Central European school. Possibly Flanders, first half of the 16th century.

Central European school. Possibly Flanders, first half of the 16th century.
"Saint Sebastian".
Carved and polychrome wood.
It has cracks and losses of polychrome. Slight faults.
Measurements: 87 x 28 x 24 cm.

Central European carving and Renaissance period. The asaetado body (the arrows have been lost) shows an anatomical canon of classical character. Likewise, the countenance is reflective, expressing the acceptance of destiny. The oval face is fringed by a hair carved curl by curl, showing a detail typical of the Flemish school. The figure, with turned legs, slightly bends one knee, adopting a balanced posture. The only element that denotes a desire to show pathos is the hollowed abdomen and the slightly marked sternum. From the rest of the character emanates a full serenity. As usual in the representation of San Sebastian, only a cloth covering the pubis protects his naked body. The drapery is naturalistic. During the Renaissance, the theme of St. Sebastian knows an important development, being a thematic excuse to treat the male nude, an interest taken from Antiquity.

Born in Gaul and raised in Milan, Sebastian was a centurion of the first cohort in the time of Emperor Diocletian (late third - early fourth century). Denounced because he exhorted his friends Mark and Marcellinus to remain firm in their faith, by order of the emperor he was tied to a post in the center of the field of Mars, and served as a live target for the archers who assaulted him. But he did not die for it. The widow Irene, who wanted to raise his body for burial, noticed that he was still breathing, bandaged his wounds and saved his life. After his cure he reappeared before Diocletian to reproach him for his cruelty to the Christians. Then he was scourged, beaten to death in the circus and his corpse was thrown into the sewer Maximus.