Saint Sebastian
Sebastian was an early Christian saint and martyr. According to traditional belief, he was killed during the Diocletianic Persecution of Christians. He was initially tied to a post or tree and shot with arrows, though this did not kill him. He was, according to tradition, rescued and healed by Irene of Rome, which became a popular subject in 17th-century painting. In all versions of the story, shortly after his recovery he went to Diocletian to warn him about his sins, and as a result he was clubbed to death. He is venerated in the Catholic Church and the Orthodox Church as the patron saint of athletics, archery, and plagues.
The oldest mention of Sebastian's martyrdom is in the Chronograph of 354, which says he is venerated on January 20. He is also mentioned in a sermon on Psalm 118 by 4th-century bishop Ambrose of Milan: in his sermon, Ambrose stated that Sebastian came from Milan and that he was already venerated there at that time. The full account of his martyrdom comes from the Passio Sancti Sebastiani, a 5th-century text written by an anonymous author, possibly Arnobius the Younger.
Sebastian is a popular male saint, especially today among athletes. In medieval times, he was regarded as a saint with a special ability to intercede to protect from plague, and devotion to him greatly increased when plague was active.
Life
There is not much known about Saint Sebastian's early life, but the ancient source mentioning Sebastian is found in the Chronograph of 354, a compilation of chronological and calendrical texts produced in 354 AD by the calligrapher and illustrator Furius Dionysius Filocalus, which mentions him as a martyr who was venerated on January 20. His cult is also mentioned by Ambrose of Milan in his Expositio in Psalmum CXVIII, a theological and exegetical commentary of Psalm 118 dated to 386–390 AD; Ambrose states that Sebastian came from Milan and that he was venerated as a saint there.The first surviving account of Sebastian's life and death is the Passio Sancti Sebastiani, long thought to have been written by Ambrose in the 4th century, but now regarded as a 5th-century account by an unknown author. This includes the "two martyrdoms", and the care by Irene in between, and other details that remained part of the story.
According to Sebastian's 18th-century entry in Acta Sanctorum, still attributed to Ambrose by the 17th-century hagiographer Jean Bolland, and the briefer account in the 14th-century Legenda Aurea, he was a man of Gallia Narbonensis who was taught in Mediolanum. In 283, Sebastian entered the army in Rome under Emperor Carinus to assist the martyrs. Because of his courage he became one of the captains of the Praetorian Guards under Diocletian and Maximian, who were unaware that he was a Christian.
According to tradition, Marcus and Marcellianus were twin brothers from a distinguished family and were deacons. Both brothers married, and they resided in Rome with their wives and children. The brothers refused to sacrifice to the Roman gods and were arrested. They were visited by their parents Tranquillinus and Martia in prison, who attempted to persuade them to renounce Christianity. Sebastian succeeded in converting Tranquillinus and Martia, as well as Tiburtius, the son of Chromatius, the local prefect. Another official, Nicostratus, and his wife Zoe were also converted. It has been said that Zoe had been a mute for six years; however, she made known to Sebastian her desire to be converted to Christianity. As soon as she had, her speech returned to her. Nicostratus then brought the rest of the prisoners; these 16 persons were converted by Sebastian.
Chromatius and Tiburtius converted; Chromatius set all of his prisoners free from jail, resigned his position, and retired to the country in Campania. Marcus and Marcellianus, after being concealed by a Christian named Castulus, were later martyred, as were Nicostratus, Zoe, and Tiburtius.
Martyrdom
According to his legend, Sebastian had prudently concealed his faith, but in 286 it was detected. Diocletian reproached him for his supposed betrayal, and he commanded him to be led to a field and there to be bound to a stake so that the chosen archers from Mauretania would shoot arrows at him. "And the archers shot at him till he was as full of arrows as an urchin is full of pricks, and thus left him there for dead." Miraculously, the arrows did not kill him. The widow of Castulus, Irene of Rome, went to retrieve his body to bury it, and discovered he was still alive. She brought him back to her house and nursed him back to health; Saint Sebastian Tended by Saint Irene became a popular subject in art in the late Renaissance.In the legend, Sebastian later stood by a staircase where the emperor was to pass and harangued Diocletian for his cruelties against Christians. This freedom of speech, and from a person whom he supposed to have been dead, greatly astonished the emperor; but recovering from his surprise, he gave orders for Sebastian to be seized and beaten to death with cudgels, and his body thrown into the common sewer. A holy lady named Lucina, admonished by the martyr in a vision, privately removed the body and buried it in the catacombs at the entrance of the cemetery of Callixtus, where now stands the Basilica of St. Sebastian.
Location of remains
Remains reputed to be those of Sebastian are housed in Rome in the Basilica Apostolorum, built by Pope Damasus I in 367 on the site of the provisional tomb of Saints Peter and Paul. The church, today called San Sebastiano fuori le mura, was rebuilt in the 1610s under the patronage of Scipione Borghese.Ado, Eginard, Sigebert, and other contemporary authors relate that, in the reign of Louis Debonnair, Pope Eugenius II gave the body of Sebastian to Hilduin, Abbot of St. Denys, who brought it into France, and it was deposited at Saint Medard Abbey, at Soissons, on 8 December, in 826.
Sebastian's cranium was brought to the town of Ebersberg in 934. A Benedictine abbey was founded there and became one of the most important pilgrimage sites in southern Germany. It is said the silver-encased cranium was used as a cup in which to present the consecrated wine of the Blessed Sacrament to the faithful during the feast of Saint Sebastian.
As protector against plague
The belief that Saint Sebastian was a defense against the plague was a medieval addition to his reputation, which largely accounts for the enormous increase in his importance in the Late Middle Ages. The connection of the martyr shot with arrows with the plague is not an intuitive one. However, the hopeful example of Sebastian being able to recover from his "first martyrdom" was relevant as the arrow-wounds can resemble the buboes that were symptoms of bubonic plague. Visually, "the arrow wounds call to God for mercy to us, as the symptoms of the infirm call for pity from the passerby", as Molanus put it.The chronicler Paul the Deacon relates that, in 680, Rome was freed from a raging pestilence by him. The Golden Legend transmits the episode of a great plague that afflicted the Lombards in the time of King Gumburt, which was stopped by the erection of an altar in honor of Sebastian in the Church of Saint Peter in the Province of Pavia.
In art and literature
Art
The earliest known representation of Sebastian is a mosaic in the Basilica of Sant'Apollinare Nuovo dated between 527 and 565. The right lateral wall of the basilica contains large mosaics representing a procession of 26 martyrs, led by Saint Martin and including Sebastian. The martyrs are represented in Byzantine style, lacking any individuality, and all have identical expressions.Another early representation is in a mosaic in the Church of San Pietro in Vincoli in Rome, probably made in the year 682. It shows a grown, bearded man in court dress but contains no trace of an arrow. The archers and arrows begin to appear by 1000, and ever since have been far more commonly shown than the actual moment of his death by clubbing, so that there is a popular misperception that this is how he died.
As protector of potential plague victims and soldiers, Sebastian occupied an important place in the popular medieval mind. He was among the most frequently depicted of all saints by Late Gothic and Renaissance artists, in the period after the Black Death. The opportunity to show a semi-nude young male, often in a contorted pose, also made Sebastian a favorite subject. His shooting with arrows was the subject of the largest engraving by the Master of the Playing Cards in the 1430s, when there were few other current subjects with male nudes other than Christ. Sebastian appears in many other prints and paintings, although this was due to his popularity with the faithful. Among many others, Botticelli, Perugino, Titian, Pollaiuolo, Giovanni Bellini, Guido Reni, Mantegna, Hans Memling, Gerrit van Honthorst, Luca Signorelli, El Greco, Honoré Daumier, John Singer Sargent and Louise Bourgeois all painted Saint Sebastians. An early work by the sculptor Gianlorenzo Bernini is of Saint Sebastian.
The saint is ordinarily depicted as a handsome youth pierced by arrows. Predella scenes when required often depicted his arrest, confrontation with the Emperor, and final beheading.
Hans Holbein the Elder created a statuette of Saint Sebastian "in silver and parcel-gilt", now in the Victoria and Albert Museum in London.
A mainly 17th-century subject, though found in predella scenes as early as the 15th century, was Saint Sebastian Tended by Saint Irene, painted by Georges de La Tour, Trophime Bigot, Jusepe de Ribera, Hendrick ter Brugghen and others. This may have been a deliberate attempt by the Church to get away from the single nude subject, which is already recorded in Vasari as sometimes arousing inappropriate thoughts among churchgoers. The Baroque artists usually treated it as a nocturnal chiaroscuro scene, illuminated by a single candle, torch or lantern, in the style fashionable in the first half of the 17th century. There exist several cycles depicting the life of Sebastian. Among them are the frescos in the basilica church of San Sebastiano, Acireale in Sicily painted by Pietro Paolo Vasta.
Egon Schiele, an Austrian Expressionist artist, painted a self-portrait as Saint Sebastian in 1915.