by his lover; the scene from Tasso was especially popular as a subject, often as part of a cycle.<ref>Careri, 93–94, and generally on the Tasso</ref> In both the heros are usually shown sprawled and largely unclothed, their armour often being shown discarded near them, which is also a feature of some Sebastians.<ref>For examples, the Giordano, van Baburen and de Bellis shown here.</ref> There is a painting of the Ariosto subject by ], who died in 1599, but most treatments of both subjects come from the same broad period after about 1620 as those of Sebastian and Irene. The compositions where Sebastian remains semi-upright as the women untie him inevitably recall the subject of the ] of Christ.<ref>Oberlin</ref> The subject, especially in the depictions where Sebastian has been got clear of his post or tree, has clear similarities to two other scenes from secular Italian epic romances: ] from '']'' by ] (1516) and Erminia and Tancredi from '']'' by ] 1581. In both of these the hero is wounded in battle, and nursed by his lover; the scene from Tasso was especially popular as a subject, often as part of a cycle.<ref>Careri, 93–94, and generally on the Tasso</ref> In both the heroes are usually shown sprawled and largely unclothed, their armour often being shown discarded near them, which is also a feature of some Sebastians.<ref>For examples, the Giordano, van Baburen and de Bellis shown here.</ref> There is a painting of the Ariosto subject by ], who died in 1599, but most treatments of both subjects come from the same broad period after about 1620 as those of Sebastian and Irene. The compositions where Sebastian remains semi-upright as the women untie him inevitably recall the subject of the ] of Christ.<ref>Oberlin</ref>


==Medical aspects== ==Medical aspects==
Sebastian had always been a popular saint to invoke against the ], and depictions of him to some extent rose and fell with the pattern of epidemics. In every one of the years 1624–1629, ], the main Dutch centre of Catholic ], was hit by plague, and it was probably what killed ] in November 1629, at around the age of 40, four years after he painted his version.<ref>Hedquist, §35–40</ref> Sebastian had always been a popular saint to invoke against the ], and depictions of him to some extent rose and fell with the pattern of epidemics. In every one of the years 1624–1629, ], the main Dutch centre of Catholic ], was hit by plague, and it was probably what killed ] in November 1629, at around the age of 40, four years after he painted his version.<ref>Hedquist, §35–40</ref>


One aspect of the new images was that they firmly endorsed medical treatment; one strand of medieval thinking had been that attempts to flee or treat the plague, seen as partly an expression of divine displeasure, were both useless and "presumption" in the face of God's wrath.<ref>Mitchell; Hedquist, §49–50</ref> A painting by ] (c. 1616) for a hospital named after Sebastian and run by a religious ] professionalizes Irene, showing Sebastian sitting up in bed, and Irene in the habit of a nun working in the hospital.<ref>Hedquist, §29–30</ref> The actions of Irene (and her unnamed maid) also reflect the continuing injunction of both the Catholic church and Protestant denominations that people should not flee places with the plague, as many doctors advised individual patients.<ref>Hedquist, §49–57</ref> One aspect of the new images was that they firmly endorsed medical treatment; one strand of medieval thinking had been that attempts to flee or treat the plague, seen as partly an expression of divine displeasure, were both useless and "presumption" in the face of God's wrath.<ref>Mitchell; Hedquist, §49–50</ref> A painting by ] (c. 1616) for a hospital named after Sebastian and run by a religious ] professionalises Irene, showing Sebastian sitting up in bed, and Irene in the habit of a nun working in the hospital.<ref>Hedquist, §29–30</ref> The actions of Irene (and her unnamed maid) also reflect the continuing injunction of both the Catholic church and Protestant denominations that people should not flee places with the plague, as many doctors advised individual patients.<ref>Hedquist, §49–57</ref>


The raised arm motif seen in many versions can be related to a characteristic gesture of plague patients, as the armpit and adjacent areas of the torso and upper arms are common sites for the swollen and sensitive ]s that mark the full onset of ]. In at least the ter Brugghen, the appearance of Sebastian appears to be that of a plague victim in several points of detail.<ref>Hedquist, §43–44</ref> The raised arm motif seen in many versions can be related to a characteristic gesture of plague patients, as the armpit and adjacent areas of the torso and upper arms are common sites for the swollen and sensitive ]s that mark the full onset of bubonic plague, forcing the patient to adopt such a pose. In at least the ter Brugghen painting, the appearance of Sebastian appears to be that of a plague victim in several points of detail.<ref>Hedquist, §43–44</ref> 

⚫ The subject gives emphasis to courageous initiative and useful activity by women, though of a type considered appropriate to their sex. Sebastian is either unconscious or helpless in nearly all depictions. This is very much in line with ] ideas, which encouraged saintly female role models who went beyond the largely passive victimhood of medieval depictions of female martyrs, expressing "the Counter-Reformatory desire to project Catholicism as a caring faith, with a visible dimension of social responsibility".<ref>Hedquist, §30–34, 43–50; Oberlin (quoted); Stechow, W. (1954). Terbrugghen's 'Saint Sebastian'. The Burlington Magazine, 96(612), p. 70, </ref>


==Paintings== ==Paintings==
Line 40: Line 42:
* ], 1625 * ], 1625
* ], Berlin, c. 1634 – 1643 * ], Berlin, c. 1634 – 1643
* ], c. 1649 (a later version of the Berlin composition). He is attributed with another painting, with a different composition, in ].<ref></ref> * ], c. 1649 (a later version of the Berlin composition). He is attributed with another painting, with a different composition, in ].<ref>, ]. Retrieved 21 February 2019</ref>


Also: Also:
* ], Bilbao, c. 1621 and ], 1628. He also painted several traditional "first martyrdom" scenes. * ], Bilbao, c. 1621 and ], 1628. He also painted several traditional "first martyrdom" scenes.
* ], 1631–1636, Boston.<ref></ref> * ], 1631–1636, Boston.<ref name=mfa> {{Webarchive|url=https://web.archive.org/web/20181211172118/https://www.mfa.org/collections/object/saint-sebastian-tended-by-saint-irene-and-her-maid-34145 |date=11 December 2018 }}, ], 14 July 2018. Retrieved 21 February 2019</ref>
* ], ], Hull;<ref></ref> also different compositions in Rouen and (attrib.) the ] * ], ], Hull;<ref>, ]. Retrieved 21 February 2019</ref> also different compositions in Rouen and (attrib.) the ]
* ], 1650, ] * ], 1650, ]
* ], ''St. Sebastian and St. Irene'' (etching, ], Italy, 1643), ]<ref>, ]. Retrieved 23 February 2019</ref>
* ]


<gallery widths="200px" heights="200px"> <gallery widths="200px" heights="200px">
File:Jusepe de Ribera - Saint Sebastian Tended by the Holy Women - Google Art Project.jpg|], 1621, ] File:Jusepe de Ribera - Saint Sebastian Tended by the Holy Women - Google Art Project.jpg|], 1621, ], Bilbao
File:Terbrugghen Sebastian.jpg|], 1625, ], ] File:Terbrugghen Sebastian.jpg|], 1625, ], ], Ohio
File:Saint Sebastian attended by Saint Irene.jpg|], ?1620s File:Saint Sebastian attended by Saint Irene.jpg|], c. 1620s, (private collection)
File:Bigot, Trophime - Der Hl. Sebastian wird von Irene geheilt.jpg|], 1620–1634, ] File:Bigot, Trophime - Der Hl. Sebastian wird von Irene geheilt.jpg|], 1620–1634, ], Vatican Museums, Rome
File:SC108087 Boston Strozzi Seb Irene.jpg|], 1631–1636, Boston<ref></ref> File:SC108087 Boston Strozzi Seb Irene.jpg|], 1631–1636, ]<ref name=mfa/>
File:Antonio de Bellis Saint Sébastien soigné par sainte Irène.jpg|], 1640–1645, Lyon File:Antonio de Bellis Saint Sébastien soigné par sainte Irène.jpg|], 1640–1645, ], Lyon
File:Georges de La Tour 003.jpg|], c. 1649 File:Georges de La Tour 003.jpg|], c. 1649, ], Paris
File:San Sebastián y Santa Irene (Lluís Bonifàs, MRABASF E-33) 01.jpg|A rare sculpture, ], 1763, ] File:San Sebastián y Santa Irene (Lluís Bonifàs, MRABASF E-33) 01.jpg|A rare sculpture, ], 1763, ], Madrid
File:Eugène Delacroix - Saint-Sébastien avec sainte Irène et un accompagnant (1858).jpg|], 1858, ] File:Eugène Delacroix - Saint-Sébastien avec sainte Irène et un accompagnant (1858).jpg|], 1858, ]
</gallery> </gallery>


Line 65: Line 67:


==References== ==References==
*Barker, Sheila, ''The Making of a Plague Saint'', ch. 4 (pp. 114–7 especially) in ''Piety and Plague: from Byzantium to the Baroque'', Ed. Franco Mormando, Thomas Worcester Truman State University, 2007, {{ISBN|978-1-931112-73-4}}, *Barker, Sheila, , ch. 4 (pp.&nbsp;114–7 especially) in ''Piety and Plague: from Byzantium to the Baroque'', Ed. ], ], Truman State University, 2007, {{ISBN|978-1-931112-73-4}}
*{{cite book|last=Boeckl|first=Christine M|title=Images of Plague and Pestilence: Iconography and Iconology|pages=76–80|publisher=Truman State University|year=2000|isbn=978-0-943549-85-9|url=https://books.google.com/books?id=sIxTJ4wv3u8C&pg=PA77&dq=St+Sebastian++St+Irene,#PPA81,M1}} *Boeckl, Christine M. '''' (pp.&nbsp;76–80). Truman State University, 2000, {{ISBN|9780943549859}}
*], (pp.&nbsp;104–109) in '']'', volume II, Ed. ] (ed), translated by ]. London: Temple Classics (compiled 1275, first published 1470, Temple Classics edition published 1900). Retrieved 23 February 2019 – via ]'s Medieval Sourcebooks.
*Giovanni, Careri, ''La fabbrica degli affetti. La Gerusalemme liberata dai Carracci a Tiepolo'', 2010, Il Saggiatore, {{ISBN|8865760303}},
*] , ''La fabbrica degli affetti. La ''Gerusalemme liberata'' dai Carracci a Tiepolo'' (pp.&nbsp;93ff, in Italian), Milano: Il Saggiatore, 2010 {{ISBN|8865760303}}
*Hall, James, ''Hall's Dictionary of Subjects and Symbols in Art'', 1996 (2nd edn.), John Murray, {{ISBN|0719541476}} *Hall, James, ''Hall's Dictionary of Subjects and Symbols in Art'', 1996 (2nd edn.), John Murray, {{ISBN|0719541476}}
*Hedquist, Valerie, "Ter Brugghen’s Saint Sebastian Tended by Irene," ''Journal of Historians of Netherlandish Art'' 9:2 (Summer 2017) {{DOI|10.5092/jhna.2017.9.2.3}}, *Hedquist, Valerie, , '']'' 9:2 (Summer 2017) {{doi|10.5092/jhna.2017.9.2.3}}
*Mitchell, Peter, "The Politics of Morbidity: Plague Symbolism in Martyrdom and Medical Anatomy", in ''The Arts of 17th-Century Science: Representations of the Natural World in European and North American Culture'', eds. Claire Jowitt, Diane Watt, 2002, Routledge, {{ISBN|9781351894449}}, *Mitchell, Peter, , in ''The Arts of 17th-Century Science: Representations of the Natural World in European and North American Culture'', eds. Claire Jowitt, Diane Watt, 2002, Routledge, {{ISBN|9781351894449}}
*"Oberlin" – *Wieseman, M. E. (n.d.) , Dutch and Flemish Art, ], ]. Retrieved 24 February 2019.

==Further reading==
* Conisbee, Philip. “An Introduction to the Life and Art of Georges de La Tour,” in Philip Conisbee (ed.), ''Georges de La Tour and His World'', exhibition catalogue Washington, DC, National Gallery of Art; Fort Worth, Kimbell Art Museum 1996, pp.13-147.
* Judovitz, Dalia. ''Georges de La Tour and the Enigma of the Visible'', New York, Fordham University Press, 2018. {{ISBN|0-82327-744-5}}; {{ISBN|9780823277445}}. Pp. 11, 94-103, plate 24.


==External links==
{{commonscat|Saint Sebastian Tended by Saint Irene}} {{commons category|Saint Sebastian Tended by Saint Irene}}


] ]
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] ]
] ]
]
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Latest revision as of 01:46, 31 May 2024

Subject of many religious artworks

One of three versions of the subject by Nicolas Régnier, c. 1625

Saint Sebastian Tended by Saint Irene is an incident in the legends of Saint Sebastian and Saint Irene of Rome. It was not prominent in the hagiographical literature until the late Renaissance, and is hardly seen in art before then. As an artistic subject, normally in painting, it suddenly became popular from the 1610s, though found in predella scenes as early as the 15th century, and was most popular until about the 1670s.

Trophime Bigot, 1620–1634, Musée des Beaux-Arts de Bordeaux, Bordeaux
Marco Antonio Bassetti, c. 1620

Though Sebastian is famously tied to a tree or post and shot with many arrows, in his story he always survives this, only to be killed with stones some time later; these ordeals are sometimes called his "first" and "second martyrdom". The tending by Saint Irene takes place between these, after the archery, when she, normally accompanied by her maid, enters the story. She is shown either taking an unconscious Sebastian down from the tree or post to which he is tied or when he has been found a bed and his wounds are being treated. In both scenes Irene is usually shown pulling out one of the arrows. Sometimes she is shown putting ointment on the wounds; a jar of ointment was her attribute. Both scenes are often shown taking place in darkness, and the treatment scene typically seems to take place in one of the catacombs of Rome, whose rediscovery was ongoing around 1600 (although the literary story specifies Irene's house).

Devotion to Saint Sebastian was driven by his reputation as a protector from the plague, which was still a very dangerous disease in 17th-century cities. Many of these images can be interpreted in the light of contemporary beliefs and practices around plague. They also reflect Counter-Reformation ideas about the role of women.

The subject gives emphasis to courageous initiative and useful activity by women, though of a type considered appropriate to their sex. Sebastian is either unconscious or helpless in nearly all depictions. This is very much in line with Counter-Reformation ideas, which encouraged saintly female role models who went beyond the largely passive victimhood of medieval depictions of female martyrs, expressing "the Counter-Reformatory desire to project Catholicism as a caring faith, with a visible dimension of social responsibility".

In art

Luca Giordano, c. 1653. National Gallery of Victoria.

One of the earliest paintings of Sebastian being nursed is by Josse Lieferinxe in about 1497, part of a cycle from an altarpiece in Marseilles (now Philadelphia Museum of Art), but the subject was rare until the 17th century, and treated as part of a series of Sebastian's life. It is first found as an independent subject in the 17th century, when it was painted by Georges de La Tour at least twice, Trophime Bigot (four times), Jusepe de Ribera twice, Hendrick ter Brugghen (in perhaps his masterpiece) and many others. The subject appears to have been a deliberate attempt by the Church to get away from the traditional depiction of the standing almost-nude Sebastian being shot with arrows. This is already recorded in Vasari (in relation to a painting by Fra Bartolommeo) as sometimes arousing inappropriate thoughts among female churchgoers.

Baroque artists often treated the new scene as nocturnal, illuminated by a single candle, torch or lantern, in the chiaroscuro "candlelight" style fashionable in the first half of the 17th century. All the versions by or attributed to de La Tour and Bigot are candlelit. With a few exceptions with a large vertical "altarpiece" size, the paintings are mostly horizontal in format and the main figures occupy most of the picture space, giving an intimate and intense depiction of the scene. Sebastian is often given an elaborately contorted pose, with limbs reaching the edge of the picture space. Very often at least one wrist remains tied to the tree. In particular he often has a straight raised arm running diagonally across the picture space, a motif that has been traced through the works of various artists spreading from Italy to the Netherlands.

Sebastian's death was firmly located in Rome, where he was the third patron saint, and churches dedicated to him were built on the supposed locations of the events. The subject was mainly painted by artists in Italy, and also by a number in the Low Countries. By the 18th century the subject becomes less common, as Irene and her maid are often replaced by angels, or become nameless "women", as those by Paul Troger (Österreichische Galerie Belvedere, Vienna, 1746) are called by the gallery. Late treatments include two paintings by Eugène Delacroix, one of 1858 (LACMA, Los Angeles), and one exhibited in 1836, now Église Saint-Michel, Nantua, France.

Subject

Dirck van Baburen, c. 1615, Thyssen-Bornemisza Museum, Madrid, one of the first northern depictions

Standard redactions of the Late medieval Golden Legend merely say "The night after came a Christian woman for to take his body and to bury it, but she found him alive and brought him to her house, and took charge of him till he was all whole." Identifying the "Christian woman" as the hitherto very obscure Irene came later, and was popularised by Cardinal Caesar Baronius (1538–1607), a leading historian of the church, and one of the writers telling Catholic artists what treatments were appropriate in Counter-Reformation art. His account appeared in volume 3 of his Annales Ecclesiastici, published in 1592. Irene had been named in a 5th-century source, but the name had been forgotten. Both Sebastian and Irene appear in fairly early Christian literature, but details of their lives are essentially legend.

The few scenes before this point, probably all from altarpiece series on the life of Sebastian (there is one by Albrecht Altdorfer), were presumably intending to depict only the anonymous "Christian woman" of the medieval tradition. Now, as vernacular versions of Baronius' account appeared (including a translation into Dutch/Flemish), artists soon began to paint it as a distinct subject, with the added attraction of the possibilities for chiaroscuro offered by both the usual points in the story chosen for depiction.

Baronius had also tried (later followed by Cardinal Federico Borromeo) to get artists to follow the traditional legend, and early medieval depictions considered authoritative, and show Sebastian as a mature if not elderly man. But almost invariably artists continued to show the saint as a young man, rather sensuously depicted, and with as little clothing as in the earlier paintings. Irene, the widow of a mature martyr in her legend, also tends to be painted as young and beautiful, with the version by Hendrick ter Brugghen one exception.

Vicente López Portaña, 1795–1800, a rather late Spanish version

The subject, especially in the depictions where Sebastian has been got clear of his post or tree, has clear similarities to two other scenes from secular Italian epic romances: Angelica and Medoro from Orlando Furioso by Ludovico Ariosto (1516) and Erminia and Tancredi from Gerusalemme liberata by Torquato Tasso 1581. In both of these the hero is wounded in battle, and nursed by his lover; the scene from Tasso was especially popular as a subject, often as part of a cycle. In both the heroes are usually shown sprawled and largely unclothed, their armour often being shown discarded near them, which is also a feature of some Sebastians. There is a painting of the Ariosto subject by Simone Peterzano, who died in 1599, but most treatments of both subjects come from the same broad period after about 1620 as those of Sebastian and Irene. The compositions where Sebastian remains semi-upright as the women untie him inevitably recall the subject of the Descent from the Cross of Christ.

Medical aspects

Sebastian had always been a popular saint to invoke against the plague, and depictions of him to some extent rose and fell with the pattern of epidemics. In every one of the years 1624–1629, Utrecht, the main Dutch centre of Catholic history painting, was hit by plague, and it was probably what killed Hendrick ter Brugghen in November 1629, at around the age of 40, four years after he painted his version.

One aspect of the new images was that they firmly endorsed medical treatment; one strand of medieval thinking had been that attempts to flee or treat the plague, seen as partly an expression of divine displeasure, were both useless and "presumption" in the face of God's wrath. A painting by Francisco Pacheco (c. 1616) for a hospital named after Sebastian and run by a religious confraternity professionalises Irene, showing Sebastian sitting up in bed, and Irene in the habit of a nun working in the hospital. The actions of Irene (and her unnamed maid) also reflect the continuing injunction of both the Catholic church and Protestant denominations that people should not flee places with the plague, as many doctors advised individual patients.

The raised arm motif seen in many versions can be related to a characteristic gesture of plague patients, as the armpit and adjacent areas of the torso and upper arms are common sites for the swollen and sensitive buboes that mark the full onset of bubonic plague, forcing the patient to adopt such a pose. In at least the ter Brugghen painting, the appearance of Sebastian appears to be that of a plague victim in several points of detail. 

Paintings

With articles:

Also:

Notes

  1. There are variant English phrasings of the translated titles of works, most often "cured by" or "healed by". The usual title in French is "Saint Sébastien soigné par Sainte Irène". In Italian and Spanish the standard title uses curato/curado, which are sometimes wrongly translated to English as "cured" rather than "cared for" etc.
  2. Boeckl, 77; Hedquist, § 28–29
  3. de Voragine, p. 108: "Then Diocletian made him to be brought into prison into his palace, and to beat him so sore with stones till he died"
  4. Hall, 162
  5. Hedquist, §30–34, 43–50; Oberlin (quoted); Stechow, W. (1954). Terbrugghen's 'Saint Sebastian'. The Burlington Magazine, 96(612), p. 70, JSTOR
  6. "Collections Object: Saint Sebastian Cured by Irene", Philadelphia Museum of Art. Retrieved 21 February 2019
  7. Bordeaux, Musée des beaux-arts, with other versions in the Vatican Pinacoteca and two in the United States
  8. Slive, Seymour, Dutch Painting, 1600–1800, Yale UP, 1995, ISBN 0300074514, p. 22
  9. Barker, 115–117; Hedquist, §17–24
  10. Strozzi and Lana for example.
  11. Hedquist, § 7, figs. 2–6
  12. Hedquist, §9
  13. San Sebastiano al Palatino where the "first martyrdom" with arrows took place, San Sebastiano de Via Papae where his body was recovered from the sewer, and San Sebastiano fuori le mura over his burial site in the Catacombs of San Sebastiano. See Hedquist, 9–10
  14. "St. Sebastian with St. Irene and Attendant", Los Angeles County Museum of Art. Retrieved 21 February 2019
  15. Image
  16. de Voragine, pp. 104-109
  17. Hedquist, §24–26
  18. Hedquist, §8–9; Hall, 162, 276–277
  19. Hedquist, § 25–28
  20. Hedquist, § 10, 21, 24; she illustrates a 7th-century mosaic in San Pietro in Vincoli, Rome
  21. Hedquist, § 18–22, 24
  22. "Saint Sebastian Tended by Saint Irene", J. Paul Getty Museum. Retrieved 21 February 2019
  23. Careri, 93–94, and generally on the Tasso
  24. For examples, the Giordano, van Baburen and de Bellis shown here.
  25. Oberlin
  26. Hedquist, §35–40
  27. Mitchell; Hedquist, §49–50
  28. Hedquist, §29–30
  29. Hedquist, §49–57
  30. Hedquist, §43–44
  31. "Light in the Darkness", Seattle Art Museum. Retrieved 21 February 2019
  32. ^ "Saint Sebastian Tended by Saint Irene and Her Maid" Archived 11 December 2018 at the Wayback Machine, Museum of Fine Arts, Boston, 14 July 2018. Retrieved 21 February 2019
  33. "St Sebastian tended by the Holy Irene", Ferens Art Gallery. Retrieved 21 February 2019
  34. "Collections Object: St. Sebastian and St. Irene", Philadelphia Museum of Art. Retrieved 23 February 2019

References

Further reading

  • Conisbee, Philip. “An Introduction to the Life and Art of Georges de La Tour,” in Philip Conisbee (ed.), Georges de La Tour and His World, exhibition catalogue Washington, DC, National Gallery of Art; Fort Worth, Kimbell Art Museum 1996, pp.13-147.
  • Judovitz, Dalia. Georges de La Tour and the Enigma of the Visible, New York, Fordham University Press, 2018. ISBN 0-82327-744-5; ISBN 9780823277445. Pp. 11, 94-103, plate 24.

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